> No, they wouldn't come up with music like that, thank god.
> Alright, I'll tell you one part of the film that marks the difference
> between a serious film composer and Hans Zimmer.
> Remember the scene in which Barbossa, Jack and Elizabeth meet Beckett,
> Davy Jones and Will on that small island to negotiate? A good film
> composer would watch this scene and recognise its importance. If I had to
> score not only this scene, but the film, I would realise that this is a
> key scene, and look for a way to make it stand out and resonate with the
> viewer. I would write a short, but poignant motif, maybe some kind of
> "fate" motif, that I could work with. That way I could play or
> hint at this theme earlier in the film, and musically lead up that moment
> on the island.
> Maybe I could even make that motif part of another theme, a B phrase or
> something?

> Hans Zimmer just uses this scene to incorporate a parodic Ennio Morricone
> hommage.

You're missing the point entirely. Zimmer recognizes this is a key sequence and gives it a western showdown twist. Yes, it's a morricone homage, but it's not parodic (i do not find myself laughing at any point) and it trumps up the showdown to come. I thought it worked quite well in the film, and is probably the only point where electric guitar was appropriate in the trilogy (curse that overlong Kraken cue on Dead Man's Chest)

> Such a film usually strcutures the music for you if you choose a
> leitmotivic approach like Zimmer does. What matter is how you put that on
> paper and where you put your emphasis.

> But Zimmer doesn't emphasise anything. Davy Jones' theme is as bombastic
> as the love theme, Hoist The Colours or Beckett's Theme.

No, the love theme is not bombastic...it's sweeping, and effective in the score. As for Hoist the Colours, it's supposed to be bombastic! It's a pirate anthem! People criticize Zimmer for writing power anthems, except hoist the colours IS SUPPOSED TO BE A POWER ANTHEM. And Beckett's theme? Supposed to be loud with brass, at least the one introduced in Pirates 3. I'll contend that Beckett's theme from Pirates 2 (played only once on the album) is not bombastic at all, even if that's one of the weaker parts of the trilogy. And are we forgetting the very flexible main theme for At World's End. You get your romantic versions, your quiet versions, your oboe solo, some bombast (but it's fun bombast!), and, in Drink Up Me Hearties, some swashbuckling. And Davy Jones' theme...umm, okay, someone forgot to listen to the music box stuff or the organ, plus there's actually some good variations that weren't included on the commerical release of dead man's chest (see bootleg, which only has mild sounds effects on a few tracks, for some good brass versions and one for dark chorus).

> Zimmer can vary between exactly two settings: overboarding romance and
> dramatic adventure. In between is absolutely nothing but noise and the
> most obvious comedy scoring.

If you think Zimmer = noise, maybe the action genre isn't for you. I'll contend that Gladiator (especially the last three tracks), Crimson Tide, Pirates 3, King Arthur, and the Last Samurai all prove that Zimmer is pretty good at creating similar yet entertaining themes and engaging action music. Yes, power anthems exist throughout almost all his films. The romantic music in Gladiator is not overboarding and the action stuff is great. yeah, there's weighty drama too, but so what?!?!?!?! It's good music. Crimson Tide...well, if you loathe an almost entirely synth-produced score, maybe this isn't for you, but, again, great theme, great action stuff, and if you aren't roused, you must have your speaker system on mute. Pirates 3...well, already covered taht. King Arthur...this is probably where your criticism is closest in that Zimmer amps up those two elements the most, but you cannot deny their effectiveness nor the power of the grand themes or the dense action music. And Last Samurai...actually, none of those elements really exist here, as this proves a much more softer and peaceful score than Zimmer had done in a while. If you think that score was overbearing in the softer parts...well, maybe you should stay away from soundtracks.

Oh, and here's the big thing that proves your statement wrong : THE THIN RED LINE. Nuff said. I'm tired anyways.

Once again I check off the box that I will now refer to as the "Stop Zimmer Fanboys" box