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I've never read that much BS in one minute
• Posted by: G.K.
• Date: Tuesday, July 17, 2007, at 3:46 p.m.
• IP Address:
• In Response to: Deserving of the Highest of Accolades... (shaadp)

Before I even start to reply to your post in detail, let me tell you that only a person blinded by awards, mesmerized by success, raped by Hollywood's machinery and unable to look behind a music's volume could possibly create a chain of reasoning like yours and believe in it.

> ok, i'm pretty tired of reading the posts that argue hans has no talent,
> is a hack, etc. mr. zimmer's success speaks for itself. he doesn't need
> the no talents here (including myself and mr. clemmensen) to validate his
> work. hans has the utmost respect of hollywood, his fellow peers, and his
> fans (equal to or greater than the number of williams, horner, shore,
> etc.). steven spielberg, a devout williams fan, has said publicly, he
> LOVES hans and his music and wants him to score one of his future films.
> mark my words, hans will score at least one of spielberg's movies.

Who the hell are you to judge how much respect these people have? Excuse me for getting harsh, but you don't know a f*cking thing about their private personalities.
Isn't the Zimmer defenders' desperate clinging to Spielberg's statement a sign that they secretly realise Zimmer has no substance? If Zimmer's work is really of that high quality, then it should get critical recognition in his own right, and not need the name Steven Spielberg attached to it.

> second,
> he is the most sought after composer in hollywood. whether you like his
> style or not, hollywood loves his style for movies, and they love the fact
> that his scores sell!!! and this argument that his style is a sin for
> movie music, etc. are you kidding me? this man, along with williams of
> old, is bringing new fans to the world of movie music by the droves! be it
> simple or not, movie music has never been as popular, and most
> literary/scholarly score magazines have supported this claim.

Yes, Hollywood lllloooooves the big money, doesn't it? Whether a composer's name sells or not says absolutely ZERO about his work or work ethics. Yes, Zimmer is bringing new fans to film music. The question is just: what kind of fans? The ones that visit a Christina Aguilera concert and listen to some Zimmer on the way home? Those folks know as much about the magic and subtlety of film music as Hans Zimmer does; sometimes even less.
If being an elitist means being against these people being called film music fans, then I'll be happy to be called an elitist.
Because these people don't embrace the musical past and hold it high as an example for legendary film music. They're not fans of film music, they're fans of Hans Zimmer, they listen to his music because it's a light and enjoyable listen.
Nothing wrong with that you say? I agree, but the true mastery of film scoring goes far, far beyond that, and those people will most likely never get to understand this. Great film music grabs you by your neck, it's bone chilling, heartwrenching, tear-inducing, blood pressure rising rollercoaster of emotions.
Hans Zimmer's music for AWE, and most of his other work, has no emotions, no heart, because he doesn't feel the heart of a scene in the first place. It's an unapproachable iceberg.

> and lastly, the tell all of movie music critiques...the international film
> music critics association nominated hans in 2006 for 6 six awards,
> including score of the year (da vinci code), composer of the year, one in
> the comedy category (the holiday), two in the action/thriller category
> (potc: dead mans' chest, the da vinci code), and for best single cue of
> the year (the da vinci code, chevaliers de sangreal). he won for best
> comedy (the holiday) and best action/thriller (da vinci code). and let us
> not forget his nominations for grammys and golden globes.

Only a truly naive person measures a person's qualities by the number of times he appears on award lists.

> his work speaks for itself. for a man that has scored more movies in the
> last 4 years than any other composer, i applaud him for his
> accomplishments and the work he has done. if williams or shore were
> producing 3 scores a year too, i'm sure their work would get somewhat
> redundant, which it already is. zimmer fans are forced to struggle with
> taking just one amazing score a year, or 3 good/great scores. i prefer the
> 3 good/great scores. and remember, hans writes what his
> producers/directors want...and that does not always include use of the
> full orchestra. while his peers are being kicked off projects, he
> continues to fill their gap/keep his job(s).

This may be more nonsense than my controller can take in at once. What on earth does it matter how many scores someone "writes" (in the broadest meaning of the word) in any given timeframe? I would take one Williams over three Zimmers any day.
Your comments about Shore's or Williams' scores becoming redundant, I'm sorry, is just a definite sign that you don't know what the hell you're talking about. The fact alone that Howard Shore is now counted amongst the most respected and talented composers in the industry, and therefor a potential threat to any Zimmer fan (count the times Shore is mentioned in Zimmer discussions), shows that he has achieved more in four years than Zimmer has in ten. And that you name Shore in one sentence with John Williams probably means that you're one of those "new" fans, too, since Shore didn't make it big until 2002.

> zimmer fans are forced to struggle with
> taking just one amazing score a year, or 3 good/great scores.

I thought I could give these words some special attention, as they ooze truly mindboggling stupidity.
Do you think Zimmeritos are the only ones with these "problems"? What about Vangelis fans? He writes like one score in a decade. Or Elliot Goldenthal fans? Or Horner fans? Williams seldomly writes three scores a year. Sometimes he even takes a year off, like now. How about three great scores PLUS one amazing score? He did Memoirs Of A Geisha, Munich, Star Wars Episode III and War Of The Worlds al in one year. Now you can choose which is the amazing one.

Yes, he writes what the directors/producers want. Every composer has to do that, it's not like Hans Zimmer is getting some treatment other composers do not. On the contrary. I can't imagine hans Zimmer, being the most sought after composer in Hollywood, not having freedom with any given film. And even if the director says he wants this or that, ultimately, it's the composer's hands that write down notes, and if he feels the film needs some special tone or approach, he's free to at least try it.
Following the director's/producer's suggestions without a question can quite often lead to less than average results.

And that comment about other composers being kicked off projects is completely uncalled for. And don't kid yourself. Hans Zimmer and his bunch of yes-sayers aren't chosen as a replacement because they do perfect music. They are chosen because they can produce relatively big amounts of music of acceptable, but incredibly predictable, quality in a short timeframe.

You always know what you'll get from Remote Control. The director doesn't need to discuss the tone of the film with them. That's the zeitgeist. Musical lazyness.

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