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 Posted:   Sep 16, 2013 - 3:14 PM   
 By:   joan hue   (Member)

Here is a quotation from a L.A. newspaper.

"What that means for the film's awards prospects is open to question. Again, "Rush" will need a decent commercial performance, if only to remain in the conversation. If it's a modest hit, all the better for landing one of the final best picture spots in a competitive year. Morgan, a two-time writing nominee, should have a shot for original screenplay. The movie's editing (longtime Howard collaborator Daniel P. Hanley, who won for "Apollo 13") and makeup are exemplary, as is Zimmer's propulsive score. (The composer is almost a lock to be nominated elsewhere, for his tense work on "12 Years a Slave.")"

 
 Posted:   Sep 16, 2013 - 5:55 PM   
 By:   DeputyRiley   (Member)

Wait, Zimmer did 12 Years a Slave?! AWESOME! Now I can't wait to hear that one! Any word on a score release?

 
 
 Posted:   Sep 16, 2013 - 8:31 PM   
 By:   facehugger   (Member)

It's like Transformers, Battleship and Inception had a baby.

And the baby is deformed.

It's even not as entertaining as "terraforming" from MoS.

Zimmer really phoned it in for this one.

 
 
 Posted:   Sep 16, 2013 - 8:51 PM   
 By:   bondo321   (Member)

He never 'phones it in,' especially not for Ron Howard Oscar-bait; so that little theory is shot down.

 
 Posted:   Sep 16, 2013 - 9:21 PM   
 By:   The Projectionist   (Member)

Well it's growing on me. It's certainly not as inappropriate and lazy as Man of Steel. It should fit with the nature of this movie. In fact it conveys the idea of "Speed" perfectly.
Now the problem with the music I find is that it's mostly atmospheric, stuff to express the mood or nature of the scene rather than the drama. So most of the music is just repetitive rhythmic guitar and drum loops to serve as the world's wall paper, without much going on. To me this really exposes why certain album shouldn't be this long. If you are going to release an album over 45 min then at least make sure it's jam packed with as many creative ideas and colors as possible. Jack the Giant Slayer is a perfect example of a long album done right, every track in it has something new going on. But with Rush 90% of the score is the same old things. This would have been better as a 35 min soundtrack release. You could actually delete tracks 2-11 and still hear every idea in the rest of the score!
There are at least three motifs that run through the score. The main one mostly represented by a bass cello like instrument, the second on a electric guitar which sounds like a melody from early 90s rock tune, and the last one by a low bass guitar which is actually lifted from Mission Impossible 2. They work well, and are are what makes the score fun, because they are the only thing breaking apart the repetition.

Over all though its a fun score, it certainly fits the ideas of Speed and Racing and Adrenaline very well, and I do like the thematical ideas, if only it were just more condensed to eliminate some of the repitition. But I'll buy the CD next week still.

 
 
 Posted:   Sep 16, 2013 - 10:42 PM   
 By:   facehugger   (Member)

He never 'phones it in,' especially not for Ron Howard Oscar-bait; so that little theory is shot down.

Replace this score with Battleship and the difference is barely noticeable (other than that this score does not have the high-octane theme of Battleship). So yeah he phoned it in.

But I may be wrong. The whole score could actually be ghostwritten by Jablonsky himself. Who knows what goes on in Zimmer's little factory anyway...

 
 Posted:   Sep 16, 2013 - 11:06 PM   
 By:   Loren   (Member)

Again Facehugger is braying like a donkey (and how ignorant he is!).
The score is fantastic and you can feel Zimmer's touch everywhere.

 
 
 Posted:   Sep 16, 2013 - 11:09 PM   
 By:   facehugger   (Member)

Again Facehugger is braying like a donkey (and how ignorant he is!).
The score is fantastic and you can feel Zimmer's touch everywhere.


Oh personal attacks! Coming from you, why am I not surprised? roll eyes

Edited back since The Projectionist likes this: Tell me, how do you like Zimmer's touch? Is it quite different from Jablonsky's touch?

 
 Posted:   Sep 16, 2013 - 11:22 PM   
 By:   The Projectionist   (Member)

From facehugger before he edited his post
Tell me, how do you like Zimmer's touch? Is it quite different from Jablonsky's touch?

LOL this is like asking why does orange juice taste like oranges? Could the real question be "Is it feshly squeezed or concentrate?"

 
 
 Posted:   Sep 16, 2013 - 11:29 PM   
 By:   facehugger   (Member)

Tell me, how do you like Zimmer's touch? Is it quite different from Jablonsky's touch?

LOL this is like asking why does orange juice taste like oranges? Could the real question be "Is it feshly squeezed or concentrate?"


It's more likely cloned. Hence it tastes like the original one in every way, but secretly inferior.

 
 Posted:   Sep 16, 2013 - 11:46 PM   
 By:   The Projectionist   (Member)

Tell me, how do you like Zimmer's touch? Is it quite different from Jablonsky's touch?

LOL this is like asking why does orange juice taste like oranges? Could the real question be "Is it feshly squeezed or concentrate?"


It's more likely cloned. Hence it tastes like the original one in every way, but secretly inferior.


I can see where you are coming from with the comparisons to Steve Jablonsky,maybe it is true, but I hear alot of Zimmer-related stylings here that predates Jablonsky. I mentioned Mission Impossible 2, but theres some things from the early 90s like Days of Thunder, Backdraft and The Fan.

 
 
 Posted:   Sep 17, 2013 - 4:40 AM   
 By:   bondo321   (Member)

Tell me, how do you like Zimmer's touch? Is it quite different from Jablonsky's touch?



lol I love that you're making a joke out of your own ignorance. And I don't mean "ignorance" in a mean way, I mean it in an absolute literal way - you can't tell the difference between Zimmer and Jablonsky, so you treat it as fact. I know plenty of people who can't tell the difference between John Williams and Alan Silvestri; that's simply musical ignorance. I have no problem differentiating between Rush and Battleship - they're two different scores with different themes and composers.

 
 
 Posted:   Sep 17, 2013 - 11:30 AM   
 By:   facehugger   (Member)

Tell me, how do you like Zimmer's touch? Is it quite different from Jablonsky's touch?



lol I love that you're making a joke out of your own ignorance. And I don't mean "ignorance" in a mean way, I mean it in an absolute literal way - you can't tell the difference between Zimmer and Jablonsky, so you treat it as fact. I know plenty of people who can't tell the difference between John Williams and Alan Silvestri; that's simply musical ignorance. I have no problem differentiating between Rush and Battleship - they're two different scores with different themes and composers.


Reading comprehension fail. I said it's similar to Jablonsky's approach but inferior. Like Silverstri being inferior to JW.

 
 Posted:   Sep 17, 2013 - 12:06 PM   
 By:   random guy   (Member)

enjoying this score a lot. can't stop playing "Nürburgring"

 
 Posted:   Sep 17, 2013 - 3:35 PM   
 By:   Mr Greg   (Member)

Any word on how the score fits in the film?

 
 
 Posted:   Sep 18, 2013 - 9:50 AM   
 By:   ddddeeee   (Member)

The movie is excellent, sappy ending aside, and the score works wonderfully in it. A lot of it gets buried under the sound effects but Howard compensates by stripping all that back on quite a few occasions.

 
 Posted:   Sep 19, 2013 - 9:59 AM   
 By:   Movie Music Mania   (Member)

I actually thought it was pretty good, even if it tended to sound like stuff we've heard from him before... my review is as follows: http://www.moviemusicmania.com/2/post/2013/09/rush-hans-zimmer.html

 
 Posted:   Sep 19, 2013 - 10:49 AM   
 By:   The Projectionist   (Member)

I actually thought it was pretty good, even if it tended to sound like stuff we've heard from him before... my review is as follows: http://www.moviemusicmania.com/2/post/2013/09/rush-hans-zimmer.html

Good review, thanks for mentioning the sound. I didn't find that much distortion, like Man of Steel, but its still annoying since you said it draws you out of the music. But I did notice the little spaces between tracks that are suppose to flow together, I have an MP3 version of this score for now, and I was hoping this would be corrected in the CD version....Also there is some bad compression artifacts that is noticeable in the percussion that I am hoping is also corrected in the lossless release...such as the completely smeared cymbals in "%20". Did you base you review on the CD or MP3?

 
 Posted:   Sep 19, 2013 - 3:24 PM   
 By:   Movie Music Mania   (Member)

I actually thought it was pretty good, even if it tended to sound like stuff we've heard from him before... my review is as follows: http://www.moviemusicmania.com/2/post/2013/09/rush-hans-zimmer.html

Good review, thanks for mentioning the sound. I didn't find that much distortion, like Man of Steel, but its still annoying since you said it draws you out of the music. But I did notice the little spaces between tracks that are suppose to flow together, I have an MP3 version of this score for now, and I was hoping this would be corrected in the CD version....Also there is some bad compression artifacts that is noticeable in the percussion that I am hoping is also corrected in the lossless release...such as the completely smeared cymbals in "%20". Did you base you review on the CD or MP3?


Thanks! Comparatively, you're right... there's a lot less distortion in Rush than many of Zimmer's recent works. I wrote my review based off of the mp3 version, so I unfortunately can't attest to the CD version. My hope is that such a glaring error would be corrected for that release.

 
 Posted:   Sep 20, 2013 - 2:20 PM   
 By:   First Breath   (Member)

Sound clips on Amazon sounds very good. Like a mix between MI2 and U2. This is one Zimmer score I should really buy.

 
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