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  Re: The real Zimmer...  
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• Posted by C. Hook
• Date: Wednesday, July 19, 2006, at 10:02 p.m.
• IP Address:
• In Response to: Re: The real Zimmer... (Yavar Moradi)

> No, I agree he's been an influence. But you can trace stuff back much
> further. The short motifs (and lots of Elfman's style) are Herrmann. I
> think what you're referring to as "Carl Stalling-like" is maybe
> the Nino Rota stuff in his early comedy scores? The best Carl
> Stalling-esque modern writing I've heard is Bruce Broughton (and his team)
> for Tiny Toons. Carl would be proud. The fairy-like chorus as well as
> pretty music box themes for dark films I can trace all the way back to
> stuff like Gerald Fried's excellent The Cabinet of Caligari.

I meant it as Elfman being responsible for defining those parameters for the modern era. The chorus in scores like Superman Returns are more reminiscent of Elfman's Spider-Man than the Golden Age. The Carl Staling reference is how Elfman describes his action music (you can see it in the interview from the Batman Returns DVD and I think Ryan posted it on a blog at his site). What I say is the tools of the trade have always been there, but the style, use, and reinvention of them adopted by some composers becomes an inspiration for others of their generation and, in the worst cases, a buffet where others pick what they like and go with it. Give in to temp-tation. It's like when everyone wanted a Williams-like score after Star Wars. Sure, it was Wagner's thing, but what producers wanted was the Williams sound. I don't know if I'm making sense here.

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