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Author	Topic: Mission Impossible 2

Pierre Oscar® Winner	Hans Zimmer will score It, not Danny Elfman!
posted 06-18-1999 12:17 AM PT (US)

SFT Oscar® Winner	Where did you get this information?
posted 06-18-1999 01:02 AM PT (US)

Dan Brecher Oscar® Winner	Zimmer vowed to never score another action movie (or to put it in his words "a movie where someome runs from an explosion shouting") again, I find this hard to believe. While it'd be cool, I want some continuity, bring back Eflman, he did a wonderful job on the first one. NP: Good Will Hunting Promo Score
posted 06-18-1999 01:19 AM PT (US)

pietari Oscar® Winner	It´s true.The info´s from FSM,they hardly ever get it wrong.I couldn´t be happier about this! After Instinct Elfman should never score another film again. All that was missing from the first Mission was a great score and now the second one´s going to have one
posted 06-18-1999 01:49 AM PT (US)

Jack Oscar® Winner	I thought the first film was missing a coherent plot and a storyline that didn't offend long term fans of the series. And Elfman did a terrific job of updating the original tv music and twisting it to make it his own. I probably played the score cd as much as anything that year. I don't think we will end up with the mission "sound" with Zimmer at the helm. Long term fans may be as offended as the Bond fans were with Goldeneye.
posted 06-18-1999 02:07 AM PT (US)

SFT Oscar® Winner	pietari, The first film was missing a good score? Oh please! It would really be awfull if Zimmer is going to score the next. Simply put, he is not half the composer Elfman is, and is not capable of creating a fitting score for a movie such as this. And Instinct might not be Elfmans best, but it is certainly better than anything Zimmer has ever done. Sorry if I seem rude, but you really made me angry with that foolish comment. SFT NP: Batman, Danny Elfman
posted 06-18-1999 12:18 PM PT (US)

Ben Penserga Oscar® Winner	As much as I love Zimmer, I was kinda hoping that Elfman would be back on board, just for consistency's sake. I hope Zimmer goes for a more subtle approach to the score than the "action blat" that he sometimes uses in Bruckheimer films (not that I don't love that too). If he were to do one similar to Broken Arrow, I'd be happy.
posted 06-18-1999 12:57 PM PT (US)

pietari Oscar® Winner	SFT Have you ever heard any of Zimmer´s more drama based works? Thin Red Line,House of the Spirits etc. Subtle? Yes I think so. More than Elfman,Yes. Zimmer not half the composer than Elfman? Before you make such comments you should familiarise yourself with the argument you yourself use so often: Have you heard all of the composer in question´s works? Before YOU make such foolish and uninformative comments make sure you have properly listened to all the varying works in Zimmer´s CV. Anyway,this argument has been covered so many times on every single message board on the net that by now everyone should be aware that Zimmer is not only an action composer and is as adequate to compose the music for MI2 as Elfman would be or even more so. And this film is directed by John Woo instead of Brian Depalma so expect a more action orientated film. And I really have had enough of those horrible atonal horn blasts that Elfman seems to use in his action music nowadays a´la Mars Attacks (and I am not refering to the theme, mainly the robot chase bit) In case you have never heard this argument before here it goes: unless you haven´t noticed, Zimmer´s style has changed for the more subtle and orchestral from the ´usual synth action music´. And given Elfman´s style nowadays his form of composing fits more off-beat films (Simple Plan) better than action blockbusters. Anyway, sorry too if I seemed a bit rude as I myself was a bit put off by your comments above [This message has been edited by pietari (edited 06-18-99).]
posted 06-18-1999 04:50 PM PT (US)

SFT Oscar® Winner	pietari, I guess once in a while an argument like this is going to accure. So let´s just end it right away before it gets out of hand. For the record I have heard most of Zimmers music. And he has never been my favorite. I´m not saying he can only score movies like Broaken Arrow or Days of Thunder. In my opininon his two best scores are As Good As It Gets and Pacific Heights ( I hope I spelled it correctly). He is a good composer, but in my opinion just nothing special when compared to people like Elfman, Shore or Morricone. So if I offended you please understand that it was for the same reason you just flippede at me: You made a rather critical argument about a composer and score that I really LOVE, and therefore I felt the need to defend him/it. SFT PS: I am getting tired of Zimmers constant use of synth in his action scores. But it´s a matter of taste. And just to let you know, Elfman has´nt done that many action scores. Mission: Impossible is the only real action score he has ever composed. Listen to A Simple Plan and you will hear that he can compose "different" action cues (Tracks in the Snow). As you say: Do not critize Zimmers work if you do not know all of it. I say the same to you regarding Elfman. [This message has been edited by SFT (edited 06-19-99).]
posted 06-19-1999 02:56 AM PT (US)

pietari Oscar® Winner	Okay,we shall end it. But, for the record Élfman used to be my favorite composer up until 1995. I had all of his scores up to that point with the exception of Wisdom. I still buy most of his scores though Civil Action was just too bad. Simple Plan is alright though.
posted 06-19-1999 08:27 AM PT (US)

SFT Oscar® Winner	A Civil Action, remember that it´s "A" Civil Action Why does everyone forget that "A"? Well, I got A Civil Action for my birthday some weeks ago and I think it is great. Not to many composers can create a listenable score to a courtroom-drama. It is a very subtle score wich makes a very good contribution to the movie. I see it as a cross bewteen Good Will Hunting and Article 99. Hey...this just reminded me of a topic I was thinking of posting...gotta go! SFT [This message has been edited by SFT (edited 06-19-99).]
posted 06-19-1999 10:40 AM PT (US)

Crono/Kyp Oscar® Winner	How come Zimmer said that he would never score another action film? --Crono/Kyp Writer/Director/Producer
posted 06-19-1999 11:27 AM PT (US)

pietari Oscar® Winner	I don´t think the A matters too much though,it isn+t going to chance the world or something Sft,just curious, which Elfman style do you prefer better? I think you might have gathered by now which I do Okay and speaking of action music;Elfman´s music for the final action scene of MIB completely ruined the scene for me with it´s lacklustre feeling. In Thin Red Line if you listen to track 7 which isn+t really action music but more ´travelling´ music you cannot hear any synths at all I just hope this argument isn´t going to deteriorate into something like the meaningless ones going on at the FSM message boards. I really am looking forward to Sleepy Hollow,maybe Burton can make Elfman forget about that constant need for experiamentalism and have an inflence on the score that will make it sound like ´good old Elfman´ BTW I actually regard Batman as more of an action score than Mission [This message has been edited by pietari (edited 06-19-99).]
posted 06-19-1999 05:34 PM PT (US)

Crono/Kyp Oscar® Winner	YOu all love fighting back and forth don't you? SO will someone answer my question about why Zimmer said he would never score another action film again? --Crono/Kyp Writer/Director/Producer
posted 06-19-1999 05:45 PM PT (US)

Lancelot Oscar® Winner	Well...not claiming to speak for Zimmer, here, but maybe he's just tired of being stereotyped....? Perhaps? Oh...and I certainly mean no offense when I say, (also as a English major/writer/filmmaker) that the question should be: "Why did Zimmer..." (not "How come Zimmer"....)
posted 06-19-1999 08:18 PM PT (US)

Dan Brecher Oscar® Winner	Crono, He said it in an interview in an issue of UK film mag Total Film, around the time of the As God as It Gets' release here in England. What he said I quoted in my earlier post. I think he's getting borred, he goes on in the inteview to mention how mostly everyone has ripped him off now, so he's just given up. Maybe he's changed his mind, I dunno, maybe he just made it a "break" from action instead of a resignation from it? Really though, I want Elfman back for Mission: Impossible.. Dan (UK)
posted 06-20-1999 04:28 AM PT (US)

Steve Hughes Oscar® Winner	For those lucky enough to have heard Alan Silvestri's original score to the first Mission: Impossible know full well that Davvy Elfman's score was far superior. I loved Elfman's score -- I thought it was thrilling, atmospheric and original. I'm interested to see what Zimmer does, I'm a little worried that he doesn't xerox one of his other synth-action scores. I like continuity with films in a series and would rather have had Elfman return, he's more than up for the job, but Zimmer isn't the worst choice to replace him.
posted 06-20-1999 06:20 AM PT (US)

SFT Oscar® Winner	pietari, Wich I prefer? Hmm...that is a though question. Actually I prefer all of his work. But Batman and Edward Scissorhands are mu two favorite scores EVER, and I consider them to be the two best scores ever composed. I also like Nightbreed, Darkman and Dick Tracy. So you could say that I "prefer" his pre-1994 period. But I don´t really. He has grown as a composer (outgrown Tim Burton? I think so) and has become more mature then he used to be. Look at scores like A Simple Plan and Dolores Claiborne. Very subtle and moody scores, fitting the movies perfectly. So that in a sense is also my favorites. I think that, as time has passed, people have started accepting him as a more modern composer, and therefore he also gets alot of other work; not only stuff like Batman and The Nightmare Before Christmas. That is the great part of his talents. He is able to score all sorts of movies and do it perfectly everytime. Also, not many people can venture from one area of music to another and be succesfull at both. As for the part about exparamenting with his score: God! Would´nt filmmusic be borring if everything sounded the same? I mean, what about a little innovation? That is why I will allways respect Elfman more than any other composer: He does something different everytime. Besides, how do you think classic scores like The Omen, Vertigo and Jason & the Argonauts where created. By the composers just doing what everyone else was doing? I don´t think so. And for the record, I own every score Elfman has ever composed right up until now, with the exception of Wisdom and Midnight Run (they are on the way) and Forbidden Zone wich I can´t really seem to find anywere I also have a couple of bootlegs, promos and demos; I think I have more of Elfman´s music than most here... and then ofcourse Music For A Darkened Theatre Vol 1. and 2. SFT [This message has been edited by SFT (edited 06-20-99).]
posted 06-20-1999 08:55 AM PT (US)

Crono/Kyp Oscar® Winner	Quote: For those lucky enough to have heard Alan Silvestri's original score to the first Mission: Impossible know full well that Danny Elfman's score was far superior. When did Alan score Mission: Impossible? Was it another movie? I thought that the "new" one was the one. --Crono/Kyp Writer/Director/Producer NP: Portrait of Terror(H20): John Ottman (***1/2)
posted 06-20-1999 09:39 AM PT (US)

SFT Oscar® Winner	Alan Silvestri was originally signed on for the first Mission: Impossible film, but the score he composed was rejected by the director/studio, and Danny Elfman took over. Lucky for Elfman fans AND the movie. SFT
posted 06-20-1999 09:48 AM PT (US)

Widescreen Oscar® Winner	I actually think Zimmer would be great for this movie. As to this issue of why he didn't want to score eanother action movie, someone brought up the point that he didn't want to be sterotyped- and that's right. If Hollywood pigeonholes you in any facet or position, you find it harder to satisfy you soul and it's harder to prove you can do anything else. In defense of Elfman, I don't think anyone can do that to him, and his career is more satisfying. After Total Recall, GOldsmith said the same thinkg as Zimmer, only to the point of violent movies- but a a little while later, he ended up scoring Basic Instinct. Goldsmith has since scored action movies, but then, the nature of violence in movies has changed to some degree- I won't debate that point. I think the point that hasn't been made here is that Mission: Impossible for all its action setpieces, is not completely an action movie. It can be genrefied to that end, but to me, and to many other people, including those involved with the film- it is a suspense thriller/episonage/spy who came in from the cold kind of thing. Another thing you have to remember is that John Woo and Hans Zimmer have a profound working relationship. John Powell ended up scoring Face/Off at Hans' suggestion. It makes since for Woo to try to nab Zimmer again. Although it will be tough, as Zimmer is finishing the Road to El Dorado for Dreamworks Animation.
posted 06-20-1999 12:11 PM PT (US)

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