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Hans Zimmer - The Thin Red Line

General Discussions » Hans Zimmer - The Thin Red Line (Posts 31 to 56 of 56)

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  1. The Thin REDLine - I did not see any threads devoted to this score, but since it is my favorite film score of all time, I'd like to see some of the thoughts about Hans Zimmer's work (as well as the others that worked on this, like John Powell and Francesco Lupica.
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      CommentAuthorLSH
    • CommentTimeOct 28th 2009
    Yeah, it's good.
    • CommentAuthorpaulmaherjr
    • CommentTimeOct 28th 2009 edited
    EDITED by Bregt

    Review from filmtracks:
    http://www.filmtracks.com/titles/thin_red.html
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      CommentAuthorLSH
    • CommentTimeOct 28th 2009
    Filmtracks.com reviewed this CD. Here's the link:

    http://www.filmtracks.com/titles/thin_red.html
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      CommentAuthorMartijn
    • CommentTimeOct 28th 2009
    LSH wrote
    Filmtracks.com reviewed this CD. Here's the link:

    http://www.filmtracks.com/titles/thin_red.html


    Cheers Lee. That's by far the prefered form of referencing outside sources...even if they were written by eminent members of the forum here.

    And welcome, Paul. smile
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorSouthall
    • CommentTimeOct 28th 2009
    Martijn wrote
    Cheers Lee. That's by far the prefered form of referencing outside sources...even if they were written by eminent members of the forum here.


    Christian is a member here?

    In any case, this score may not have its own thread (few do), but several people have said several times that they think this is Zimmer's finest work; one of those people was me.
    http://www.movie-wave.net | http://facebook.com/moviewave
  7. Yes, you were one of them (so was me) and I am still looking forward to reading your review of this score!
    http://www.filmmusic.pl - Polish Film Music Review Website
  8. sorry, next time I will link : )
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      CommentAuthorBregt
    • CommentTimeOct 28th 2009 edited
    Yes. I'm sure franz was on this list too. He sure can tell a lot about it too. wink

    Joep too. I think he once had a whole page of info on that score. Not sure where he left it, since Geocities is gone.

    (I'm a fan as well!)
    Kazoo
  10. so what are the chances of ever hearing an extended version of this film score, sort of like they did with Bladerunner? Does anybody know, what happens to recorded but left unused music anyway?
  11. Guys, I have written a big article on the score but still haven't gotten it translated to English and sent to Bregt sad I will do it.
    http://www.filmmusic.pl - Polish Film Music Review Website
  12. Fire away with those questions.

    And get that thing translated, Pawel. Curious minds want to read. wink
    A butterfly thinks therefore I am
  13. I look forward to it. I am looking for articles like that to include in the book about Terrence Malick I am editing (if you wish to include it).

    I asked Jeff Rona about Zimmer's work, and he told me twelve hours of music was composed, six were recorded and less than an hour was used (and even less on the official soundtrack) in the final edit of TTRL.
  14. Franz - what was the guiding aesthetic Malick had in mind for Zimmer to follow?
  15. I assume a notion pantheistic spirituality had something to do with it. The score is full of allusions to both Christian hymns and New Age music.
    A butterfly thinks therefore I am
  16. are there any transcriptions of interviews with Zimmer about Malick and his score for TTRL?
  17. Yes, but there are no specific interviews about The Thin Red Line. He talks about it often (citing it mostly as his best score and how he loved the collaboration), but there is no specific interview about The Thin Red Line. Not even a DVD featurette on the score.

    Paul, is your book a scientific research book? I mean, I am doing a Ph. D. right now, could I add it to my resume if you published it?
    http://www.filmmusic.pl - Polish Film Music Review Website
  18. It will be a book about Terrence Malick, sort of a reader covering all of his films using interviews with people that worked with him. I wouldn't know until I read it, my email is paul_maherjr@yahoo.com
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      CommentAuthorDemetris
    • CommentTimeOct 29th 2009 edited
    That's an absolutely stunning score, a milestone in Zimmer's career. The fusion of the African religious choral music to the western orchestral movie style is both Adagio-influenced (notably SAMUEL BARBER'S adagio for strings op.11, Charles Ives) and also dressed with everything that makes Zimmer music to date. All the characteristics are there (slow build-up (musical and emotional), long chords interweaving with one another, string-based isocrates, etc etc), the standard Dramatic Zimmer instrumentation in a more organic way than usual (i.e. subtle to no electronics) and it's obviously an impressively inspired worked that influenced and still influences a large part of the film musical output to date.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorThor
    • CommentTimeOct 29th 2009
    It's hard for me to swallow since I've always taken Goldenthal for a beacon of pure originality, but I DO think he was either inspired by or worked off a temp track of "Journey to the Line" for his track "JD Dies" in PUBLIC ENEMIES. But we've perhaps talked about this before.
    I am extremely serious.
  21. and he incorporated a piece of "Beam" into the beginning of Public Enemies as well as thanks Hans Zimmer in the credits (either he or Michael Mann).
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      CommentAuthorThor
    • CommentTimeOct 29th 2009
    paulmaherjr wrote
    and he incorporated a piece of "Beam" into the beginning of Public Enemies as well as thanks Hans Zimmer in the credits (either he or Michael Mann).


    Interesting. Thanks for the info!

    It's been 7 years since I saw this film, but I enjoyed it immensely for the most part. Here's a 2002 "Cinema Club" entry I did on it over at FSM, for both film and score:

    http://www.filmscoremonthly.com/board/p … ;archive=1

    There's also a quite interesting discussion following the post, between myself and cinesin aka Rochelle.
    I am extremely serious.
    •  
      CommentAuthorNautilus
    • CommentTimeOct 29th 2009 edited
    Christodoulides wrote
    That's an absolutely stunning score, a milestone in Zimmer's career. The fusion of the African religious choral music to the western orchestral movie style is both Adagio-influenced (notably SAMUEL BARBER'S adagio for strings op.11, Charles Ives) and also dressed with everything that makes Zimmer music to date. All the characteristics are there (slow build-up (musical and emotional), long chords interweaving with one another, string-based isocrates, etc etc), the standard Dramatic Zimmer instrumentation in a more organic way than usual (i.e. subtle to no electronics) and it's obviously an impressively inspired worked that influenced and still influences a large part of the film musical output to date.


    Yes. ant it's also boring.
    Zzzzzzzzzzzzzzzzzzzzzzzzzzzzz

    Give me the kraken any day! cool
  24. Silence Jordi. You're standing on holy ground. biggrin

    Oh, and 'Beam' wasn't adapted for PUBLIC ENEMIES. The cue actually IS used for PUBLIC ENEMIES. It's the recording from THE THIN RED LINE sessions.
    A butterfly thinks therefore I am
    •  
      CommentAuthorMarselus
    • CommentTimeOct 29th 2009
    Nautilus wrote
    Christodoulides wrote
    That's an absolutely stunning score, a milestone in Zimmer's career. The fusion of the African religious choral music to the western orchestral movie style is both Adagio-influenced (notably SAMUEL BARBER'S adagio for strings op.11, Charles Ives) and also dressed with everything that makes Zimmer music to date. All the characteristics are there (slow build-up (musical and emotional), long chords interweaving with one another, string-based isocrates, etc etc), the standard Dramatic Zimmer instrumentation in a more organic way than usual (i.e. subtle to no electronics) and it's obviously an impressively inspired worked that influenced and still influences a large part of the film musical output to date.


    Yes. ant it's also boring.
    Zzzzzzzzzzzzzzzzzzzzzzzzzzzzz

    Give me the kraken any day! cool

    I really want to think you are kidding. But you are not slant
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthorLars
    • CommentTimeOct 29th 2009
    i love the movie and zimmer wrote a very interesting and uncommon score for a war movie. what i like about the score is, it has no heroic, patriotic soldier theme. the best theme (it's not on the soundtrack) for me is the instrumental adaption of the melanesian song. the music captures the feelings of the characters very well.
    • CommentAuthorpaulmaherjr
    • CommentTimeOct 29th 2009 edited
    I meant to say it was used in Public Enemies. And this brings me to the next point, the co-writer of Beam, Francesco Lupica who wasn't actually directly credited for "Beam" begrudges the fact that every time "Beam" is used, as a sample or otherwise, Powell gets the paycheck, not Lupica, which is ironic since the title of the song indicates its reliance on the Cosmic Beam Experience as its basis. Lupica has a history of being stepped on and over by other musicians/composers. Lupica's sound is what gives the overall atmospheric dread to TTRL.

    And this from an interview with Jeff Rona:

    "The Thin Red Line was one of the most ambitious projects in Hans Zimmer's career. He has stated that he dedicated one full year to compose the music. You are credited in the inner notes of the booklet as the maker of "Visceral Ambience". What can you tell us about your participation in this project?

    "There was a group of compositions by another composer as part of the score. A lot of effort was put toward the recording of pieces using some very unusual, one of a kind instruments that would create the 'music of fear and chaos' in the film. This was to set a stark contrast to the austerity of Hans' score. However, at the last minute it was decided that these pieces lacked the energy and punch needed for these scenes. So I replaced them using my own methods. Due to some political issues, my credit had to be this strange one. "
  28. Lars wrote
    i love the movie and zimmer wrote a very interesting and uncommon score for a war movie. what i like about the score is, it has no heroic, patriotic soldier theme. the best theme (it's not on the soundtrack) for me is the instrumental adaption of the melanesian song. the music captures the feelings of the characters very well.


    It isn't on the CD because it was adapted by Klaus Badelt who was working for Media Ventures at the time.
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      CommentAuthorBregt
    • CommentTimeOct 29th 2009
    So, a lot of it is not Zimmer's ideas? And it's POTC all over again?
    Kazoo
    • CommentAuthorpaulmaherjr
    • CommentTimeOct 29th 2009 edited
    I would say that the scores attributed to him can be found on the official soundtrack with the exception of the Melanesian chorus, "Sit Back and Relax" and "Beam." By his own admission, Malick dropped much of the music in the film itself and added other disparate sheets of natural sounds. There has to be an article somewhere from a music editor about this.

    12 hrs. composed
    6 hrs. recorded

    less than 1 hr. used

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