SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Transformers: Last Knight
    2. Cars 3
   3. The Mummy
  4. Wonder Woman
 5. POTC: Dead Men Tell No Tales
6. Alien: Covenant


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: Force Awakens
        2. E.T. The Extra-Terrestrial
       3. Titanic
      4. Avatar
     5. Nineteen Eighty-Four
    6. Gladiator
   7. Star Wars: A New Hope
  8. Animal Farm
 9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
Home Page
Menu Options ▼
Comments about the soundtrack for Pirates of the Caribbean (Klaus Badelt and co.)
NO NO NO

Vincent
<Send E-Mail>
(153.220-176-91.adsl-dyn.isp.belga
com.be)


  Responses to this Comment:
Drew C.
Morgana Thornton
NO NO NO   Saturday, July 11, 2015 (9:15 a.m.) 

I usually like your incredibly cool and unbiased approach to scores, but this is just over the top...

First of all, you really have an obsession with composers having to do research. Explain to me why Zimmer and co should have gone to Disneyland if the director didn't ask them to do so. Wouldn't he have said he wanted a Disney-inspired theme in there if he wanted it?

You also simply cannot understand that times are changing: we have left the symphonic John Williams era, whether you like that or not. I am not saying that Zimme's music isn't brainless and derivative at times, but who are we to mock him if that's what people want from him? If I could make a fortune by writing stupid music, I'd do it straightaway, anyone would!

As for the music being obnoxious, I just don't think that's true. It becomes obnoxious only when you start listening hoping for an epic James Horner score.

Then, the themes. How, HOW I ask you, are they 'tepid' and unmemorable? How?! If Williams comes up with a childish fanfare for Indiana Jones it's the best theme mankind will ever produce, but if Zimmer does it, by God let's hate it!

Which brings me to another point. You write about the debate these scores unleashed and about the music being popular with mainstream audiences. Instead of looking down on those people, how about giving Zimmer some praise for that? Can I gently tell you that 99% of the common folk don't recognise Patrick Doyle, Jerry Goldsmith or Rachel Portman even if you threaten them with a gun? You are so compulsively busy hating Zimmer's music that you fail to apreciate this score's sheer influence. Or is your main problem that film music should always remain a private, elitist thing? I'll tell you which consequences this mindset has. I once tried to do some background reading on Doyle's Goblet of Fire. The only, literally the ONLY stupid quote I was able to track down was that he wrote 'a zillion themes for i't. One, he didn't, and two, can one be less informative? Then, about being original. I loved Goblet of Fire, and so did you, but it wasn't an original score! It had the same LSO as other scores do, but you didn'tm ind that, did you?

You might hate Zimmer's 'rock star/media star/celibrity' approach, but at least we know things about him, At least we can listen to interviews and read the fascinating facts behind his style and the scores! I agree that the album is indeed a ridiculous showcasing of the same themes. Zimmer is a useless album producer, I grant you that.

And finally, for the love of God, please, PLEASE quit having a go at these fucking ghostwriters! Prepare for another gentle epiphany. Has it ever crossed your mind that it might be rather difficult for composers to pretend that they're Hans Zimmer, or anyone else for that matter? You gave Ross praise for emulating Williams's style in HP2, but when RPC does it, it's all useless? What IS it with you and Zimmer!



Post Full Response         Edit Post         Threaded display


Drew C.
<Send E-Mail>
(pool-68-238-198-211.phil.east.ver
izon.net)
Profile Picture
  In Response to:
Vincent
Re: NO NO NO   Wednesday, August 19, 2015 (8:52 p.m.) 

> I usually like your incredibly cool and unbiased approach to scores, but
> this is just over the top...

> First of all, you really have an obsession with composers having to do
> research. Explain to me why Zimmer and co should have gone to Disneyland
> if the director didn't ask them to do so. Wouldn't he have said he wanted
> a Disney-inspired theme in there if he wanted it?

The film itself was born from the Disneyland ride. It only seems logical that the composers should have done that research.

> You also simply cannot understand that times are changing: we have left
> the symphonic John Williams era, whether you like that or not. I am not
> saying that Zimmer's music isn't brainless and derivative at times, but who
> are we to mock him if that's what people want from him? If I could make a
> fortune by writing stupid music, I'd do it straightaway, anyone would!

> As for the music being obnoxious, I just don't think that's true. It
> becomes obnoxious only when you start listening hoping for an epic James
> Horner score.

The music sounds obnoxious because the orchestral performance is completely overrun with synthesizers that have aged awfully. A re-recording with a real orchestras would help it to sound better.

> Then, the themes. How, HOW I ask you, are they 'tepid' and unmemorable?
> How?! If Williams comes up with a childish fanfare for Indiana Jones it's
> the best theme mankind will ever produce, but if Zimmer does it, by God
> let's hate it!

I don't think that the themes are necessarily unmemorable. They just aren't developed very intelligently through the course of the score.

> Which brings me to another point. You write about the debate these scores
> unleashed and about the music being popular with mainstream audiences.
> Instead of looking down on those people, how about giving Zimmer some
> praise for that? Can I gently tell you that 99% of the common folk don't
> recognise Patrick Doyle, Jerry Goldsmith or Rachel Portman even if you
> threaten them with a gun? You are so compulsively busy hating Zimmer's
> music that you fail to apreciate this score's sheer influence. Or is your
> main problem that film music should always remain a private, elitist
> thing? I'll tell you which consequences this mindset has. I once tried to
> do some background reading on Doyle's Goblet of Fire. The only, literally
> the ONLY stupid quote I was able to track down was that he wrote 'a
> zillion themes for i't. One, he didn't, and two, can one be less
> informative? Then, about being original. I loved Goblet of Fire, and so
> did you, but it wasn't an original score! It had the same LSO as other
> scores do, but you didn'tm ind that, did you?

This score's influence has been a problem not because of the non-film music fans of it, but rather the fact that producers and studio executives think that using forcing composers to emulate Zimmer's style and write brainless music is the key to having a high-grossing film.

> You might hate Zimmer's 'rock star/media star/celibrity' approach, but at
> least we know things about him, At least we can listen to interviews and
> read the fascinating facts behind his style and the scores! I agree that
> the album is indeed a ridiculous showcasing of the same themes. Zimmer is
> a useless album producer, I grant you that.

> And finally, for the love of God, please, PLEASE quit having a go at these
> fucking ghostwriters! Prepare for another gentle epiphany. Has it ever
> crossed your mind that it might be rather difficult for composers to
> pretend that they're Hans Zimmer, or anyone else for that matter? You gave
> Ross praise for emulating Williams's style in HP2, but when RPC does it,
> it's all useless? What IS it with you and Zimmer!

The problem is that composers are being forced to sound like Hans Zimmer instead of developing their own styles! The circumstance with Ross having to emulate Williams for HP2 was a one-time thing; Zimmer uses ghostwriters for nearly every score he writes!



Post Full Response         Edit Post         Threaded display


Morgana Thornton
<Send E-Mail>
(cpc81489-lanc8-2-0-cust22.3-3.cab
le.virginm.net)

  In Response to:
Vincent

  Responses to this Comment:
Edmund Meinerts
Re: NO NO NO   Tuesday, February 16, 2016 (9:00 p.m.) 

> You also simply cannot understand that times are changing: we have left
> the symphonic John Williams era, whether you like that or not.

Really? John Williams hasn't left it. In fact that's a ridiculous thing to say - In 1977 we'd left the 'symphonic era' and synthesizers had come in to take the place of orchestral scores. It was Steven Spielberg and George Lucas that got John Williams to bring them back! That in turn, made others follow this 'trend' for the next two decades. What YOU need to understand is, the reason film scoring has changed is a case of 'too many cooks'. By that I mean, back in the day, there was one of two people in charge, approving everything........Now there are dozens, all of who are putting money into the film and think they have a right to chime in and completely destroy a composers creativity, which they have been doing for well over a decade now. And to be honest, this score sucks - look at the users of the sites ratings. There's more that rated this as a one than a five. I've never seen such a dreadful rating on a film's soundtrack as I have on this one. Enough said really.



Post Full Response         Edit Post         Threaded display


Edmund Meinerts
<Send E-Mail>
(p4fc87d3e.dip0.t-ipconnect.de)
Profile Picture
  In Response to:
Morgana Thornton
Re: NO NO NO   Saturday, April 30, 2016 (5:18 a.m.) 

> And to be honest, this score sucks - look at the users of the
> sites ratings. There's more that rated this as a one than a five. I've
> never seen such a dreadful rating on a film's soundtrack as I have on this
> one. Enough said really.

I agree with most of what you said, but this is patently ridiculous and outright false. There are a huge number of scores at this site that have much lower ratings than 2.8 - nearly half of them, I'd say. You want to see dreadful ratings, check out On Stranger Tides - 1.89, baby! And not undeserved.

All the huge number of one- and five-star ratings shows in this case is how divisive this particular score is. People seem to either love it or hate it.


Post Full Response         Edit Post         Threaded display



Copyright © 1998-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.