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Oh Jesus, I don't even want to see what Giacchino wears to the premiere of THIS one.
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Yes... yesssss! Stay away from Star Wars! Stay away from movies I actually want to see! That's right.
This post takes on a whole new meaning now!
I wonder if Giacchino WAS going to score this, but had to drop off after taking on Rogue One.
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In any case, it's interesting that Hans is coming out of semi-retirement to score it "himself."
Wait, was Zimmer in a state of semi-retirement? IMDB has all of these projects listed for him, in addition to the above
Dunkirk (post-production)
2017 Hans Zimmer Live on Tour (post-production)
2016/I Inferno (completed)
2016 Hidden Figures (post-production)
Planet Earth II (TV Mini-Series documentary) (composer) (pre-production)
Hans Zimmer Live on Tour is just a concert film of the concert tour he did earlier this year, so doesn't require any new scoring.
Anyway, I think someone is getting confused. Zimmer said earlier this year he was retiring from doing Superhero scores, not retiring from scoring in general.
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Mazzaro on board?  All the Hans' scores he has been involved with, were ruined with boring grating ambient sound design and mixing. But I like his "Bullet To The Head" score. I'm waiting for a CD.
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Mazzaro on board? All the Hans' scores he has been involved with, were ruined with boring grating ambient sound design and mixing. But I like his "Bullet To The Head" score. I'm waiting for a CD.
Don't you have a Transformers / Tron ripoff score to listen from Brian T ?
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The track LOVE is the standout. It's a fine score but Conrad Pope's involvement in that track is especially beautiful. I love his nod to Howard Hanson's harmonic vocabulary as well- when is the last time a film composer referenced Hanson? Uh yeah, that would be more than 30 years ago with E.T. by John Williams.
Truly wonderful writing. I sound like a tired old broken record but I would have loved to hear a Conrad Pope Rogue One. Or heck, I wish Giacchino had let him into his team for that project!!
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I appreciate both of you bringing this up, and I've just listened to "Love". I don't tend to want to get in debates but this time I gotta.
It depresses me that the best thing you can say about a score is that it is pastiching something old that has been already (too!) well used in movies. The cue isn't just in the Hanson idiom - it is absolutely modeled on the original. Doesn't seem to me that a step back to a bad-old-practice is any kind of improvement on anything current.
On the other hand I'm really enjoying "Go Get Yourself a Horse" that immediately follows, and the score is definitely a fun listen with lots of other pastiches, so what am I worried about? 
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Posted: |
Apr 7, 2017 - 11:54 AM
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By: |
Erik Woods
(Member)
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Here's what Pope had to say about the "Love" cue via Facebook
"There is no greater gift in life than to do what you love with those whom you love.
That sentence basically sums up my experience writing and conducting the cue linked below.
Profoundly grateful to Hans Zimmer for thinking of me for the task to arrange, adapt, compose, orchestrate and conduct a piece music to a particular scene of recent Dreamworks animated feature THE BOSS BABY.
The cue had to be an almost “stand alone” piece in order to function in its role in the “storytelling” of the film and the score. It had to have the musical rhetoric and grammar that was more “classical” than “underscore”, at least as underscore tends to function today, yet the music still had to complement the themes and score of Hans and the supremely gifted Steve Mazzaro as well as realize the vision of director Tom McGrath, producer Ramsey Naito and editor Jim Ryan.
I conducted this cue, free time, and “old school” (no headphones!) with an orchestra composed of many friends and colleagues with whom I’ve made music since “Sleepy Hollow”.
Deepest gratitude to Isobel Griffiths, Geoff Foster, Lucy Whalley and to all musicians who have played so many of my scribblings over the years; to name but a few: the incomparable Karen Jones on Flute, Nick Bucknall on Clarinet and the pesky Ab (!) Clarinet ,not to mention Gareth Hulse on Oboe D’Amore and Jane Marshall on Cor Anglais, Skaila Kanga on Harp and the all too many friends and fellow sufferers to mention here: Steve Mair, Mary Scully, Richard Watkins, Owen Slade, Paul Clarvis, Frank Ricotti, Gary Kettel, Bill Lockhart, Andy Wood, Phil Cobb, Caroline Dale, Peter Lale, Emlyn Singleton and the ever sympathetic collaborator, concertmaster Perry Montague-Mason--- and so many more whom I can’t list here but am ever grateful to.
Finally let me once more express my thanks to Hans Zimmer, Steve Mazzaro, Bob Badami and the entire BOSS BABY team at RCP.
The title of the cue says it all: LOVE."
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The main theme is structured like a cross between that Howard Hanson piece used in ALIEN and Talgorn's MONTY SPINNERATZ melody, certainly in that Conrad Pope Love cue.
It's nice stuff nevertheless.
oops...I see David beat me to that observation.
Except that what Pope evokes from Hanson's Symphony 2 isn't the same material from Alien but the intro and development section from the first movement rather than the theme group that appears later which SCOTT used in Alien.
I don't see it as an issue however. Beats the hell out of the same tired boring chords and string ostinatos that litter the film score landscape.... and let me be clear here- I'm not trying to diminish the lovely orchestration and arrangement by Pope. The Hanson moment is really a bridge between two sections in the due and not the main material and I applaud Zimmer for giving Pope the room to really stretch out and score it with a firm handle on melodic/harmonic development that so many other scores lack these days.
For those of you who'd like to get up on your high horse about originality, first try doing it yourselves. It ain't that easy to avoid evoking something you've heard or studied, especially the more learned you are about the orchestral repertoire. Making these kind of assertions out of some misplaced sense of superiority is why I seldom frequent this forum anymore.
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