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  1. You know what? I think it did! Or it might have just been distracting me from thinking about how hot it was too, but either way, it's a fun way to pick scores to listen to! smile
  2. I finished my Hans Zimmer sticker! I'm not the best at drawing people, but would love to become better, so I'm having a lot of fun trying! So I won't be offended if you think it's not a very good likeness, haha! It still makes me smile now that I've placed it on my sketchbook next to my John Williams sticker! smile James Horner, you're next!

    https://www.etsy.com/listing/891371621/ … film-music
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      CommentAuthorThor
    • CommentTimeOct 22nd 2020 edited
    That looks good, Cailin!

    Although Zimmer isn't really a 'maestro'. That's usually a term one uses about a person who conducts an orchestra. But that's nitpicking. smile
    I am extremely serious.
  3. I was going with the #2 description from my dictionary:

    maestro | ˈmīstrō |
    noun (plural maestri | ˈmīstrē | or maestros)
    • a distinguished musician, especially a conductor of classical music.
    • a great or distinguished figure in any sphere

    I think he is a great and distinguished figure in film music! smile
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      CommentAuthorThor
    • CommentTimeOct 23rd 2020 edited
    Yes, the term has been considerably watered out over the years. I'm always amused by the fact that Morricone -- rest his soul -- demanded that people called him 'Maestro' in his typical and endearing self-aggrandazing way. Reminds me of that character in Seinfeld that Elaine dates.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeDec 24th 2020
  4. I've been listening to (and loving) the score to Wonder Woman 1984. (And I totally agree with your fantastic review Jamesl!)

    Something I've found interesting is that each track seems like an individual song in itself. Almost like a pop-album meets film score. Most pieces have a strong beginning and end, and unique color apart from one another. It makes for a super engaging listen, as it doesn't get too set in a certainly style or pace.

    I also found it fun to hear a bit of John Powell and James Newton Howard in the track "1984" At about 4:04 minutes I hear a bit of Solo. And near the end about 6:22 is a very Fantastic Beasts opening! And I love it all! Love the variety of the whole album!
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      CommentAuthorThor
    • CommentTimeFeb 10th 2021 edited
    I never got around to sort my thoughts about WW84, nor write a review as I had intended, but I wasn't quite as enamoured with it as you guys, I'm afraid.

    I think it boils down to this:

    Everyone says it's a return to his 90s style. That, IMO, is NOT the case (and that particular comment tends to come from younger people who don't really know what Zimmer's 90s stylings were about). Yes, he's more melodic than he's been in a while, but this sounds nothing like his 90s work. Rather, it's his attempt at approximating the 80s orchestral adventure style, something he's never really done before.

    That is fun and everything -- and I think the first half of the (overlong) album is really entertaining in that regard -- but it's not the Zimmer I care for and adore. I prefer the more visionary, idiosyncratic stuff that is more 'serious', if you will.

    That's why the score ended up only as an 'honourable mention' to me last year, and not in the top 10.

    I haven't seen the film yet, and am in no hurry to. I'm not a superhero kind of guy; never really been into that stuff since I was a youngster. But I'll probably get to watch it at some point.
    I am extremely serious.
  5. I agree with you totally that it does not sound like Hans Zimmer 90s music at all, and I wasn't aware that people said it does, haha! I'm not sure it sounds much like Zimmer actually, apart from a few nods to Gladiator, but the music is wonderfully fun and enjoyable, so I'm not too fussy about it not sounding like his usual self. It's in a more superhero music genre like Williams' Superman more than some of the other, darker toned ones, which is refreshing and so nice and uplifting to hear again. And I saw the movie twice and really enjoyed it (but I seem to be in the minority there seeing what kind of reviews it got). I laughed and cried both times, and I don't typically like female superheroes all that much.
  6. Thor wrote
    I never got around to sort my thoughts about WW84, nor write a review as I had intended, but I wasn't quite as enamoured with it as you guys, I'm afraid.

    I think it boils down to this:

    Everyone says it's a return to his 90s style. That, IMO, is NOT the case (and that particular comment tends to come from younger people who don't really know what Zimmer's 90s stylings were about). Yes, he's more melodic than he's been in a while, but this sounds nothing like his 90s work. Rather, it's his attempt at approximating the 80s orchestral adventure style, something he's never really done before.

    That is fun and everything -- and I think the first half of the (overlong) album is really entertaining in that regard -- but it's not the Zimmer I care for and adore. I prefer the more visionary, idiosyncratic stuff that is more 'serious', if you will.

    That's why the score ended up only as an 'honourable mention' to me last year, and not in the top 10.

    I haven't seen the film yet, and am in no hurry to. I'm not a superhero kind of guy; never really been into that stuff since I was a youngster. But I'll probably get to watch it at some point.


    I think you might dig some of the sketches more, namely '84 and Barbara Minerva.

    It's more complex than you say. There IS quite a bit, in fact quite a lot of the 1990s Zimmer, but not the minor-key MV style. Scores like Backdraft (compare the thematic ending of Truth!), A League of Their Own and by extension even Spirit: Stallion of the Cimarron crop up here quite a lot. Yeah, there is the 1980s adventure stylings (namely in 1984, people mention John Williams, I'd add the orchestral Silvestri here, a bit of Horner, too) that Hans never attempted. I'd even mention a bit of Days of Thunder, though for a full orchestra rather than a rock band.

    There are some quite oldschool synth sound choices in the score as well. It's not a Synclavier/Fairlight score by any means, but there are moments where the synth programming attempts at going there. Cf. the warm sounds at the end of Themiscyra.
    http://www.filmmusic.pl - Polish Film Music Review Website
  7. I think when people say it reminds them of 90s Hans, it's moreso the spirit of those scores than the specific sound (though there are moments of that as well).
  8. That makes a lot of sense Edmund, I agree with you there! It has a brightness and fun to it that Hans hasn't done for awhile or at least is different from what he is culturally known for currently.
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      CommentAuthorThor
    • CommentTimeMar 3rd 2021
    Yes, I agree that 'spirit' or 'brightness' (or perhaps even extrovertness) are suitable words that might possibly connect it to his 90s outings. I just disagree vehemently about the STYLE link that many people draw.
    I am extremely serious.
  9. Drop Zone is coming out in limited edition... 1500 copies.

    https://quartetrecords.com/product/drop-zone/
    http://www.filmmusic.pl - Polish Film Music Review Website
  10. Hey, all four of you! Sorry I haven't been around for a while. I'll try to visit the site again more regularly. I've started reviewing scores for Jon Broxton's site. I've you'd like to read my review for Zimmer and Mazzaro's score for Boss Baby: Family Business, you can read it here. It's got a bunch of themes and a bunch of different variations on those themes. I'm impressed by what they did.
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      CommentAuthorThor
    • CommentTimeAug 7th 2021
    That's cool, christopher! A shame you went to Broxton, though, I'm also recruiting over at Celluloid Tunes. wink
    I am extremely serious.
  11. Thor wrote
    That's cool, christopher! A shame you went to Broxton, though, I'm also recruiting over at Celluloid Tunes. wink


    Ha! It was just the way things worked out. He mentioned on facebook that he was way behind on reviews and so I volunteered. He liked the first review I wrote and so I've kept going.
  12. That's awesome Christopher! Glad to see you back!
  13. Filmscoregirl wrote
    That's awesome Christopher! Glad to see you back!


    Thanks smile
  14. christopher wrote
    Hey, all four of you! Sorry I haven't been around for a while. I'll try to visit the site again more regularly. I've started reviewing scores for Jon Broxton's site. I've you'd like to read my review for Zimmer and Mazzaro's score for Boss Baby: Family Business, you can read it here. It's got a bunch of themes and a bunch of different variations on those themes. I'm impressed by what they did.


    That's amazing, congrats.
    And yes, pleasantly surprised by this. I adored "Meet the Templetons"
    Have to listen to it again

    Are the previous Baby Boss scores equally thematic?
    I never listened to them, feared they would be ... childish
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  15. Thomas Glorieux wrote
    christopher wrote
    Hey, all four of you! Sorry I haven't been around for a while. I'll try to visit the site again more regularly. I've started reviewing scores for Jon Broxton's site. I've you'd like to read my review for Zimmer and Mazzaro's score for Boss Baby: Family Business, you can read it here. It's got a bunch of themes and a bunch of different variations on those themes. I'm impressed by what they did.


    That's amazing, congrats.
    And yes, pleasantly surprised by this. I adored "Meet the Templetons"
    Have to listen to it again

    Are the previous Baby Boss scores equally thematic?
    I never listened to them, feared they would be ... childish


    There's only one previous score, and yes it is also thematic. I'm not sure that it had so many themes as this one. I can remember there being three, for sure, though. If you haven't heard it, you must listen to the cue "Love" from that first score. It's actually composed by Conrad Pope and is just wonderful. It puts that main theme through it's grandest variations and really takes it to astonishing heights.
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      CommentAuthorThor
    • CommentTimeAug 11th 2021
    Never seen or heard any BABY BOSS stuff in my life, and have no immediate intention to. But isn't it like a big franchise now, with television shows and whatnot?
    I am extremely serious.
  16. christopher wrote
    Thomas Glorieux wrote
    christopher wrote
    Hey, all four of you! Sorry I haven't been around for a while. I'll try to visit the site again more regularly. I've started reviewing scores for Jon Broxton's site. I've you'd like to read my review for Zimmer and Mazzaro's score for Boss Baby: Family Business, you can read it here. It's got a bunch of themes and a bunch of different variations on those themes. I'm impressed by what they did.


    That's amazing, congrats.
    And yes, pleasantly surprised by this. I adored "Meet the Templetons"
    Have to listen to it again

    Are the previous Baby Boss scores equally thematic?
    I never listened to them, feared they would be ... childish


    There's only one previous score, and yes it is also thematic. I'm not sure that it had so many themes as this one. I can remember there being three, for sure, though. If you haven't heard it, you must listen to the cue "Love" from that first score. It's actually composed by Conrad Pope and is just wonderful. It puts that main theme through it's grandest variations and really takes it to astonishing heights.


    I see now, 2 films but there's a series in between with music by 2 guys I never heard off

    Anyway, while checking the 2nd out again, gonna try to get my hands on the first smile
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  17. Thor wrote
    Never seen or heard any BABY BOSS stuff in my life, and have no immediate intention to. But isn't it like a big franchise now, with television shows and whatnot?


    Ah, yes, there has been some tv stuff. I forgot about that. I don't know how well you'd enjoy the Boss Baby music, Thor, but at least give this cue a shot: https://www.youtube.com/watch?v=XtSxD1W8Ynk. This is Conrad Pope's music for the big emotional finale of the first film. It's a wonderful throwback to some more classic film music sensibilities. It's soft and lovely for the first half, has a huge crescendo and then is just unashamedly triumphant at the end. It's one of my favorite compositions of the last decade.
    •  
      CommentAuthorThor
    • CommentTimeAug 12th 2021
    Yeah, that was a pretty good cue, christopher. Sounds like it comes from something far more interesting than BOSS BABY.
    I am extremely serious.
  18. Thor wrote
    Yeah, that was a pretty good cue, christopher. Sounds like it comes from something far more interesting than BOSS BABY.


    I know, right?!
    •  
      CommentAuthorBobdH
    • CommentTimeAug 14th 2021
    Following the discussions we’re having in the Dennis McCarthy thread, there’s in the mean time some sort of witch hunt starting over at Filmtracks for Hans Zimmer. Apparently he bullied and then fired an assistant of his after she came out as a trans woman and decided to start her transition. The woman herself disclosed this recently on Twitter.

    Not quite sure where I stand on this. First and foremost, if this is true, it’s a bad case of transphobia and in my book worse than whatever it was that got JK Rowling ‘cancelled’ recently. It’s something that, if it really happened as the woman said, is something that Hans Zimmer should answer for and there should be repercussions of some sort. On the other hand, people are starting to send this story out to media sites in the hopes it will get picked up on by them with a frightening glee, probably even without consent of the victim in this case that doesn’t sit well with me.

    It’s just a few users right now, and I’m sure it won’t gain a lot of traction, but it seems some people just want to watch the world burn.
    •  
      CommentAuthorThor
    • CommentTimeAug 14th 2021
    Sorry, I don't believe it for a second. Zimmer has gone on record many times, in Facebook feeds and whatnot, with his sympathetic, reasonable leftist views, including support to the LGBT community. If there's any conflict here, it's most certainly in other areas than the sexuality aspect.
    I am extremely serious.
    •  
      CommentAuthorBobdH
    • CommentTimeAug 15th 2021 edited
    I’m not sure if I believe it either, but on the other hand, why would you relate such a story on Twitter if it’s not true? I know, a personal grudge on another level, or a troll, but this story doesn’t strike me as such. It’s just something she matter of factly is relating on Twitter 5 years after the fact, without a seeming wish to step to the media about this to blow the story up. She also touched on the duality between on the one hand this ignorance, and on the other hand the love for Wendy Carlos and donating to charities. And Zimmer has surprised me in the past negatively on other grounds as well.

    Oh well, we’ll where this is going. I don’t really think much will come of this, I just don’t like the witch huntey attitude that is starting to happen.
  19. It's Filmtracks, anything you could put against Hans is pretty much fair game over there with Edmund being a rare sane defender.

    I don't really follow that one very much, however I have talked with Hans about the case and he has explained his process in bigger detail. I also linked the Twitter discussion to him directly and I'm going to see if there will be any expansion on what me told already. For now, with details of the working process left out, I can state that he told me this:

    1. He has no recollection of having anyone fired from RCP for a long time;
    2. He has no recollection whatsoever of working with Lauren Bousfield, he even asked me if she's credited in the films. I told him that according to hans-zimmer.com she got a credit on Kung Fu Panda 3 and Batman v Superman, which means that she probably is credited on the album as Hybrid reprints the album booklet credits on the site.

    He did admit that he has a tough room, especially on something like Batman, and that while in that period the music editor's child was going through transition themself and they tried to be supersensitive, something insensitive could be passed to her "in jest" from either the music editor or the technical head of the score. He doesn't really make cue notes, if anything he communicates his feedback directly or indirectly as I said above.

    That's what I got from Hans at this time.
    http://www.filmmusic.pl - Polish Film Music Review Website