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Have to say this is an improvement. Horner's AMAZING SPIDER-MAN was one of his weakest scores — ever. From the cribbing of Elfman's skittering electronics, to the head-scratching artistic choices (male vocals?), temp-track bleeding (Desplat's HOSTAGE opening title is ripped almost note-for-note in Horner's opening sequence) to the ham-fisted (Peter Porker?) action scoring lazily cranked out of a sequencer. One regret is the loss of Horner's love theme, which typical for the composer, was an asset.
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temp-track bleeding (Desplat's HOSTAGE opening title is ripped almost note-for-note in Horner's opening sequence) This is something I never noticed before. Wow! Comes pretty darn close, doesn't it? -Erik- It sure does. If "Pretty darn close" means "exactly the same"!
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I think someone should call Stu Phillips whose tv Spider-Man theme was the best IMO http://youtu.be/Z9nLVqltXxo Interestingly enough his use of 3 notes (his spi-der-man motif) shows what a skilled composer can do to develop a simple three note idea. Would love to get this on CD one day...
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Posted: |
Jul 18, 2013 - 11:13 PM
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By: |
desplatfan1
(Member)
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Is this necessary? There's dozens of composers out there to choose and they choose Zimmer? Especially when Horner did one of the few superhero scores with heart, melody, and sense of adventure? And that included fresh sounds for a superhero score? Also, remember that he was chosen one year before the movie was released, and the Bluray feature shows that he loved the film, and wanted to bring emotion. About the film, don't you even dare to compare with Schumacher's Batman. The new take on Spider-Man is much more modern, realistic and faithful to the comics (Spider-Man is supposed to be goofy, and Elektro's look is accurate to Ultimate Spider-Man) than the cheesy Raimi trilogy (which tried to be like the comics, but they became melodramatic and changed lots of stuff). And they're doing the films with the chronological order of the comics, unlike Raimi.
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YOR is already getting ready for another thread.
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