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Re: Zimmer & friends pt 8h - TBTF 2013-16: Civil War, The Crown, Planet Earth 2
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• Posted by: JBlough   <Send E-Mail>
• Date: Thursday, December 29, 2022, at 7:24 a.m.
• IP Address: 155.201.150.21
• In Response to: Re: Zimmer & friends pt 8h - TBTF 2013-16: Civ... (Gcliff)

> Great work as always! Seriously, you could write a book on this topic given the immense amount of research you’ve done. I’ve noticed a recurring theme in your posts: an up and coming or unknown composer writes a score for a movie/tv show. Things don’t work out. Hans Zimmer and his team at Remote Control are called in to save the day. I’m guessing the reason for this is that the composers at RC involve multiple people working on one project at a time therefore they’re able to turn in a score in a faster and what they produce, for good or bad, is more in line with what a “modern” blockbuster sounds like. Any other thoughts on this?

It's a great question - and it would be interesting to review all of the known instances once the rundown's completed. I'd imagine there are probably some differences when an 'established' composer gets replaced versus someone else.

The speed element you mentioned is important. The team has proved that in a month you can get something sufficient, which works if the actual music isn't working as well as if the film / show isn't working and the filmmakers just said 'F it, let's change the music and see if that helps.' Game of Thrones certainly embodies this.

I think hiring an MV / RC crew removes an element of randomness to a certain extent. It's predictable. You may not have wanted that sound in your movie originally, but at least you know what you're gonna get, something you cannot say about the test-and-learn / trial-and-error process you just went through with your first composer. I imagine this is what happened with Terminator Genisys.

A lot of these re-scores involve someone with a pre-existing Zimmer / RC relationship, and that isn't always the same person who made the original composer decision. This is probably what happened on The Crown and way earlier on Point of No Return, which I believe was the first replacement score by this musical lineage ever. And it's actually what happened on a replacement score in 2017.

Of course, there also is the one major case of a Zimmer score getting mostly rejected. But we're months away from me posting about that one.




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