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PostPosted: Wed May 10, 2017 4:20 pm 
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Man of Steel / Batman V. Superman / Interstellar soundtracks rock my world. COME AT ME AND FIGHT ME!

Considering the serviceable music in other films like, I don't know, Iron Man's Infinity Crisis Revolutionary War Avengerthon or whatever, I'd take someone doing something different even if it means there are poor imitators out there.

Don't get me wrong, I love Goldsmith's Star Trek TMP soundtrack, and will listen to Elfman's earlier scores as well as classic John Williams, but I think there's room for both.


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PostPosted: Wed May 10, 2017 4:30 pm 
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Like, are you mad at John Williams because someone made a boring soundtrack to Thor?


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PostPosted: Wed May 10, 2017 8:29 pm 
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brian wrote:
Like, are you mad at John Williams because someone made a boring soundtrack to Thor?

It's accurate to blame Hans Zimmer for every single monotone score in current blockbuster films. He is to modern film scores, as orange and teal is to cinematography, and Save The Cat! is to scriptwriting. Hollywood has played it safe in this economy, and they don't allow anyone to rock the boat. Hans Zimmer (et al) knows how to get your goosebumps going, but can you actually hum the Thor soundtrack in the shower? I recognize a Marvel theme here and there when the movies are playing on TV, but there's nothing really memorable about any of them, and there are no individual themes that take your mind to a specific scene (or, more importantly, a character). Compare that to anything by 80s John Williams, 70s-90s Goldsmith, and 80s Horner. You hear three notes, and your brain takes you to the exact scene in which that music takes place, and you can hum the rest from memory. That kind of film scoring no longer exists.

And, to contrast that argument - I do enjoy quite a few Zimmer(tm) scores (like Man Of Steel, which - despite its non-thematic qualities, works in the context of the film). His work is arguably better than what some of his non-disciples are doing in big budget films (like the guy who is doing the new Blade Runner film...the man has zero musical talent, and just leans on some keys and knobs and hopes for the best).

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PostPosted: Wed May 10, 2017 8:32 pm 
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But that's my point, Zimmer's soundtracks are memorable and cool as shit. Patrick Duffy or whatever his name is that did Thor was doing orchestral music, and it's boring and no-one remembers it.

Man of Steel's soundtrack kicks ass. It's not his fault people doing orchestral music right now are making boring scores. He's putting them to shame.


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PostPosted: Wed May 10, 2017 8:40 pm 
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brian wrote:
Man of Steel's soundtrack kicks ass.

It's good, but there's nothing unique about it. You can exchange the one and only theme in that film for anything made by Two Steps From Hell (a company that writes music for movie trailers), and you wouldn't notice. There's nothing exceptional about his style - he just found a 3 chord progression that automatically raises the hair on the back of you neck. And it's just as intoxicating as Sex Panther cologne - 60 % of the time, it works every time.

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PostPosted: Wed May 10, 2017 9:22 pm 
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Ba-DUMMMMMMMMMMMMMM

Ba-DUMMMMMMMMMMMMMMMMMM

Ba-DUMMMMMMMMMMMMMMMMMMMMMMMMMM


That's what passes for a Superman theme these days. Fucking hell. It's like how Trent Reznor leaves the vacuum cleaner on and calls that "dramatic underscoring" on every movie David Fincher has done since The Social Network. Fincher used to have some actual taste in selecting composers for his films, like Elliot Goldenthal, Howard Shore, David Shire and Alexandre Desplat (his music for The Curious Case Of Benjamin Button is gorgeous, and elevates that film tremendously), but since he met Reznor, listening to the soundtracks to his films is the equivalent of that "Wanna hear the most annoying sound in the universe...?" scene from Dumb & Dumber...nails on a blackboard. It's not like good film music has to be melodic, theme-driven and pleasing to the ear...there are plenty of blisteringly atonal film scores I dig (Jerry Goldsmith's Planet Of The Apes, John Corigliano's Altered States or Denny Zeitlin's Invasion Of The Body Snatchers '78 come to mind). But those scores were actually COMPOSED and fit to the needs of the individual scenes and characters of those films like a glove...so much of today's film music is so nondescript that you could take any three-minute cue, place it in any other scene in the movie, and it would "fit" just as well. Action scene? Pounding synth drums! helicopter "travelling" shot? That chugga-chugga string ostinato! Big, dramatic visual revelation? The Inception foghorn blast!

Forty years ago, Jerry Goldsmith would write maybe forty minutes' worth of music for a two-hour movie, and it would have far more impact than a 165-minute Transformers movie where the tiresomely bland score is poured over every scene like ketchup. Look at a movie like Coma...the first underscore cue doesn't make an appearance until the movie is literally half-over (when Genvieve Bujold is standing by her car, and notices someone across the parking lot observing her), but because the music has been held until a moment where the underlying conspiracy of the film's plot is beginning to be revealed, it makes you sit up and take notice. Sadly, moving into the 80's and 90's, even Goldsmith was often forced to score blockbuster movies wall-to-wall, but at least he was still fighting the good fight and writing MUSIC for movies, instead of nothing more than a mindless extension of the already-punishing sound design of modern-day cinema. If you removed the score from Man Of Steel entirely, would anyone notice? Or care? The movie is filled with so much auditory chaos that Zimmer's score can't "break through" the wall of sound unless its presented in the most simplistic chord progressions possible. Could you imagine something as intricate and densely-orchestrated as John Williams' score to Superman: The Movie being heard over the cacophony of modern sound design? Hell, a movie as basic and dumb as the Jason Statham beat-'em-up Safe is one that I enjoyed far more than I thought I would because the score (by Mark Mothersbaugh, of all people) was actually audible over the gunshots and cracking limbs, and sounded like something Goldsmith or Lalo Schifrin might have written for a Charles Bronson movie circa 1972. It wasn't high art, but I appreciated the modicum of effort, and it elevated an otherwise routine action flick into something I honestly had fun with.

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PostPosted: Wed May 10, 2017 9:28 pm 
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brian wrote:
But that's my point, Zimmer's soundtracks are memorable and cool as shit. Patrick Duffy or whatever his name is that did Thor was doing orchestral music, and it's boring and no-one remembers it.


Patrick Doyle. And he's capable of FAR better work in films (his score for Kenneth Branagh's Cinderella was lovely), but you just know his more interesting ideas were squashed flat by the Disney brass. If you had told me, circa 1992, that one day there'd be a superhero movie directed by Kenneth Branagh and scored by Doyle, and that the score would be bland as shit, I wouldn't have believed you. Even the good composers still working today have been forced to modify their overall styles just to keep getting work, and it's sad. James Horner was kind of having a comeback at the time of his death (his spirited, lively Amazing Spider-Man score was the only good thing to come out of that film aside from Emma Stone), and it was particularly distressing that one of the few "old-school" composers still working regularly was taken from us too soon.

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PostPosted: Thu May 11, 2017 3:02 pm 
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Monterey Jack wrote:
If you removed the score from Man Of Steel entirely, would anyone notice? Or care? The movie is filled with so much auditory chaos that Zimmer's score can't "break through" the wall of sound unless its presented in the most simplistic chord progressions possible. Could you imagine something as intricate and densely-orchestrated as John Williams' score to Superman: The Movie being heard over the cacophony of modern sound design?

Yes, I'd notice if it was missing. The score was fantastic. Man of Steel doesn't need to be Superman The Movie, Zimmer doesn't need to be John Williams. Not everything needs to equal what you liked when you were a kid. Times change, art changes, film changes. People change.

All that's ok, as long as they don't have a cameo from Macy Gray in the middle of the film. That shit was :whiz:


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PostPosted: Sat Jul 29, 2017 7:39 pm 
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Man, Terrence Malick was an IDIOT to barely use any of James Horner's original score for The New World in lieu of his usual classical music pastiche...it's one of Horner's best.

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