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  1. Demetris wrote
    PawelStroinski wrote
    Yeah, it's in the PR, actually.

    Nolan associates Nimrod with very poignant emotions as it was playing during his father's funeral. This and the cultural associations made him ask Hans to include it in the score. Hans asked Benjamin Wallfisch to work that inclusion out.

    My interpretation starts here:

    Hans might have not been quite excited about integrating a classical piece in the score. That's why he relegated the assignment to someone else. A similar thing happened during The Lone Ranger, when he had nothing to do with all the William Tell Overture (a piece he admittedly hates) arrangements. A part of it might have been the fact that he's not classically educated, so he knows his limitations in terms of manipulating classical repertoire.


    I think Zimmer wasn't excited about dunkirk in general and it shows wink when he asked to him to write an emotional piece, he just brought the most english man in and told him just write an emotional vangelis chord-set whatever man i don't care biggrin


    Umm, you do know that it's actually Nolan who is saying that HE demanded the piece in the score?
    http://www.filmmusic.pl - Polish Film Music Review Website
  2. And it's not that he wasn't excited. It was a VERY difficult process and there was constant conflict. I don't know too many details and I certainly hope it won't affect their future collaboration (as the best stuff Hans has done in recent years WAS for Nolan, especially Interstellar, Inception, however, is, I think the better film score).
    http://www.filmmusic.pl - Polish Film Music Review Website
  3. Demetris wrote
    n.p. ELLIOT GOLDENTHAL - Batman vs Robin

    Fuck yeah

    but, Batman forever, heck no! I think as I grow older, I am getting to despise sax, theremin and relevant noisy stuff. wink


    Batman Forever... It's awesome, I love how LLL handled the release. It has some downright wacky cues which are most appropriate for The Riddler character, and I agree they are my least favorite part of the score but everything else... Thematic, daring, expressive, fanfares up the wazoo... Just how I like it ! punk
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  4. THE TWO TOWERS

    Friggin' brilliant. This is an edit from the complete recordings to maximize (personal) enjoyment. At about two hours long this is film music at its most memorable ! Can't believe this one is already 15 years old. shocked
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  5. For pure listening enjoyment I still prefer the commercial releases. I think I listened twice to the complete recordings in full duration, but I wouldn't wanna miss those remarkable sets. I also own the book by Doug Adams. Incredible music!

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 4th 2017 edited
    Captain Future wrote
    For pure listening enjoyment I still prefer the commercial releases. I think I listened twice to the complete recordings in full duration, but I wouldn't wanna miss those remarkable sets. I also own the book by Doug Adams. Incredible music!

    Volker


    My library had the book, and I checked it out, and read it every day until I had to return it. It was just packed with information, pictures, musical scores, wit, and style. I love Doug Adams' descriptive writing.

    a plume of sickly violins...
    Bach's music is heartless and robotic.
    •  
      CommentAuthorThor
    • CommentTimeAug 4th 2017
    DreamTheater wrote
    Demetris wrote
    n.p. ELLIOT GOLDENTHAL - Batman vs Robin

    Fuck yeah

    but, Batman forever, heck no! I think as I grow older, I am getting to despise sax, theremin and relevant noisy stuff. wink


    Batman Forever... It's awesome, I love how LLL handled the release. It has some downright wacky cues which are most appropriate for The Riddler character, and I agree they are my least favorite part of the score but everything else... Thematic, daring, expressive, fanfares up the wazoo... Just how I like it ! punk


    Seeing and hearing the "Grand Gothic Suite" (which is mostly BF, but also some B&R) at the steel factory in Krakow a few years back, still holds up as one of the THE best musical concert "cue" experiences of my life!
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 4th 2017 edited
    PawelStroinski wrote
    Demetris wrote
    PawelStroinski wrote
    Yeah, it's in the PR, actually.

    Nolan associates Nimrod with very poignant emotions as it was playing during his father's funeral. This and the cultural associations made him ask Hans to include it in the score. Hans asked Benjamin Wallfisch to work that inclusion out.

    My interpretation starts here:

    Hans might have not been quite excited about integrating a classical piece in the score. That's why he relegated the assignment to someone else. A similar thing happened during The Lone Ranger, when he had nothing to do with all the William Tell Overture (a piece he admittedly hates) arrangements. A part of it might have been the fact that he's not classically educated, so he knows his limitations in terms of manipulating classical repertoire.


    I think Zimmer wasn't excited about dunkirk in general and it shows wink when he asked to him to write an emotional piece, he just brought the most english man in and told him just write an emotional vangelis chord-set whatever man i don't care biggrin


    Umm, you do know that it's actually Nolan who is saying that HE demanded the piece in the score?


    of course i don't know that, i said i think smile but if you hear interstellar, and see the video features that zimmer made with the recordings, the organ etc, he's soo excited, and it sounds on the music too. he just let him do his thing entirely on his own, first basically solo project in years, and look at the result. here, i feel like he was so pushy and specific on him that z went whatever man you want sound design? score without emotions? here's your 2 hours of tickiti-tack click clock and if you want anything else ask my british minions fuck it i am going live to tour the world with tina guo biggrin
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 4th 2017
    DreamTheater wrote
    Demetris wrote
    n.p. ELLIOT GOLDENTHAL - Batman vs Robin

    Fuck yeah

    but, Batman forever, heck no! I think as I grow older, I am getting to despise sax, theremin and relevant noisy stuff. wink


    Batman Forever... It's awesome, I love how LLL handled the release. It has some downright wacky cues which are most appropriate for The Riddler character, and I agree they are my least favorite part of the score but everything else... Thematic, daring, expressive, fanfares up the wazoo... Just how I like it ! punk


    fuck too crazy for my tastes. But batman and robin, so grand, massive, perfect.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 4th 2017
    n.p. elliot goldenthal - demolition man

    the 2nd thing that i don't like after the horrible goldsmith farts (synths) are goldenthal farts (although slightly less smelly and more bearable, but still) but the orchestral parts are amazing.
    Love Maintitles. It's full of Wanders.
  6. Demetris wrote
    PawelStroinski wrote
    Demetris wrote
    PawelStroinski wrote
    Yeah, it's in the PR, actually.

    Nolan associates Nimrod with very poignant emotions as it was playing during his father's funeral. This and the cultural associations made him ask Hans to include it in the score. Hans asked Benjamin Wallfisch to work that inclusion out.

    My interpretation starts here:

    Hans might have not been quite excited about integrating a classical piece in the score. That's why he relegated the assignment to someone else. A similar thing happened during The Lone Ranger, when he had nothing to do with all the William Tell Overture (a piece he admittedly hates) arrangements. A part of it might have been the fact that he's not classically educated, so he knows his limitations in terms of manipulating classical repertoire.


    I think Zimmer wasn't excited about dunkirk in general and it shows wink when he asked to him to write an emotional piece, he just brought the most english man in and told him just write an emotional vangelis chord-set whatever man i don't care biggrin


    Umm, you do know that it's actually Nolan who is saying that HE demanded the piece in the score?


    of course i don't know that, i said i think smile but if you hear interstellar, and see the video features that zimmer made with the recordings, the organ etc, he's soo excited, and it sounds on the music too. he just let him do his thing entirely on his own, first basically solo project in years, and look at the result. here, i feel like he was so pushy and specific on him that z went whatever man you want sound design? score without emotions? here's your 2 hours of tickiti-tack click clock and if you want anything else ask my british minions fuck it i am going live to tour the world with tina guo biggrin


    You just accused Hans Zimmer of lacking due diligence. That's downright unfair.

    The film was constantly being re-edited. As I said a few times and as it's been said many times in public:

    1. Nimrod is Nolan's idea. Hans relegated Nimrod to Wallfisch either because he didn't want to deal with it on his own or because he felt he lacked the chops to do it on his own. I assume a bit of both. Wallfisch is the most classically trained composer at RCP right now, I think. And I actually personally witnessed the invitation. Zanelli took on William Tell in The Lone Ranger precisely because Hans has barely agreed to include this thing at all in the score.

    2. The tour was scheduled soon after the original tour ended. Hans was already working on Dunkirk in prep. But most of the scheduling of the tour and so on took place when Dunkirk was being filmed. I know Hans attended the set from an interview (the film was shot on the real beach where the evacuation took place, which you probably know).

    3. The film was constantly re-edited. That, due to the constant presence of music, demanded the score to constantly changed. I'd assume that Hans thought he would lock the score before actually rehearsals started. It wasn't locked, so he asked Balfe to take the project over. Partly because Nolan knew Balfe from previous scores, particularly Inception. So "fuck it I am gooing to tour the world with Tina Guo" (that's a nice presupposition, isn't it? The man, as far as I know, is married)... Zimmer knew what it's gonna be like before post-production started which was when the tour had to be probably scheduled?
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeAug 4th 2017 edited
    Man you're talking it all too seriously wink i was obviously jesting and teasing you but yeah, it is musical sound design, not sure that it's the kind of stuff that would intrigue zimmer to give his 100% in and it sounds. smile as for tina guo, i don't mean anything personal in between them of course, i just mentioned it 'cause she's on the spotlight and right well-deserved so. I like her a lot! As for nimrod, come on man, there's nothing classical about it, just plain vangelis chords written here and there. Zimmer has done way better in ttrl himself wink thanks for all the insight details btw. smile
    Love Maintitles. It's full of Wanders.
  7. I think there is something to that approach that does deeply fascinate him, if you consider even Batman Begins and the whole flapping wings thing. Definitely he is fascinated by what it can mean. You know, sound-effect featuring scores is one thing and Hans was one of the pioneers of that with Black Hawk Down using an actual helicopter propeller-like sound (made by Mel Wesson). So he is fascinated by that, especially that Black Hawk Down is musically far more radical than Dunkirk is, actually. It may have a beautiful theme or even two of them (after all Still is as beautiful as Leave No Man Behind), but the controlled chaos is more avant-garde than the musical sound design" here. There are even two recurring motifs (The Mole and Supermarine) if you treat the score really intently.

    So I think he's fascinated by what a complete control of emotional intensity does. It might have its problems, I don't deny that. I reviewed the score, I put it in context of other Zimmer war scores and so on.

    The details I gave are public statements + pure logic (re: tour scheduling). I have not asked Hans about the process (all I know is from Kaya Savas other than what was publicly given) and will not do so for a while. Especially that I know for a fact that he does withdraw from the official PR statements after a while.
    http://www.filmmusic.pl - Polish Film Music Review Website
  8. About the TTRL connection. The Nimrod inclusion has nothing to do with Thin Red Line whatsoever.

    In fact, really, nobody discusses the anti-heroic trumpet motif in Shivering Soldier. That's a pity, because I think that if you want to know where Hans put his heart in, that's the moment. That's the anti-war Hans Zimmer we all know from The Thin Red Line and from the complete horror of Black Hawk Down.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeAug 4th 2017
    PawelStroinski wrote
    I think there is something to that approach that does deeply fascinate him, if you consider even Batman Begins and the whole flapping wings thing. Definitely he is fascinated by what it can mean. You know, sound-effect featuring scores is one thing and Hans was one of the pioneers of that with Black Hawk Down using an actual helicopter propeller-like sound (made by Mel Wesson). So he is fascinated by that, especially that Black Hawk Down is musically far more radical than Dunkirk is, actually. It may have a beautiful theme or even two of them (after all Still is as beautiful as Leave No Man Behind), but the controlled chaos is more avant-garde than the musical sound design" here. There are even two recurring motifs (The Mole and Supermarine) if you treat the score really intently.

    So I think he's fascinated by what a complete control of emotional intensity does. It might have its problems, I don't deny that. I reviewed the score, I put it in context of other Zimmer war scores and so on.

    The details I gave are public statements + pure logic (re: tour scheduling). I have not asked Hans about the process (all I know is from Kaya Savas other than what was publicly given) and will not do so for a while. Especially that I know for a fact that he does withdraw from the official PR statements after a while.


    He does well, he should stay away from fb forever 'cause he opens his mouth and he is so emotional that he hurts his image.Other than that, good points on all the scores you mention above but bear in mind all those scores actually had music in them wink the only musical in the traditional definition of the term, are supermarine (kinda) and the english dudes' vangelisms wink )
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 4th 2017 edited
    PawelStroinski wrote
    About the TTRL connection. The Nimrod inclusion has nothing to do with Thin Red Line whatsoever.

    In fact, really, nobody discusses the anti-heroic trumpet motif in Shivering Soldier. That's a pity, because I think that if you want to know where Hans put his heart in, that's the moment. That's the anti-war Hans Zimmer we all know from The Thin Red Line and from the complete horror of Black Hawk Down.


    It's a welcome addition amidst the chaos but it's not on the level of the scores you mention at all. It's brief and underdeveloped. It's just 2 notes ontop of a steady string chord.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 4th 2017
    Demetris wrote

    He does well, he should stay away from fb forever 'cause he opens his mouth and he is so emotional that he hurts his image.Other than that, good points on all the scores you mention above but bear in mind all those scores actually had music in them wink the only musical in the traditional definition of the term, are supermarine (kinda) and the english dudes' vangelisms wink )



    It's sad when Supermarine, a piece that repeats the same note with the same chord at the same rhythm for 8 minutes, is the most musical piece in a score. But hey, it adds some octave hopping synths halfway through!
    Bach's music is heartless and robotic.
  9. Demetris wrote
    PawelStroinski wrote
    About the TTRL connection. The Nimrod inclusion has nothing to do with Thin Red Line whatsoever.

    In fact, really, nobody discusses the anti-heroic trumpet motif in Shivering Soldier. That's a pity, because I think that if you want to know where Hans put his heart in, that's the moment. That's the anti-war Hans Zimmer we all know from The Thin Red Line and from the complete horror of Black Hawk Down.


    It's a welcome addition amidst the chaos but it's not on the level of the scores you mention at all. It's brief and underdeveloped. It's just 2 notes ontop of a steady string chord.


    It's more relevant that it references the anti-heroic material he did in previous war scores.

    And no, him being on Facebook has nothing to do with the quality of his scores. He wrote Inception and Interstellar at the time when he was on Facebook. Makes your argument moot.

    And he does NOT post much about his scores on Facebook either. Mostly reviews of movies and political stuff.
    http://www.filmmusic.pl - Polish Film Music Review Website
  10. I've just finished listening to a couple of scores.

    The first was BOSTON, a documentary of the history of the famous marathon from it's humble beginnings through 2014. It was scored by Jeff Beal, and the music might be the best I've heard from him. I thought it was really nice. From the track titles I would guess that the film is mostly one inspiring vignette after another. So too is the music. There isn't much of a dramatic flow to the score until the end. Most of it is just one nice track after another, but I liked them all. It's happy music and uplifting. Toward the end the music gets more unsettled, no doubt as the film covers the bombing. Then covering the 2014 marathon and during the end credits it's very positive again. It was just really nice music, I thought. A pleasant surprise.

    Then I listened to Junkie XL's THE DARK TOWER. It's true that most of it is grating noise, but there's some seriously cool stuff at the end. I've heard a whole lot of bad about this score, so I was happy to find more minutes of quality music in it than I was expecting.

    Now I'm listening to Nick Cave and Warren Ellis's new score to the film WIND RIVER. It's pretty boring. There's a small group of musicians playing piano doodles and somber strings (and when I say strings, it's not a whole string section--it's a quartet). Every now and then there's a weird dialogue track. Not liking this.
    •  
      CommentAuthorThor
    • CommentTimeAug 5th 2017 edited
    NP: THE DARK TOWER (JXL)

    About halfway through, and really liking it so far! Impressive scope -- from the harsh and aggressive to gorgeous, longlined melodies and ethereal textures. My man delivers yet again!
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 5th 2017
    I feel like Junkie XL is the Ann Coulter of the Soundtrack World. Mostly despised, but with that one fan popping up every once and a while in vociferous defense.
    Bach's music is heartless and robotic.
    • CommentAuthorjb1234
    • CommentTimeAug 5th 2017
    Even Justin Bieber has his fans, I suppose.
  11. Captain Future wrote
    For pure listening enjoyment I still prefer the commercial releases. I think I listened twice to the complete recordings in full duration, but I wouldn't wanna miss those remarkable sets. I also own the book by Doug Adams. Incredible music!

    Volker


    That's why we made personal edits of the full boxes. The Commercial releases are too short, the complete sets too long. So We went for the middle wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorDemetris
    • CommentTimeAug 5th 2017
    Aidabaida wrote
    Demetris wrote

    He does well, he should stay away from fb forever 'cause he opens his mouth and he is so emotional that he hurts his image.Other than that, good points on all the scores you mention above but bear in mind all those scores actually had music in them wink the only musical in the traditional definition of the term, are supermarine (kinda) and the english dudes' vangelisms wink )



    It's sad when Supermarine, a piece that repeats the same note with the same chord at the same rhythm for 8 minutes, is the most musical piece in a score. But hey, it adds some octave hopping synths halfway through!


    my points exactly smile

    PawelStroinski wrote
    Demetris wrote
    PawelStroinski wrote
    About the TTRL connection. The Nimrod inclusion has nothing to do with Thin Red Line whatsoever.

    In fact, really, nobody discusses the anti-heroic trumpet motif in Shivering Soldier. That's a pity, because I think that if you want to know where Hans put his heart in, that's the moment. That's the anti-war Hans Zimmer we all know from The Thin Red Line and from the complete horror of Black Hawk Down.


    It's a welcome addition amidst the chaos but it's not on the level of the scores you mention at all. It's brief and underdeveloped. It's just 2 notes ontop of a steady string chord.


    It's more relevant that it references the anti-heroic material he did in previous war scores.

    And no, him being on Facebook has nothing to do with the quality of his scores. He wrote Inception and Interstellar at the time when he was on Facebook. Makes your argument moot.

    And he does NOT post much about his scores on Facebook either. Mostly reviews of movies and political stuff.


    being on facebook doesn't make his music worst. makes his pr worst 'cause he can't handle criticism, he's too emotional. remember the southall and Broxton fiascos? lel
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 5th 2017
    Thor wrote
    NP: THE DARK TOWER (JXL)

    About halfway through, and really liking it so far! Impressive scope -- from the harsh and aggressive to gorgeous, longlined melodies and ethereal textures. My man delivers yet again!


    there you are, back to normal Thor! I was worried there for a while wink

    Aidabaida wrote
    I feel like Junkie XL is the Ann Coulter of the Soundtrack World. Mostly despised, but with that one fan popping up every once and a while in vociferous defense.
    jb1234 wrote
    Even Justin Bieber has his fans, I suppose.


    biggrin beer
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeAug 5th 2017
    To be fair, there have been a couple of JXL scores I haven't particularly cared for, like POINT BREAK, DIVERGENT, RUN ALL NIGHT. But with his new winning streak, I'm ready to rediscover his older film back catalogue. I've been a fan ever since the "A Little Less Conversation" Elvis remix in 2002, after all.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 5th 2017
    n.p. Federico jusid - teresa

    Gorgeously lyrical, utterly romantic and beautiful. Love this man's music.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeAug 5th 2017
    Demetris wrote
    n.p. Federico jusid - teresa

    Gorgeously lyrical, utterly romantic and beautiful. Love this man's music.


    That's a great score! One of my Top 10 runner-ups last year (or was it two years ago?).
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeAug 5th 2017
    NP: THE EMOJI MOVIE (Patrick Doyle)

    Quite lovely and extrovert score, albeit rather whimsical at times. The album is too long.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 5th 2017
    Thor wrote
    Demetris wrote
    n.p. Federico jusid - teresa

    Gorgeously lyrical, utterly romantic and beautiful. Love this man's music.


    That's a great score! One of my Top 10 runner-ups last year (or was it two years ago?).


    beautiful. love it. same goes as carlos and Isabel, hispania and the secret in their eyes, of course, gorgeous music.
    Love Maintitles. It's full of Wanders.