-
Message Boards
Movie Soundtracks
Filmmusic 90s (poll best decade cfr 2000)
Archive of old forum. No more postings.
Please visit our new forum, The MovieMusic Lobby, to post new topics.
Author
Topic: Filmmusic 90s (poll best decade cfr 2000)
de_masse
Non-Standard Userer
hello,
By accident I stumbled upon this site, and it seemed instantly interesting, for I love filmmusic. I read posts from 5years back, when in 2000 a poll was held of in which decade the best film music was composed.
Since I am a only a young boy,only 20y, I grew up with the filmmusic from the 90s. My first soundtrack was 'The Rock'. So I was instantly hooked on Hans Zimmer's filmmusic. To my surprise (but at the same time I can also understand why) there was a lot of negativism on Zimmer's music, even reffered to as muzak.
I followed Zimmer's evolution a bit, from a world apart up to King Arthur, (the last Zimmer score I own) Overall I can appreciate them all, when a bit less then the other, but always better than most crap I hear on radios. (although it could be because I live in Belgium and all radiostations broadcast horrible popmuzak, except for maybe 2stations)
Of course I know Zimmer's not the only composer in land of music...
But when I was reading these posts from 2000, and how a certain man (named daniel2) got beaten by others, because his opinion was that the 90s produced the best filmmusic, and because he loved (probably still does, music IS for life) Zimmer and all other MediaVentures protocols. I, too, love works from John Powell, Harry Gregson-williams, Klaus Badelt (especially the time machine!) etc.
But I also question the fact if it's a good thing to create this kind of factory for music. Because in a while it can start to get boring and all music starts to look alike. But then again, can't we compare all kinds of music?
When we go back to the times of Ancient Greek, and their stories, there will always be some kind of base in every story that will be the same. This is what I've learned in filmschool. All stories are the same, what makes them different is the person that tells it. He is the one who can make it slightly different and maybe even more interesting. But the basics of storytelling, will remain the same.
I think it's the same with music.
I'm studying the piano at the conservatory, and I'm loving it. I listen and play a lot of classical stuff. And every day I discover new things. Things that haven't changed... There where a lot of greater composer's before Hans Zimmer, and there will be a lot greater composers after him.
But no one can deny the fact that Zimmer has a lot of talent, and not only that he's got the spirit to go on and follow his vision, and by god, those visions have changed a lot in the world of film!
It all depends on how we listen as an individual to music.
There's a lot of music I love;
composers who've written music centuries before my time, can still amaze me...
(JS Bach, WA Mozart, J Haydn, Verdi, Beethoven, Chopin, Rachmaninov, Debussy, Tchaikovsky, shostakovitch, Goldsmith, Herrmann, Barry, Williams, ...and so on and so on...)
Anyways, what I'm interested in is how people, decide to appreciate music. How we choose that Zimmer's music is interesting as music for our modern movies...
How will filmmusic evolve, how will films evolve, how will our world evolve? Will we over stop making crap? Will humanity wise up? Will we create our own doom?
Some hard questions I know, but maybe it's interesting because they exist inside the mind of a young boy, only 20years old...and I am definitely not the only one.Just one thing I wanted to mention,
while Daniel2's list of his preferred 90s soundtracks sucked as hell, I was surprised that one Zimmer soundtrack wasn't mentioned. Like the movie, this music will hold an important place in my heart (and no not for some stupid personal thing,like a romance or losing my virginity on this music) but because of the pureness...
If there's anyone who disagrees with me on this one please let me know, and by god be sure to be able to defend yourself, because if you don't like this soundtrack, you just don't have a clue of what music is about...
I'm talking about 'The thin red line'
It's the kind of music that demands our attention, it's the kind of music that's harder to listen to. But when you pay the effort, it's all worth while...Hope to have started a discussion
kind regards,
sam(ps if my english sucks, just blame it on the fact I'm a silly belgian)
posted 02-27-2005 01:11 PM PT (US) franz_conrad
Standard Userer
You share with Daniel2 a propensity for lengthy posts... fortunately you have none of his obnoxiousness, which was the main reason why people gave him a hard time. There was also a problem with him hacking into a number of sites and sending people viruses by email. Some thinkers are interesting enough to put up with a lot of garbage from, but I think Daniel pushed enough buttons to deserve his exile.As for Zimmer - I tend to like his work more than not. He has a distinctive voice, he's an innovator, and he's a more than capable writer. At various stages in my film score listening life I've count Hannibal, The Thin Red Line, Crimson Tide, Beyond Rangoon, Matchstick Men, Milennium and the score cues from Lion King as among the most rewarding I'd heard. And cues from Black Hawk Down and Last Samurai stand with the best of them too.
As an industry presence he's impressive - providing a leg up to some very promising young composers who have become favorites for people in recent years. There are almost as many fans for John Powell, Harry Gregson-Williams and Klaus Badelt as there are for Zimmer himself. The appeal of other proteges such as Trevor Rabin, Nick Glennie Smith, Steve Jablonsky (who we've yet to hear a lot from), Mark Mancina, Patrick Cassidy and Jeff Rona tends to be slightly more limited, but truly Hans deserves respect for introducing more composers than anyone else in recent history.
posted 02-27-2005 03:46 PM PT (US) Old Infopop Software by UBB