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  Re: Laying the Zimmer-basher smackdown just like old times?  
 
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• Posted by Pawel Stroinski
• Date: Saturday, July 22, 2006, at 2:53 p.m.
• IP Address: dlv101.neoplus.adsl.tpnet.pl
• In Response to: Re: Laying the Zimmer-basher smackdown just like old times? (Southall)


> Indeed - and I do sometimes wonder about this very point. But I don't
> think him being controversial means there is substance to his contribution
> to film music - I think he stirs passions because he works on such a large
> number of very big films, and his scores do not sit easily alongside the
> kind of thing that the majority of film music fans like to hear (though I
> accept that "majority" is becoming more of a questionable word,
> since more and more younger fans probably came into film music because of
> Zimmer).

Hmm, I don't think that The Thin Red Line, Backdraft, even Black Rain or Crimson Tide (the way it works in film has never been really explained and I think it's due to taking no point of view in the conflict). It could be argued if his Oscar for Lion King was deserved (I for one think it wasn't due to the Mission rehash, Mozart could sue, too), but still the score did it job more than well, and it brought many people into the genre.

Zimmer has no chance for writing a "genre score" for Bruckheimer. It's as possible as Korngold writing an MV score in the 30s (there were no synthesizers and no 80s rock). It's not about the fact that Zimmer can't pull out a classical sounding action score, though I would agree that he couldn't, for the sole case of Peacemaker, which is a Prokofiev wannabe, but it's about what Bruckheimer wants. If PotC 2 shows something new for Zimmer is better (yes, better) orchestrations, like in Jack Sparrow which got largely unmentioned in your score. Pity, because I, for one, think that this theme belongs to Zimmer's best in any genre. And it's as swashbuckling as he could get.

> I don't seriously think that in fifty years, people will be looking back
> at Pirates of the Caribbean 2 as being indicative of some sort of film
> music golden age, the way we look back on scores from fifty years ago as
> being exactly that. Zimmer is one of the few revolutionaries of film music
> - Steiner, Newman, North and Morricone certainly were, but I'm not sure
> about others. But I really don't think his revolution took film music in a
> positive direction, the way those others did. Perhaps it's just something
> that needs the benefit of time to appreciate, but I can't see that. All of
> those four gentlemen took film music to a higher intellectual plane than
> it was at before, whereas Zimmer is the first revolutionary to actually
> return it to a far less intellectual place. I don't see how that could
> possibly be a good thing.

Well, they won't remember Pirates of the Caribbean 2. But I still think The Thin Red Line, Crimson Tide, Prince of Egypt, even Gladiator and Hannibal, maybe Da Vinci Code. I think actually Zimmer is a pretty intellectual composer in his approach. And THAT may be a reason of his simplicity too. Simple underscore (in a technique which he devised too, his underscore is of big influence too, since TTRL and Gladiator) may be also a way of fighting the problem of too much music in a film.

Pawel


My Polish Review Website



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