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Comments about the soundtrack for 1492: Conquest of Paradise (Vangelis)
Rip-off !!

roybatty
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(bb-87-82-4-50.ukonline.co.uk)


  Responses to this Comment:
Edmund Meinerts
Rip-off !!   Sunday, March 4, 2007 (9:39 a.m.) 

The theme in "Gladiator" is such an obvious rip-off of the "1492" theme that I cannot believe that it's never ever referred to. I've loved Vangelis's score for "1492" ever since 1992 when the film was released and am incredibly annoyed that not only did Hans Zimmer and co. steal it for "Gladiator", but that the Gladiator score is now far more well-known and popular than Vangelis's original compositions for "1492". Fact: there is absolutely no justice in this world!!!!!!!!!!!!!!!! The only consolation is that Zimmer and Liza Gerrard failed to win the "Best Original Score" Oscar in 2001 that Vangelis deserved to win in 1992 even though he was not even nominated. Shame!!


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Edmund Meinerts
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  In Response to:
roybatty
Re: Rip-off !!   Saturday, November 21, 2009 (4:22 a.m.) 

> The theme in "Gladiator" is such an obvious rip-off of the
> "1492" theme that I cannot believe that it's never ever referred
> to. I've loved Vangelis's score for "1492" ever since 1992 when
> the film was released and am incredibly annoyed that not only did Hans
> Zimmer and co. steal it for "Gladiator", but that the Gladiator
> score is now far more well-known and popular than Vangelis's original
> compositions for "1492". Fact: there is absolutely no justice in
> this world!!!!!!!!!!!!!!!! The only consolation is that Zimmer and Liza
> Gerrard failed to win the "Best Original Score" Oscar in 2001
> that Vangelis deserved to win in 1992 even though he was not even
> nominated. Shame!!

Are you batty, roybatty? Just because both themes are in minor and Gladiator's has a humming choral backing that sounds similar to 1492, doesn't mean Zimmer "stole" Vangelis' theme. Any more than he "stole" Mars from Holst, really, since it's a matter of style and not note-for-note copying.

You want to hear stealing, listen to James Horner, or Tyler Bates' 300.


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