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  Re: Laying the Zimmer-basher smackdown just like old times?  
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• Posted by Pawel Stroinski
• Date: Monday, July 24, 2006, at 3:54 p.m.
• IP Address:
• In Response to: Re: Laying the Zimmer-basher smackdown just like old times? (Nate U)

> True. Zimmer I think gets lot of booing AND cheering...definitely more
> cheering from the more casual film music fans.

Yep, but even Southall, a Golden Age fan says that Zimmer is great fun for him. Perhaps he doesn't want to admit that. The only guy seeming to have problems with Zimmer is nobody else but Clem, who may praise any film score just because it's not by Zimmer.

> He sure doesn't help push Zimmer's creativity!

Yeah, as I said. A traditional orchestral score for Jerry B. is like Korngold writing Crimson Tide .

> Right, serve the Boss. Thats why I said the major problem with the
> Pirates' scores isn't Zimmer himself, but the fact Bruckheimer already has
> a concept for the music he wants Zimmer to use...and Zimmer uses it.
> (wether he should or not is another question) Bruckheimer is a business
> man, not an artist. I think everyone can agree on that.

Well I think that he's got a spark of intelligence with Veronica Guerin (not your everyday blockbuster) and his TV series, which seem pretty intelligent.

> Pirates has some kickin' action tunes, but too much cut-and-paste in the
> film. The action ideas in "Jack Sparrow" and "The
> Kraken" are good rollicking fun, but they are just cut-and-pasted for
> the actual music in the film. ("Wheel of Fortune") King Arthur
> doesn't have as much of that....its simplistic perhaps, moreso than
> Pirates, but it cooks right along in an epic, giant, choir,
> battle-of-the-gods sort of way

That's why I dislike King Arthur. It gets pretentious.

> Personally I think The Peacemaker is a ing awesome Zimmer action score,
> he combined his unqiue style and 'tude he had developed over the past
> decade, but than pushed it further and matured with some chromatic and
> orchestration sophistication. He hasn't matched it since...intentionally,
> I believe.

My problem with Peacemaker is about those orchestrations. The winds don't always mesh well with the rest. Zimmer probably wanted to write some kind of a Goldsmith homage (those 7/8 cues and the atonal cue in Chase when Clooney hangs suffocating from the chopper), work around dissonance (it's a pretty dissonant score) and add more classical references (Prokofiev, Holst). But if we were to discuss references, well. The Final Countdown (by Europe) doesn't work with Romeo and Juliet. And that's what Zimmer tries to do.

> I'll agree with all of that. Zimmer felt he exausted the whole "car
> chase" thing and explored other avenues. Recently he's been more apt
> to dip his toes into the action genre, but never if you notice has there
> been a strait-out action film.

Yep. With TTRL Zimmer matured. And people seem to forget that. Not to mention comparing Spanglish to The Rock. Somewhat those smaller projects seem overlooked. And often much better than the mainstream.

> Zimmer's action music evolution I think can best be represented by the
> "Cameron Border Post" cue from Tears of the Sun...still
> pulsating and pounding, but as you say much more dramatic. If you notice,
> the whole cue with only the orchestra parts is a string elegy. The
> "action" is supplied only by everything.

How about "Red Warrior"?

> N8

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