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|Re: The real Zimmer...|
| Posted by C. Hook |
Date: Wednesday, July 19, 2006, at 6:53 p.m.
IP Address: 220.127.116.11
In Response to: The real Zimmer... (docile)
> Exactly. I think the best Zimmer comes from his drama/comedy scores. It
> seems more emotion comes out of the music than his action music. I think
> his best scores are: "I'll Do Anything" "Matchstick
> Men" "As Good As It Gets" "Prince of Egypt"
> "Driving Miss Daisy" "The Ring" "Nine
> Months" "Point of No Return" "Lion King"
> "Last Samurai" "Rain Man" "A League of Their
> Own" "Cool Runnings" "Backdraft." None of those
> are action scores. when people bash Zimmer they only bring up two scores:
> "The Rock" and "The Peacemaker." It seems to me people
> only have a problem with his action music, so why not just bash that
> instead of all of his work?
That is a good point and I'm with you on that list, but only when Last Samurai is not on board. I actually think Zimmer has had more influence (that is, with a higher degree of success) in the modern "comedy" score, drawing from the early 90s style and perfectioning it to the point where you get stuff like Matchstick Men. I also believe that (again, with a higher success rate, as in "it works really well") the modern action score is more influenced by Danny Elfman than any other composer. The Carl Staling-like action music, short motifs, heavy rythm, and fairy-like chorus can be traced back to Elfman.
I don't expect anyone to agree with me, though.
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