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  Re: Laying the Zimmer-basher smackdown just like old times  
 
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• Posted by Nate U
• Date: Sunday, July 23, 2006, at 11:28 a.m.
• IP Address: pool-72-73-77-37.ptldme.east.verizon.net
• In Response to: Re: Laying the Zimmer-basher smackdown just like old times (Christian Kühn)


> No arguing that, as it boils down to personal opinions and preferences in
> many cases. But truth is also that these days, a Zimmer score will be
> written to be a Zimmer score for, say, Batman Begins, but not to be a
> Batman Begins score by Zimmer (convoluted statement, I know). By that I
> mean, he's more concerned with doing HIS thing instead of doing what would
> be appropriate for a film.

Yeah, like many strongly-established film composers, Zimmer can get away with just doing "his thing," aka using his usual tricks in a situation that may have been better served by pushing himself to use new tricks. Batman Begins I think works fine as a film score, but I agree there were times it would have benefited from Zimmer pushing himself a little harder for new ground. Not that he didn't to an extent, mind you. The same could be said for a composer like Thomas Newman, who I think has tendency to "do his thing" for just about any movie, and he is established enough (and talented enough) to get away with it.

> Howard Shore has made a great statement that he writes scores that fit
> their respective films and would not fit in another environment, so to
> speak. I think when you do that and still can retain your own stylistics
> etc. and enhancing the film at the same time, you're doing the best job
> possible. I have a feeling that HanZ isn't doing that a lot recently.

Heheh, well I must say every Shore score I hear now sounds like Middle Earth (I guess thats hard to avoid) but I respect Shore more as a film composer the more I hear of him. You are forgetting other recent Zimmer scores though like Spanglish or The Weather Man, which I think do a terrific job of have an identity solely within their films.

> Not necessarily, agreed, but the best results of great film music in my
> opinion are intellectual ones. Being revolutionary doesn't have to be a
> bad thing, but as we all know, there's always the chance of it leading
> into a dead-end. And then what?

True, Kuhni. Theres some underlying spirit to what Zimmer does that I sure *hope* won't be dead ends, but there may be many other approaches to Zimmer's film scoring which younger composers won't take inspiration from...

> True that. But of all the MV-artists and their scores, there are only a
> handful that have stood the test of time so far and have a chance of
> keeping to do so. And 90% are scores that have been composed by Zimmer
> (almost) by himself. You name Thin Red Line and Black Hawk Down (which I
> detest). I name The Lion King. Others may name Gladiator, Backdraft,
> Prince of Egypt. But I highly doubt that many of his recent scores, from
> Batman Begins over King Arthur (which I love) to the PotC scores, will
> stand the test of time.

MV (or RC these days) I have issues with...I'm not against the idea, but I do have issues with it being used in a compromising way. I also wish Zimmer would score a film completely himself, but I also think some great scores have come from the fact he didn't. I go both ways on the solo-Zimmer vs. Zimmer and pals. I think it depends on the project. Pirates of the Caribbean? Solo Zimmer would be best in my opinion, at least with the same concept and approach as the score we have.

> You cool over there?

Sure thing! Back home in Maine for the summer. Just went on tour with my band, (met up with Kevin and Joe Irvin on the road) and am now working and listening yourself? Has Lava-Man reached his full powers?

N8




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