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Well he scored the first film which was even more dreadful than the aweful Spidey 2...  So I would rather shut up if I were him...
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The first wasn't good but it wasn't nearly as much of a horrible mess as the 2nd. I can see why it appealed to Horner's sensibilities more and why he was able to find some stuff to latch on to.
Yavar
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Posted: |
Dec 8, 2014 - 12:35 PM
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By: |
mstrox
(Member)
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I can't remember the last time I disliked a superhero movie more than Amazing Spider-man 2 (maybe the Fantastic Four movies?). There was a good 1.5 hour worth of movie in there, but the thing was something like 2.5 hours.
The Electro stuff was really unrelated to the elements that moved the plot forward (the birth of the Goblin, Peter and Gwen). It wrapped up with very little impact on the plot. It took way too much screentime to be simple world-building fun (like the Rhino stuff, which I liked with the exception that it tacked 10 more minutes onto the end of the film).
Zimmer's score, I thought, was pretty good and was a perfect match for the movie (the second part may be more backhanded, but still a compliment!). It was weird and loud, but I don't think anyone could say it was uninteresting (which I feel about a lot of Zimmer releases, like Interstellar, Man of Steel, The Dark Knight Rises, which have some new ideas but to me really seem like they're aping his style from previous movies). It's worth listening to, I think, unless you're just a chronic Zimmer hater.
I did much prefer Horner's work on pt 1.
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Maybe he read the script and envisaged how bad it would be.*
ASM was very good and his score was also excellent.
Smart move to bow out on top!
brm
*just read the interview., I am not sure if he bowed out after reading the script or seeing a cut of the film
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I prefer Horner's work on the first movie as well. Both movies haven't been very good and it's a shame because Spidey have always been my favorite and wish they could get it right. I prefer the Raimi films (the best one being Spider-Man 2 with Doc Ock), but just like Man Of Steel, they just can't seem to reboot these characters correctly. I don't want wall to wall action sequences in a film and don't need to see multiple characters and story lines into one single movie. Guardians of the Galaxy was the biggest surprise for me this year and got it right. Compelling characters, lots of humor and appropriate action sequences, with a surprisingly great score from Tyler Bates.
Agreed on all points. I hope Sony's Spider-Man franchise ends and they let the character revert to Marvel's control. I feel confident that under Joss Whedon's oversight they would get the character right.
Yavar
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That's a good interview from JHFM, thanks for sharing that.
So amazing that composers are dismissive of their work, while we
eat this stuff up day in day out. I mean, he doesn't even remember
BRAINSTORM! I could give you a note by note breakdown of that score!!
I wish Horner would do a handful more of action scores before finally calling
it quits, but that probably isn't happening. I hope these new concert works and
film scores make their way to our ears eventually.....
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Posted: |
Dec 8, 2014 - 2:36 PM
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By: |
Ado
(Member)
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And it is just plain smart for a composer to drop out of a movie that he hates, unless of course he just does his job for money.
I don't think that's necessarily true. A composer like Horner can do it (since he's rolling in that Titanic and Avatar money), but that's really a rarity. If an up-and-coming composer were to drop out of a movie because they hated it, I'm sure they'd start getting a reputation in Hollywood, lose a lot of jobs.
There are few guys like Jerry Goldsmith, that can look at near or completely awful movies, and come out with an inspired score better than the movie ever deserved. I think it comes down to Horner could not inspired by such a movie and he did not think he would enjoy it. He has also steered away from sequels quite a bit. You have to give Horner credit for being more picky about his movies, and yes I am sure it has something to do with him being financially well off. Beyond that he might just not enjoy working constantly the way Jerry did, or nowadays, Brian Tyler.
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Posted: |
Dec 8, 2014 - 2:37 PM
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By: |
Francis
(Member)
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Bottom line; the first TAS had a more classic movie approach with an almost lecturing quality in life lessons and a clear narrative start to finish. It did lack a menacing villain but the love story was 'cute' and it really was all about Spiderman. The score by Horner reflected that and was a traditional 90s score; mainly orchestral with accompanying (dated) synths, I really enjoyed it but I guess some folks didn't as he wasn't asked back.
With TAS 2, they went for more eye candy, the 'music video' approach; narrative is unimportant, just make sure everything looks and sounds cool and trendy. And it does, for the first half of the movie everything races by effortlessly, but once the story gets underway to detour with Osborn/Goblin only to lead up to a disappointing finale... well who cares, we had the great shots, Jamie Foxx acting like Urkle, the stunning visuals and trendy score. Spiderman here is more like Batman in "The Dark Knight", he really has little meaning, everything is focused on the people around him. The score is also more stylized and pop driven with the occasional burst of orchestral theme as if to remember you're watching a superhero movie.
TAS 2 to me is classic example of what a test audience would fix after having seen the first movie, but not necessarily ending up with a better movie after the improvements. Visually and arguably sonically yes, but Sam Raimi proved you can do a Spiderman movie with a good story when he did his part 2, why is it so hard to get right again?
P.S. In regards to Horner's comments, of course he isn't going to say anything positive about TAS 2, he wasn't asked back. It's a good thing Yared didn't score TAS 2 in that regard. 
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