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[Closed] HANS ZIMMER

General Discussions » HANS ZIMMER (Posts 2401 to 2430 of 4818)

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    •  
      CommentAuthorNautilus
    • CommentTimeDec 18th 2009 edited
    Southall wrote
    So what happened with Varese!?

    Actually I haven't heard Sherlock Holmes. I ordered the CD after the initial reaction to clips said it sounded like Morricone and was really fresh and different for Zimmer. And now everyone's heard it and says it's rubbish. Why do I bother listening to people's initial reactions to clips? And why do I base CD orders off them? Why don't I just listen to the clips myself? Why, BBC, why!?


    Sherlock Holmes is fucking genius! I LOVE IT! And far more mature than Angels And Demons (wich you know I also loved, but it was just Zimmer having fun with the samplers).

    Holmes is a really mature score, with powerful moments, very authentic instrumentation and even some dramatic statements.... Repetitive? Only because there are variations of the main theme, but they are good enough.

    I think it's a GREAT score. And In fact, I could have seen nominated this score for the golden Globes.

    It has some of the purest Zimmer moments since his earlier days but with more orchestra.
    • CommentAuthorTimmer
    • CommentTimeDec 18th 2009
    Jordi give it the thumbs up....what more can you ask for James? biggrin wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 18th 2009
    p.s. I liked the clip samples I heard.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeDec 18th 2009
    keky wrote
    I don't know, those four samples from It's Complicated sound rather generic. I prefer Sherlock Holmes.


    ......which DOESN'T sound generic?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 18th 2009
    Nautilus wrote
    Southall wrote
    So what happened with Varese!?

    Actually I haven't heard Sherlock Holmes. I ordered the CD after the initial reaction to clips said it sounded like Morricone and was really fresh and different for Zimmer. And now everyone's heard it and says it's rubbish. Why do I bother listening to people's initial reactions to clips? And why do I base CD orders off them? Why don't I just listen to the clips myself? Why, BBC, why!?


    Sherlock Holmes is fucking genius! I LOVE IT! And far more mature than Angels And Demons (wich you know I also loved, but it was just Zimmer having fun with the samplers).

    Holmes is a really mature score, with powerful moments, very authentic instrumentation and even some dramatic statements.... Repetitive? Only because there are variations of the main theme, but they are good enough.

    I think it's a GREAT score. And In fact, I could have seen nominated this score for the golden Globes.

    It has some of the purest Zimmer moments since his earlier days but with more orchestra.


    Fuck. Seriously, either we're listening to different scores or you're smoking some very good shit.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBregt
    • CommentTimeDec 19th 2009
    I heard the score at the FYC website.

    I'm disappointed. What's all the fuzz about!?
    Kazoo
    •  
      CommentAuthorSteven
    • CommentTimeDec 19th 2009
    Absolutely fuck all.
    •  
      CommentAuthorBregt
    • CommentTimeDec 19th 2009 edited
    Also, why did Southall order this? Boggles the mind.
    Kazoo
    •  
      CommentAuthorBobdH
    • CommentTimeDec 19th 2009
    I've only heard the unpronouncable first track, but that one is really addictive. Just a lot of fun. I have to say I have high hopes for the whole score.
  10. I happen to like it and agree that the big track is one of Zimmer's best long tracks in career, at least it's much better than the final big stuff of PotC: Dead Man's chest (aka Chevaliers de Jack Sparrow) or The Dark Knight (would be much better if it was twice as short). Here all the time something's going on an has a coherent development.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorWDWGuy08
    • CommentTimeDec 19th 2009
    Bregt wrote
    I heard the score at the FYC website.

    I'm disappointed. What's all the fuzz about!?


    what fyc site?
  12. For Your Consideration. It's the Warner Bros. site, read up the thread smile
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorlp
    • CommentTimeDec 19th 2009 edited
    BobdH wrote
    I've only heard the unpronouncable first track, but that one is really addictive. Just a lot of fun. I have to say I have high hopes for the whole score.


    Say it with me, "dis-cum-bob-boo-late" cool

    The penultimate and final tracks are two of my favorites from the album.
    •  
      CommentAuthorkeky
    • CommentTimeDec 19th 2009
    Christodoulides wrote
    keky wrote
    I don't know, those four samples from It's Complicated sound rather generic. I prefer Sherlock Holmes.


    ......which DOESN'T sound generic?


    No, Sherlock doesn't sound generic in my opinion. It's Zimmer in his more creative (just listen to the orchestrations) and funny mode which I like. Based on the trailers I'm sure the score matches the movie very well too.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 19th 2009
    Bregt wrote
    Also, why did Southall order this? Boggles the mind.


    Well, blindly-ordering a score (esp. a Zimmer score) because of excitement from the sound clips and because someone said it sounded 'morriconne-ish' and fresh, is something i'd never expect James to do. Now we can all laugh in sinister ways thinking about our beloved JAmes' face when he unravels the expensively-paid package over his mail-box and finds that dreaded Sherlock Holmes' score inside! biggrin kiss
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMarselus
    • CommentTimeDec 19th 2009
    Bregt wrote
    Also, why did Southall order this? Boggles the mind.

    Come on, a bit of adventure once in a while!
    Anything with an orchestra or with a choir....at some point will reach you
    •  
      CommentAuthorNautilus
    • CommentTimeDec 21st 2009
    Listening The Dark Knight , Angels and Demons and Sherlock Holmes the only thing I can say is : Bravo Maestro!

    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.

    LONG LIVE TO ZIMMER!
    •  
      CommentAuthorSouthall
    • CommentTimeDec 21st 2009
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorNautilus
    • CommentTimeDec 21st 2009
    Southall wrote
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.


    With what you are disagree, Jamie?
    •  
      CommentAuthorlp
    • CommentTimeDec 21st 2009 edited
    Southall wrote
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.


    A wee bit off topic......

    I don't understand all the derisions that Jordi receives . He's a true "fanboy" of filmmusic (and of Hans Zimmer's music too, of course) and not in a bad way. He's pretty happy to share his enthusiasms and opinion with other and I often find it disheartening to read some of the responses toward him. Jordi's entitled to his opinion, no matter how colored it might be. To my knowledge, he has yet to deride anyone for their opinion or excited utterances. Shame that i can't really say that about anyone else on here....

    Back on topic....


    Sherlock Holmes....

    As much as I like the penultimate track, I think Hans should have cut it up a bit and spread the music throughout the album for a more varied listening experience, unless it actually covers a whole 20-30 minute sequence in the film. Regardless, I like it.
    • CommentAuthorTimmer
    • CommentTimeDec 21st 2009 edited
    If you say so kemosabe tongue But he's still wrong.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 21st 2009
    Southall wrote
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.


    applause ROTFLMAOBSSTT.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSouthall
    • CommentTimeDec 21st 2009
    lp wrote
    Southall wrote
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.


    Jordi's entitled to his opinion.


    Yes, he is. But I didn't think even Zimmer's staunchest defenders would say he pushes himself to the limit in a way that no composer has done before. (Unless of course it's a couched acknowledgement that his limit is substantially less than any other composer before.)
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorDemonStar
    • CommentTimeDec 21st 2009
    Here's the download-only release of It's Complicated - http://www.amazon.com/Its-Complicated-O … amp;sr=8-2

    There's indeed just 16 min of score on it. If that's indeed all that's in the film, I don't blame Varese for cancelling the CD release.
    •  
      CommentAuthorSteven
    • CommentTimeDec 21st 2009
    lp wrote
    Southall wrote
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.


    Jordi's entitled to his opinion.


    That's crazy talk.
  26. Southall wrote
    lp wrote
    Southall wrote
    Nautilus wrote
    You guys have lost the point with hans. It's not the orchestral complexity wich makes Hans what he is, but his capacity to create the specific sound for each movie and be creative.

    You only can admire Hans to compose so diferent scores, with so diferents sounds, and always trying to push himself to the limit. No other composer has done that before, for good or for bad.


    If this is a joke, it's a very funny one. Otherwise I suggest you hand yourself into the police.


    Jordi's entitled to his opinion.


    Yes, he is. But I didn't think even Zimmer's staunchest defenders would say he pushes himself to the limit in a way that no composer has done before. (Unless of course it's a couched acknowledgement that his limit is substantially less than any other composer before.)


    But actually Jordi is right.

    Of course, Zimmer doesn't always push himself to the limits - Pirates of the Caribbean except part three has nothing to do with Zimmer pushing his limits, rather staying totally in his comfort zone. But Jordi is right when it comes to the fact that Zimmer tries to define a movie with a specific sound. Dark Knight SOUNDS differently that Sherlock Holmes, whcih sounds differently than Frost/Nixon, which sounds differently than Pirates 3, which sounds differently than Spanglish. And it's more than a genre difference.

    I said that before. Zimmer doesn't really CARE for the orchestra as something fully-fledged like all the composers with classical education do (or Elfman for that matter, but he was raised on Prokofiev, kinda). To him a full orchestra is an instrument, part of a band (seen as a rock band). You either accept it or not, but the fact is that for Zimmer, the general priority of a movie is to define it with a particular sound he has in mind. Just look at the projects he is mostly doing. Sometimes he fails in this, sometimes he succeeds. And WHEN he succeeds, James, we get The Thin Red Line or Frost/Nixon.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorlp
    • CommentTimeDec 21st 2009
    DemonStar wrote
    Here's the download-only release of It's Complicated - http://www.amazon.com/Its-Complicated-O … amp;sr=8-2

    There's indeed just 16 min of score on it. If that's indeed all that's in the film, I don't blame Varese for cancelling the CD release.


    I'm more surprised that they didn't try to release those 16 minutes with 15 minutes of songs....
    •  
      CommentAuthorSouthall
    • CommentTimeDec 21st 2009
    PawelStroinski wrote
    Of course, Zimmer doesn't always push himself to the limits - Pirates of the Caribbean except part three has nothing to do with Zimmer pushing his limits, rather staying totally in his comfort zone. But Jordi is right when it comes to the fact that Zimmer tries to define a movie with a specific sound. Dark Knight SOUNDS differently that Sherlock Holmes, whcih sounds differently than Frost/Nixon, which sounds differently than Pirates 3, which sounds differently than Spanglish. And it's more than a genre difference.


    If Hans Zimmer has truly dragged film music so far into the gutter that it is considered a major triumph when the score for a film like The Dark Knight doesn't sound the same as the score for a film like Spanglish then I despair. Do you honestly think that any A-list composer would have scored those two films in the same way? In what way is Jordi correct to say that NO composer - EVER - would have done that? If I were listening to Jerry Goldsmith's score for IQ, would it be likely that actually I would be confused and think I was listening to Basic Instinct? Did James Horner approach Star Trek II the same way that he approached 48 Hours? I don't get it. What is it about King Arthur that makes it a unique score for that film which could not live inside any other film?
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorlp
    • CommentTimeDec 21st 2009 edited
    Southall wrote

    What is it about King Arthur that makes it a unique score for that film which could not live inside any other film?


    You mean within the same genre, right? Most Zimmer fans know that KA was pretty much a score on autopilot, following typical Zimmer conventions established for that genre since Gladiator...

    I mean, given the argument, it wouldn't, and doesn't work for Sherlock Holmes as a transplant.
  30. Yeah, I mean. IQ is a comedy, Basic Instinct is a sex thriller. You think Zimmer would write The Holiday for Basic Instinct?

    Inception will sound like Batman Begins, but that's because of Nolan rather than antyhing else.
    http://www.filmmusic.pl - Polish Film Music Review Website

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