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Who was the HOT composer that all the non-score movie fans thought was THE person to score a film but all the score fans hated? (Quiet down Zimmer fans, I know EVERYONE doesn't hate Zimmer.)
I heard at one point that Maurice Jarre got quite the hate. Elfman seems to have aged into respectability. Was Horner ever Zimmer?
(As I write this I realize that Zimmer hasn't been "the hot new kid" for over 20 years. Maybe I should be asking "Who is the next Zimmer?")
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Posted: |
Jul 28, 2017 - 5:18 PM
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By: |
GoblinScore
(Member)
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Well, no good can come of this, but why not contribute anyway...
I think Giorgio Moroder, namely Midnight Express' win, was maybe the prior ring of the death knell for serious scoring from closed minded 'oldies only' folks, the keyboards are comjng, the keyboards are coming! !!!
Me...I'm glad I have Captain from Castile, Foxes, Prince of Foxes, Electric Dreams, Charge of the Light Brigade & Metropolis (84 version) to enjoy....then yet again, I'm quite mad, so.....
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I might be showing my ignorance, but it seems most of these answers are composers who were hot / active for maybe five or ten years (Faltermeyer, Morodor, Vangelis)? Zimmer has been going for almost 30 now, right? (Yikes! Is Rainman really that old?)
Giacchino does seem to be the busiest newer composer these days.
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Who was the HOT composer that all the non-score movie fans thought was THE person to score a film but all the score fans hated? (Quiet down Zimmer fans, I know EVERYONE doesn't hate Zimmer.)
I heard at one point that Maurice Jarre got quite the hate. Elfman seems to have aged into respectability. Was Horner ever Zimmer?
Like Zimmer, Maurice Jarre was very popular in the late 60s, owing to Lawrence of Arabia and Doctor Zhivago, which brought many offers to score blockbusters and other prestige assignments -- which some people felt should have gone to other composers. He was derided by many film music fans -- and lambasted in print by people like Page Cook and Tony Thomas.
In the early 70s, Michael Legrand and Francis Lai were also derided by film music fans, as their scores were popular but not especially inventive or unique. Lai's 1971 Oscar win (when Love Story beat out Airport and Patton) stuck in the craw of many people.
I think there was a trace of this "Zimmer hysteria" with James Horner in the 80s and 90s. While many of my generation appreciated Horner, we also felt he was a Goldsmith / Williams wannabee, and not quite in their league. Horner scored the same kinds of pictures Goldsmith and Williams were known for, yet seemed to get more "prestige" assignments than Goldsmith did, which -- at the time -- struck some of us as "unfair". (I personally no longer feel that way.)
Giorgio Moroder is perhaps the most serious contender for the title of "Original Zimmer". Like Zimmer, Moroder enjoyed much popular success, was a European synthesist who emerged from pop music -- and had a team of assistants / arrangers helping him. Like Zimmer, Morodoer was on occasion hired to provide "additional music" for films where his style wasn't really appropriate (like The NeverEnding Story, or the songs in Superman VI).
I don't think Vangelis qualifies though. While Chariots of Fire was massively popular with the masses, mainstream listeners were totally disinterested in his subsequent scores. In fact it was the soundtrack fans (and Vangelis' pre-Chariots fan base) who were all over Blade Runner, not public at large. Also, unlike Zimmer, Vangelis pretty-much shied away from mainstream movies, opting for things like Missing, The Bounty or art films.
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Giorgio Moroder is perhaps the most serious contender for the title of "Original Zimmer".
I love both dearly.
I'll never forget the moment when I was backstage during the concert break in Ghent a few years ago, where both were present. As Moroder came into the room, Zimmer greeted him by bowing gracefully -- like a padawan before a Jedi or something. Very cute moment. I tried to shoot a picture, but it came out all blurry.
I wonder if that was the first time they ever met? I remember reading in the Rock Solid Themes CD booklet that Zimmer used to live in the same building as Moroder and Faltermeyer in Munich, without ever meeting them.
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