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Yes, because INCEPTION, INTERSTELLAR, RUSH, THE DA VINCI CODE, THE LAST SAMURAI etc. are such low quality scores.
*sigh*
Certainly not low quality scores, but not scores that make the hairs stand on my back, like those 80s and 90s scores did.
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If art and music are subjective, how do you quantify this question? In whose opinion is it directed? Your opinion? My opinion? Popular opinion? Critical opinion? And are we quantifying in terms of CD sales? Digital sales? Box office results? Zimmer's paycheck amount?
Quantify in number of articles Hans Zimmer appears in, number of times he comes up in search results, number of times he is mentioned in hashtags.
Requiring more time would be the percentage of times his music appears in movie trailers, percentage of times ANY film score contains heavy taiko drumming and the same kind of ostinatos.
The point is that Remote Control Productions has a massive roster of composers that have learned the same techniques and sample libraries and are putting out Zimmer-produced music en masse. There is no composer who can compete with that right now because they are one against the large Remote Control infrastructure. And Hollywood, being risk averse, views this scenario as "safe" rather than "stagnation". Stagnation leads to mediocrity and isolated thinking, which is what we're all complaining about.
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1. What's this magical "we", The Guardian?
2. From "James" on JWfan....
It is not that what is written is not true, but the author says he wrote the article after the public "outraged" created the hashtag #StopHansZimmer. This hashtag did not exist until the article was published.
That smells like publicity.
That is some sound logic there.
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I think Zimmer is one of the most accomplished, excellent film score writers today. His achievements precede and often supersede many of the negative (and even positive) comments here.
However, I think he peaked at Man of Steel (and I don't mean just in the superhero genre). He has made other very good scores in this century (the Herrmann-esque Inception and consistently interesting Interstellar) but I don't hear anything matching, say, the Lion King since. Not even in the same ballpark imo.
The synth has had too much integration into soundtrack scores, its use along with sample libraries are giving every action movie the same sound (of course, the oversaturation of those movies is simply reinforcing that). As much as I love (and use) synths, the autopilot thing (see Jackman's Civil War) is getting really old. The bizarre, widespread acclaim for the Wonder Woman score disillusioned me a lot toward other people's current regard of film scores, so please know that I am probably very biased and base your judgement of this and other posts accordingly.
Silvestri gave the traditional orchestration thing a try with the original Captain America, but besides the quasi-fanfare there really wasn't much meat to what he did (I've noticed I mostly like him when he emulates Herrmann lol! Another disciple!).
Movies in general today just don't seem to use the Wagner-influenced music-enhancing-film-and-expressing-what-couldn't-be-expressed-in-images thing anywhere near as much. Usually when we see scores today that do that, enhance-the-score thing it's written by the old masters, or extremely influenced disciple (the excellent-even-without-the-heavily-encompassing-Herrmann influence Elfman is an example).
I remember buying Batman vs Superman in hopes of another monster score like Man of Steel and began to get disillusioned by how phoned in it sounded. But hey, even Master Rozsa showed less enthusiasm for the Ben Hur style in his later work. Hard to blame either.
Nothing Zimmer has done since 2013 has interested me, and I was at one point a huge fan. I'm trying to get on board, but I just feel some inspiration was lost.
Just my opinion, I could be wrong.
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This is insane. These posts are replicating like bunnies.
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sorry double post
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Triple sorry.
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