Posted by: Vincent <Send E-Mail> Date: Sunday, August 9, 2015, at 2:40 p.m. IP Address: 184.87-64-87.adsl-dyn.isp.belgacom.be
I'm too tired for an essay but here goes anyway...
How is this score not refreshing? Right, it only musically portrays dreams, but fuck that. It's an instantly recognisable score, but fuck that as well. How is it not complex? It only has four or five themes with lots of variations, but fuck that too!
As for bullshit heroism, there's only so many times trumpets work. Also, you might not have noticed, but Cobb is NOT a hero. If anything, he's the opposite because he can't let Mal go.
'In the film, few will protest.' So what the hell is the point of all the rest? In the film, it works! Period! It is a FILM score!
And how do you expect Zimmer to write unpredictable music if he isn't allowed to see the film? You call Nolan's choices intrigueing and Zimmer lazy. Nolan is the director, it's entirely HIS responsibility to provide Zimmer with all the tools he needs. If a director asks me to write a score using no violins, should I bring them in anyway because violins 'ought to be used'?
And here we are again, your problem is that you want every score to be refreshing. Why is it that you just cannot sit back and accept that Zimmer's technique is WANTED, whether you hate it or not?
You admit the themes are there, and I agree that the bass can be obnoxious, but I repeat, you only have problems with this score because you are expecting something else. This is set to become the standard of film music (and sadly probably of your reviews as well), so deal with that! And as for putting music editors on posters, well, why not? Would you be happy to do a job no one gives a fuck about? Those people work as well and deserve a little more credit and attention.
I also agree about his quotes, the boring Mombassa suite (though Into the Van is a way better variation) and the emotional/sentimental bit, but this film IS doom and gloom. A Doyle-esque romantic theme just wouldn't make sense.