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Comments about the soundtrack for Interstellar (Hans Zimmer)
Clemmensen is spot on!

Z.Nitram
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  Responses to this Comment:
Bright Chen
Clemmensen is spot on!   Monday, January 26, 2015 (7:20 p.m.) 

I remember being extremely irritated after leaving the theaters back in November when I watched Interstellar. The movie alone got on my nerves [specifically and almost strictly, the ending], the inaudible dialogue was frustrating, and then there was my lost hope that Zimmer would finally release a score worth buying. Sadly, Zimmer has once again failed to live up to the hype and I simply don't understand how people can praise it--the only reason that I can think of stems from a Spongebob episode where Squidward says "If we play loud, people might think we're good." And that certainly seems to be Zimmer's problem and although the organ is a great instrument, Hans doesn't show it off in a way that really gets the "feels" going. The ambience was particularly damaging considering that it's just noise that you have to force yourself to sit through to get to the somewhat interesting spots. This was a poor attempt to mask Zimmer's methodology and to pass it off as something "fresh." I agree with all of the criticism; but what I want to know is when will Hans put out a GOOD score?

(Message edited on Monday, January 26, 2015, at 7:25 p.m.)


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Bright Chen
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  In Response to:
Z.Nitram

  Responses to this Comment:
Z.Nitram
Z.Nitram
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Sigh...Some people are impossible to please   Tuesday, January 27, 2015 (2:45 a.m.) 

> I remember being extremely irritated after leaving the theaters back in
> November when I watched Interstellar. The movie alone got on my nerves
> [specifically and almost strictly, the ending]

Need a doctor by any chance? If that ending was enough for irritation, I would imagine worse symptoms.

> the inaudible dialogue was
> frustrating, and then there was my lost hope that Zimmer would finally
> release a score worth buying. Sadly, Zimmer has once again failed to live
> up to the hype and I simply don't understand how people can praise it--the
> only reason that I can think of stems from a Spongebob episode where
> Squidward says "If we play loud, people might think we're good."

How creative...people praise it not only because the score just happens to speak to their gut and their ability to emotionally respond to organ chords, arpeggios and crescendos, something you either missed or just possess an inability to do so. This goes back to the same cut and paste anti-zimmer argument from every Zimmer hater ever.

> And that certainly seems to be Zimmer's problem and although the organ is
> a great instrument, Hans doesn't show it off in a way that really gets the
> "feels" going.

Uh huh...If this score is not wearing the organ on its sleeve with a vengeance, I don't know what other recent scores have.

> The ambience was particularly damaging

Haven't heard of any insane outbursts during the screening of the film in cinemas...you are alone there, do specify what you mean by 'damaging' if you fail to understand my point. The noise control of the film remains dividing, but I wouldn't call it damaging or life-threatening.

> This was a poor attempt
> to mask Zimmer's methodology and to pass it off as something
> "fresh." I agree with all of the criticism; but what I want to
> know is when will Hans put out a GOOD score?

Zimmer is not trying to mask himself (why would he? Its something called 'being yourself'), and frankly he is doing something that's new to him: no Horn of doom, war waltzes, string ostinatos or MOS drums, all which are influential in the film industry whether HE or WE like it or not.

To answer your question...umm...Hans Zimmer put out good/great score in 2014 (Interstellar and ASM2 remain in creative spectrums light years apart), 2013 (Rush), 2010 (Inception), 2009 (Angels & Demons), 2008 (Frost/Nixon) AND 2007 (POTC3), so if you are that thick, mayyyybbeee its time to lighten up.

Something tells me you are born 30 years too late, sorry to disappoint you with 'progress'.



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Z.Nitram
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  In Response to:
Bright Chen
Re: Sigh...Some people are impossible to please   Tuesday, January 27, 2015 (9:09 a.m.) 

> Need a doctor by any chance? If that ending was enough for irritation, I
> would imagine worse symptoms.

I barely made it out of there with my life. You have no idea...

> How creative...people praise it not only because the score just happens to
> speak to their gut and their ability to emotionally respond to organ
> chords, arpeggios and crescendos, something you either missed or just
> possess an inability to do so. This goes back to the same cut and paste
> anti-zimmer argument from every Zimmer hater ever.

'Possess the inability to do so' is probably accurate. "Same cut and paste..."--for a second, I thought you were describing Zimmer's latest scores. I'm joking, sort of. I haven't watched the movie in some time so I can't really elaborate. Perhaps "feels" wasn't the right word, it's the themes, or lack of, that made it hard to connect. A full ensemble performance at the end or something would have helped, maybe? Maybe more variations of the 'space theme' like when things worsened in the movie, playing the instrument [the organ] in a more sinister way would've made the music more compelling? Overall--from what I recall--the score sounded it was on repeat. Ambiance. Organ. Repeat. Ambiance. Organ. Repeat. And yes, I know there's a bit more to the score than that but....you get the point. I'm not "anti-Zimmer," his newest work just doesn't hold up as his best stuff at all.

> Uh huh...If this score is not wearing the organ on its sleeve with a
> vengeance, I don't know what other recent scores have.

It's not enough to just slap on the organ and call it a great score. It's a rich instrument and excellent choice by Hans, but for reasons better explained by Clemmensen--the score does not impress as much as people claim it does.

> Haven't heard of any insane outbursts during the screening of the film in
> cinemas...you are alone there, do specify what you mean by 'damaging' if
> you fail to understand my point. The noise control of the film remains
> dividing, but I wouldn't call it damaging or life-threatening.

I can't see what I wrote and my phone is a bit prehistoric. If you really want me to clarify, I can try. Just not at the moment.

> Zimmer is not trying to mask himself (why would he? Its something called
> 'being yourself'), and frankly he is doing something that's new to him: no
> Horn of doom, war waltzes, string ostinatos or MOS drums, all which are
> influential in the film industry whether HE or WE like it or...[sorry, deleted a bit of your response]

Yes he is. Every album he's trying to come off as though he's doing something radically different when, in reality, he's not adding things like the drum orchestra because the music requires it, he puts it in there because it's an excellent selling point. Granted, the organ has a role and I won't say that the film didn't require it. However, he doesn't do much with it (you need THEMES, otherwise you just have music that doesn't really go anywhere) and that might just be because Nolan didn't let him actually score the movie. The horn of doom was in the movie, like, in the last five minutes [I think].

> To answer your question...umm...Hans Zimmer put out good/great score in
> 2014 (Interstellar and ASM2 remain in creative spectrums light years
> apart), 2013 (Rush), 2010 (Inception), 2009 (Angels & Demons), 2008
> (Frost/Nixon) AND 2007 (POTC3), so if you are that thick, mayyyybbeee its
> time to lighten up.

ASM2 was about as bad as Man of Steel (I strongly suggest that you check out Horner's ASM to hear how the second one should have sounded). Inception was average, it's a C score. Maybe Rush, but that's not a Zimmer score that the industry is trying to push on audiences.

> Something tells me you are born 30 years too late, sorry to disappoint you
> with 'progress'.

I'm just a boy who doesn't want to grow up
Z.

(Message edited on Tuesday, January 27, 2015, at 8:49 p.m.)


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  In Response to:
Bright Chen
Re: Sigh...Some people are impossible to please   Tuesday, January 27, 2015 (11:42 a.m.) 

> Haven't heard of any insane outbursts during the screening of the film in
> cinemas...you are alone there, do specify what you mean by 'damaging' if
> you fail to understand my point. The noise control of the film remains
> dividing, but I wouldn't call it damaging or life-threatening.

Ah, I re-read my post on my computer. Sorry for the misunderstanding. When I said 'damaging,' I was not referring to the volume of the ambiance, I should have said "damaging to the music," or something like that. That's why I said that it was a bore to sit through because (a) it's not adding to the thematic narrative (b) it's really not doing anything, it basically acts as filler and (c) it was abused enough in Man of Steel.

Also, for someone who thinks that Interstellar and ASM2 are on opposite ends of a creative spectrum light years apart, I was shocked and puzzled that you think that Tin-Tin is a rip-off of Harry Potter.



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  In Response to:
Bright Chen
Re: Sigh...Some people are impossible to please   Wednesday, November 25, 2015 (1:17 p.m.) 

Tell you what, this site is like AllMusic: the reviewers are impossible to please, but man do they love telling people how impossible it is to please them!

Oh, and the site looks like it's stuck in the 2000s, with all that black and blue.


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