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 Posted:   Oct 3, 2013 - 8:58 AM   
 By:   Alex Klein   (Member)

Are people on this board bashing Zimmer AGAIN?????!!!
My Lord.
If he is such a hack, why do ya think successful directors like Nolan, Scott, Howard, MALICK
etc. etc use him.
And why am i even bothering with this idiotic topic?
brm


Because these commercially successful directors have either bad taste or lack of collaborative efforts when it comes to music. Really, the greatest director/composer relationships have only been possible when the director actually leaves the composer alone and lets him do his job. Most directors don't know anything about music, but if they're good, they'll leave the music to the ones that do know how to make it: composers. Thank goodness for directors like Schaffner and Spielberg, who always let the masters do their work. When will others finally learn how to truly collaborate instead of giving mindless orders? Film is supposed to be a collaborative effort, but this has certainly NOT been the case in the latest decades. And if this is just mindless bashing for people like Thor, Bruce, et al., then why did artists like Morricone, Bernstein, Herrmann, Barry and Williams refuse to work under these circumstances?
It cannot get any clearer than that. It's the composers who are speaking, not us.

Alex

 
 
 Posted:   Oct 3, 2013 - 8:58 AM   
 By:   dan the man   (Member)

I do believe things surely can change in this life, if it should. But I keep thinking what a man said in the great film SONG OF BERNADETTE-44-near the end of the film when a non believer in spiritual intervention and one who believes were talking and the third man there said of sought. This discussion has been going on for years and will continue too. You either believe or you don't. How true. Being stubborn when one should not be is one of the saddest and most destructive forces of the human mind. Enjoy people, whatever you want to enjoy.

 
 
 Posted:   Oct 3, 2013 - 9:49 AM   
 By:   blue15   (Member)

The "Audio Watchdog" column in the latest issue of Video Watchdog (#175) is a first installment called "Why Things Went Wrong," detailing how electronics and sound design have pushed traditional symphonic scoring to the back burner.

 
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