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[Closed] HANS ZIMMER

General Discussions » HANS ZIMMER (Posts 3871 to 3900 of 4818)

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    • CommentAuthorTimmer
    • CommentTimeSep 26th 2011
    How about MovieMusic.com?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  2. What else is new? cry
    "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.
    • CommentAuthorTimmer
    • CommentTimeSep 26th 2011
    Darn it! I suggested that because MM.com quite often have copies where no one else does. I don't know what good it'll do but you could try e-mailing Peter Kelly, see if by some miracle he's got more copies arriving???
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeSep 26th 2011
    Pre-order availability still probable means a number of bespoke items should still come in, right? Couldn't hurt to try!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  5. Martijn wrote
    Pre-order availability still probable means a number of bespoke items should still come in, right? Couldn't hurt to try!


    let's hope so
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  6. I thought I read somewhere that moviemusic.com's store sometimes does not show an item as sold out until you go to buy an apparently in-stock item.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeSep 26th 2011
    Chris' Soundtrack Corner in Germany also still lists it as a pre-order item.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  8. Chris' site seems to have it available, which means this is like so ordered !!!! smile Thanks for the tip Martijn and Thomas G.
    "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.
    •  
      CommentAuthorMartijn
    • CommentTimeSep 27th 2011
    Fingers crossed, Gilles. Let us know how it panned out!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorScribe
    • CommentTimeOct 3rd 2011 edited
    I watched On Stranger Tides blu-ray this weekend and was impressed by the score in the film. It was a lot stronger than it was on album. The new motifs tied the film together, there were some nice new arrangements of the old themes, and the whole thing felt way more cohesive than it did on album. But most impressive was the use of choir, also under-represented and poorly mixed on the album (a disturbing trend lately). Zimmer said he took lessons from Eric Whitacre, one of the most renowned living choral writers, on the proper use of choir, and it definitely shows in this score. Choir is often used for emotional "color" but these were some of the most vivid colors I've ever heard in a film score.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorlp
    • CommentTimeOct 3rd 2011
    Scribe wrote
    I watched On Stranger Tides blu-ray this weekend and was impressed by the score in the film. It was a lot stronger than it was on album. The new motifs tied the film together, there were some nice new arrangements of the old themes, and the whole thing felt way more cohesive than it did on album. But most impressive was the use of choir, also under-represented and poorly mixed on the album (a disturbing trend lately). Zimmer said he took lessons from Eric Whitacre, one of the most renowned living choral writers, on the proper use of choir, and it definitely shows in this score. Choir is often used for emotional "color" but these were some of the most vivid colors I've ever heard in a film score.


    I have very mixed feelings about this score. On one hand, it's effective in the movie, does what the movie requires, and is incredibly thematic and melodic in its core. BUT on the other hand, it completely decimated all that I love about the previous scores. Contextual themes are warped and reused for a different purpose, different characters. And because of it action scoring here is completely generic and feels by the number. The only time I enjoyed the score is when the new character themes pops in, including the choral stuff for the Spanish conquistadors, the Latin guitar addon, the Mermaids materials and Blackbeard stuff. Good score, if you ignore everything from the first Trilogy score and treat it as a starting point.
  12. Zimmer was specifically told to rehash the old scores, he even complained about it when he talked to me about other stuff, when I met him.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorScribe
    • CommentTimeOct 3rd 2011 edited
    Yeah, the film is a completely new thing with few emotional similarities to the old one beyond the character of Jack Sparrow. So it doesn't make sense to rehash the old material, and is obviously a result of studio meddling as Pawel says. That being said, I did enjoy the reworking of the first film's main theme in the Jack/Angelica sword fight. As a piece of music, I mean. Obviously it made little sense in a leitmotific sense, but it was a very fun piece.
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorTimmer
    • CommentTimeOct 3rd 2011
    These films are being flogged to death, a good, fun filled romp of a first film, a mediochre 2nd and a 3rd ( say 3rd with a faux Oirish accent ) which was a terminal bore, I'll not be watching the 4th.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorScribe
    • CommentTimeOct 3rd 2011
    I never really liked the first one, took itself a bit too seriously, liked the 2nd and loved the 3rd except for its suffering from the "lets build giant CGI armies and then fail to have them actually fight!" syndrome that also affects "Matrix Revolutions", "Revenge of the Sith", "Kingdom of Heaven" and more I'm forgetting. But obviously my tastes are different.
    I love you all. Never change. Well, unless you want to!
  16. PawelStroinski wrote
    Zimmer was specifically told to rehash the old scores, he even complained about it when he talked to me about other stuff, when I met him.


    goes to show that even of the top composers of today have almost nothing to say about their contribution, and that really hurts the future of filmmusic
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorlp
    • CommentTimeOct 3rd 2011
    PawelStroinski wrote
    Zimmer was specifically told to rehash the old scores, he even complained about it when he talked to me about other stuff, when I met him.


    Sad.

    BTW, are you gonna ever be able to talk about what you and Hans talked about?
  18. There are a few things that are hidden (sadly also about a new exciting project on his prospect, just waiting for green light to tell you guys about it), but some of it, I think I can tell.

    Hans rarely complains about the situation in Hollywood, that was basically the only case. I think I can tell you that with Sherlock 2 he basically avoids using the main theme of the first movie as much as possible.

    We mostly talked about THe Thin Red Line and Inception and their creative processes.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorlp
    • CommentTimeOct 3rd 2011
    PawelStroinski wrote
    There are a few things that are hidden (sadly also about a new exciting project on his prospect, just waiting for green light to tell you guys about it), but some of it, I think I can tell.

    Hans rarely complains about the situation in Hollywood, that was basically the only case. I think I can tell you that with Sherlock 2 he basically avoids using the main theme of the first movie as much as possible.

    We mostly talked about THe Thin Red Line and Inception and their creative processes.


    OOOh, interesting fact about SH2. Is there a reason why he's avoiding the theme? And did you get to hear the theme for Moriarty, yet?

    Will you be able to post your conversation about TTRL and Inception? I would love to read it.
  20. Yes, I can confirm that I have heard the theme for Moriarty, but that's about all I will say about it until at least the movie gets released. While I haven't signed any NDA or something like that (unlike the orchestra), I owe Hans at least some loyalty.

    I still don't know what to make out of some of the conversations I had with Hans about The THin Red Line and Inception, but I don't plan posting them as full interviews. I can tell some stories though without any problem (especially about the origins of Journey to the Line), I think.

    As a sneak peek about Inception, I can tell that he loved, simply loved working on it and this is a director that lets Hans do what he really wants. The sound of Batman movies and Inception seems to be the general direction he wants to go in (which is interesting, due to an interesting combination of ambient and minimalism that goes into it). Working on the score was pure pleasure for Hans, he created all the synth sounds from scratch on his own for the project (and the co-credited Howard Scarr dealt with the electronics on it). Similarities to The Thin Red Line have been suggested by Nolan himself.

    What will be also interesting for right now is his relationship to minimalism. Hans says that he rather gets that from his rock roots. Hans doesn't write ostinati then, he rather writes orchestral riffs.
    http://www.filmmusic.pl - Polish Film Music Review Website
  21. Oh, and the reason for avoiding the theme is the typical Zimmer attitude to sequels (unless he's told to rehash old stuff) - he never includes any old material until he has the new themes settled.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorlp
    • CommentTimeOct 4th 2011
    PawelStroinski wrote
    Yes, I can confirm that I have heard the theme for Moriarty, but that's about all I will say about it until at least the movie gets released. While I haven't signed any NDA or something like that (unlike the orchestra), I owe Hans at least some loyalty.

    I still don't know what to make out of some of the conversations I had with Hans about The THin Red Line and Inception, but I don't plan posting them as full interviews. I can tell some stories though without any problem (especially about the origins of Journey to the Line), I think.

    As a sneak peek about Inception, I can tell that he loved, simply loved working on it and this is a director that lets Hans do what he really wants. The sound of Batman movies and Inception seems to be the general direction he wants to go in (which is interesting, due to an interesting combination of ambient and minimalism that goes into it). Working on the score was pure pleasure for Hans, he created all the synth sounds from scratch on his own for the project (and the co-credited Howard Scarr dealt with the electronics on it). Similarities to The Thin Red Line have been suggested by Nolan himself.

    What will be also interesting for right now is his relationship to minimalism. Hans says that he rather gets that from his rock roots. Hans doesn't write ostinati then, he rather writes orchestral riffs.



    OOOh I get the orchestral riff thing. Like modular ideas that can be reworked and rearranged as neeed to adapt to different filmic scenario...

    So tell me MORE!!!! What is the origin of Journey to the Line. Heck, why did TTRL sound the way it sounded? What was the conversation with Terrence Malick like?
  23. Difficult.

    Hans wrote Journey to the Line after a long argument, in which they had polarly opposite ideas about the cue. I don't remember the particular details, but Malick is very proficient in musical theory, so they basically argued how to write it technically. Finally Hans got very angry, went to the studio and wrote it his own way. They put it in the movie and basically, it started "to answer questions" even about how to edit the movie.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorlp
    • CommentTimeOct 4th 2011
    PawelStroinski wrote
    Difficult.

    Hans wrote Journey to the Line after a long argument, in which they had polarly opposite ideas about the cue. I don't remember the particular details, but Malick is very proficient in musical theory, so they basically argued how to write it technically. Finally Hans got very angry, went to the studio and wrote it his own way. They put it in the movie and basically, it started "to answer questions" even about how to edit the movie.


    +1 for a composer who knows what's best for the movie.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 4th 2011
    Why would Hans complain about the Hollywood situation? He IS the current hollywood situation in film music.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorNautilus
    • CommentTimeOct 4th 2011
    Are you attending to Ghent, Pawell?
  27. No, I can't afford it.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorNautilus
    • CommentTimeOct 11th 2011
    PawelStroinski wrote
    No, I can't afford it.


    Sad. Maybe in Poland wink
  29. Yeah wink
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeOct 12th 2011
    The're making a Madagascar 3 and Zimmer is on it again , along with a bunch of other people.

    http://filmmusicreporter.com/2011/10/11 … agascar-3/

    Sigh.
    Love Maintitles. It's full of Wanders.

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