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I absolutely adore and revisit it often too. But nah man, he cannot write big ass themes and make the theater shake out of bassy drone brah, let's bring zimmer in. swag.

Knowing what Zimmer did with Vangelis-like textures lately (Inception, Interstellar, to name a few, Old Souls could easily have been written for a new Blade Runner), plus his love for both original film and score and the influence they've had on him as a composer, I actually think he's a great fit for Blade Runner 2049. I was also very much looking forward to Jóhann Jóhannsson's version of Blade Runner.

What's causing me concern, however, and what made me go "oh shit" the moment I heard the news, is the combination of these two, and Benjamin Wallfisch thrown in. It just seems we're not getting a wholesome work anymore. A score by either of these would've been great, but now... Anyhow, let's just wait and see first, maybe all the material will blend into each other nicely.

Great score. Took several listens for me to realize how beautiful it really was.

Predator - Alan Silvestri

5 star score ! Without a doubt one of the best action scores ever written, which IMO has now gained iconic status for its important role in the film. Equally suspenseful and exhilarating. More than 70 minutes of that constantly evolving blend and cleverly building towards a truly spectacular finale. Silvestri was the man !!!!

Batman Begins

I listen to this every couple of years assuming I'll like it more than I remembered. But it's just so boring.

A masterwork by a composer at the top of his game.

by zimmer's standard, big ass themes, means 1 or 2 notes BRAAAAAAAAAMMMMMMMMMMMMSSSSSSS these days , and no , nobody can make the theater shake like him

When , with the exception of interstellar, did we ever get a wholesome zimmer score in the past 10 or more years? it's always him and a combination of soldiers or even worse, when he goes with the rad and modern cool crowd of junkie xl and co. that brings out the worst and laziest in him. Hope that for this, he gets inspired and does his own thing and we go the interstellar way 'cause when he does that, the results are amazing.

Beyond that I still hold his early work in high regard: A World Apart; Rain Man, Driving Miss Daisy; Days of Thunder; Thelma & Louise, Green Card, Backdraft; K2; Beyond Rangoon ... Late 80s to mid 90s is my favourite Zimmer period.

The creation of film music is almost always and necessarily a matter of team work. Composers of symphonic film music have their chief orchestrator, who himself often coordinates a team of subsidiary orchestrators. Often the chief orchestrator will act as a co-composer, composing e.g. bridges from one point of music to another. The music sheets mostly make this transparent.
Zimmer has a team of fellow composers who will create additional music and who will assist in programming the synthesizers. Ultimately this doesn't differ very much from the process described above.

Volker

I mean when 100 minutes of symphonic music has to be written and recorded in - what? - six weeks? No composer could do this single handedly.

Symphonic music ? Certainly this has nothing to do with the case of Zimmer. He doesn't write symphonic music nor the music is so demanding on itself . His schedule and number - size of assignments is though but certainly its no symphonic music case. His music is his own, Zimmer music .

We are talking post 2010 scores . New Zimmer sound , ask Zimmer if he will ever compose like the scores you mention again .

True. He's not into that anymore. Though, on the other hand... there's a bit of the old Zimmer in The Lone Ranger.

Well i'd give him justice, wouldn't you? the movie was horrible. But I did like a lot of bits from the score. I suspect djawadi had something to do with it? or balfe?