[Closed] HANS ZIMMER

Don't worry, i will send you Dogzilla

Watch the movie Flubber, you will get eternal peace.

Have a nice day!

That's why i recommended that movie.

Perfect Storm has 2 main themes that are repeated ad infinitum. The fact that one of them is later turned into minor key doesn't change the fact. The melody wears off after a big while. Avatar is a score written after Four Feathers and Four Feathers was about the time when Horner started to change his thematic statements. Look at Enemy at the Gates - the last "old" score in that resort. There is no variation on the main theme, if it's stated, it's stated completely in full, maybe the rhythm is changed a bit (Enemy at the Gates is one of my favorite Horner scores, BTW, and definitely one of his best in the movie)

Depends on what you mean by full glory, if you mean intensity, then yes, you are right. What I mean is that Horner never shows "creation" of the theme and never quite uses snippets of the theme here and there, if he states the theme, he uses the full melody, until 2002, where he changed that with Four Feathers and Windtalkers (though Windtalkers theme is possibly his most simplistic one, I find that score underrated).

Oh and btw, glad You enjoy Windtalkers Paweł. I too think it's Underrated, I mean the first track build very good tension, the action track are very good(especially Sacrifice Never Forgotten And The last track makes a great elegy with a very nice motif introduced just for that very last track.

I know what Pawel means, though. He's giving snippets of the main theme in those scores, but they're all fully-developed snippets. It's not something that bothers me though - he develops music in other ways. Few film composers have truly developed themes over the course of a score, leading up to a full statement towards the end. Very few.

...Oh and Horner does something more, most people don't appreciate this. He developed his themes during an entire carrer. For example - Main Theme from Mighty Joe Young (which I love btw) is build on motifs used previously in Project X and House of Cards. The other example is Main Theme from Enemy at the Gates build on that motif used in Balto, Apollo 13 and Titanic. I remember Jon Broxton in One of the review said about Horner's Music that it is like One Big symphony and I for One agree with that statement. And that is a reason why I love His Music, although, pity that many hates Him for it.

I think Everybody would like to see that, but does Zimmer see himself doing that

Perhaps, but Zimmer wouldn't know development if it pulled its pants down, sat on his face and wriggled.

I like how Horner layers his themes (literally). Particularly with Braveheart, he brings two themes and brings them together culminating in a very powerful final statement.

I don't hate Horner for his symphonic development, in fact I think that's his strength as a composer, but not as a film composer. Sometimes his complex writing goes against the movie. This is why with all respect to his technical abilities, James Horner would go on day one if I were supposed to direct a movie, because I think Horner doesn't quite understand modern cinema (he started in the 80s, but his approach is similar to the music of 1940s/1950s in terms of musical approach, though change emotions for action in his case).

Horner loses a lot if he is disallowed his usual symphonic tricks. If he writes for piano only, OK, I think right now he is the best pianist in Hollywood, though many people here will agree that his piano cues tend to meander aimlessly a bit, I am thinking of scores like Extreme Close-Up here, but he's not a good synthesizer artist. He is the last person to run to if you need an electronic score.

What is modern cinema to me about musically? A lot of course depends on the director here, but I think modern cinema is somewhat more about narrative brevity and the visuals speaking more/less for themselves. That's why, I think, modern cinema is about building contrast rather than going with action. Horner has quite a problem with that for me, he tells exactly the same thing that happens on screen, but emotionally squared (which in many cases means saccharine). Today's film music to me is about emotional restraint and intelligence rather than going across with a point with the subtlety of a cannon.

Zimmer is partly responsible for the lack of subtlety in most of his projects, but can you expect subtlety from Ron Howard's movies and Jerry Bruckheimer's? Sorry, that would be as possible as Ingmar Bergman directing a James Bond movie. Where is Zimmer subtle? The Thin Red Line, Frost/Nixon. This is modern film music at its best to me.

Now, back to Horner. Cameron's Avatar is largely an old-school movie, when it comes to narration and even the script (Quaritch is even taken from the likes of Die Hard, it's a typical 80s over-the-top villain). This is why his score works wonders in the movie (and uses the Zimmer/JNH references for the world-creation aspects of the movie). This is where pure subtlety (in the sense of the narrative, not the orchestration or voice leading, I would go as far as saying that in THAT way Horner's complexity lies in the subtleness of those aspects of his composition).

Well, that is voice leading, polyphony.

Zimmer develops his motifs actually, he often uses snippets of the melody and then uses it in full. I am surprised nobody actually hears that!

How about Pirates of the Caribbean 3's final piece? The ending.