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This makes me wonder if it was just timing. If Moroder or Faltermeyer had been active later than they were would they have "caught on" as indelibly as Zimmer has?
I do remember thinking Rain Man was Faltermeyer and that Black Rain was Vangelis. (Black Rain just because it was a Ridley Scott film.)
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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).
Just a side note-
I spun 'Neverending Story' the other day after acquiring 'Das Boot' a short time ago. Doldinger and Moroder are totally in synch style-wise. So much so, I was wondering of Doldinger wasn't a pseudonym for Moroder, or something.
Anyway- back to your regularly scheduled program...
No one since Steiner has had the same influence as Zimmer. Maybe Korngold, for solidifying what Steiner set into motion.
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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).
Just a side note-
I spun 'Neverending Story' the other day after acquiring 'Das Boot' a short time ago. Doldinger and Moroder are totally in synch style-wise. So much so, I was wondering of Doldinger wasn't a pseudonym for Moroder, or something.
Anyway- back to your regularly scheduled program...
No one since Steiner has had the same influence as Zimmer. Maybe Korngold, for solidifying what Steiner set into motion.
I was aware of Das Boot at the time but not of the reception of the score. Did people complain that a synth score had no place in a WWII submarine drama? (I love Das Boot.)
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I was aware of Das Boot at the time but not of the reception of the score. Did people complain that a synth score had no place in a WWII submarine drama? (I love Das Boot.)
I love the film but yeah the score is kinda distracting in context of the film.
Why? I mean, it's not like a slide whistle in a James Bond film. It's not like it doesn't have a very nautical sound. It's not even entirely electronic.
(The temptation to start a Ladyhawke discussion nearly overwhelms me.)
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I was aware of Das Boot at the time but not of the reception of the score. Did people complain that a synth score had no place in a WWII submarine drama? (I love Das Boot.)
Although Das Boot utilized electronics, it also employed a small orchestra of strings, low brass and solo guitar.
As it played in the US in 1982, when synth music was becoming more commonplace (in the wake of Midnight Express, Chariots of Fire and Blade Runner) no one really batted an eye. Though they were probably too engrossed in E.T., Star Trek II and Conan The Barbarian to pay much attention to the Das Boot soundtrack!
Agreed though, it is a great score.
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This makes me wonder if it was just timing. If Moroder or Faltermeyer had been active later than they were would they have "caught on" as indelibly as Zimmer has?
I do remember thinking Rain Man was Faltermeyer and that Black Rain was Vangelis. (Black Rain just because it was a Ridley Scott film.)
Maybe. Although Faltermeyer decided to move to Germany in 1989, it wasn't just because his sound was becoming less popular.
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