All that said and done, this is my favourite Hans Zimmer score. I think it's a great and nicely produced album; all the best pieces are on the album and even some pieces that aren't even in the film are on CD, as well, including the show-stopper "Poisoned Chalice," (probably his best single piece since "Journey To The Line," from The Thin Red Line) which is just brilliant in progression and writing from Mr. Zimmer, doesn't even make it into the film. The score in the movie is mixed to a low-level, which is strange considering how there's a raging controversy in the U.K. over this, and the score works so much better on CD. I didn't stay for the entire end credits, but from the content in the actual film, it seems Richard Harvey's beautiful finale piece to the album has been left out almost entirely (it appears briefly when they go see Sir Isaac Newton for a map to the stars). The action music in the film appears to be all re-hash of track 12 on the album, which is great, considering how Zimmer has a recent nasty habit of not including many of his best action pieces on his score releases.

Zimmer really impressed me with his score, though. There were little motifs spread throughout, and I just wish that they had been expanded upon a little more to greaten their effect in the film. The three most prominent, for me, was the motif which seemed to be for the decoding/discovery moments (Used beautifully in "Poisoned Chalice" and heard in the beginning of Track 8), one for Sophie (album track escapes me at the moment), and the Grail theme (CheValiers De Sangreal). There was also the string bit--somewhat like Batman Begins--that got used from time to time with the discovery motif, and kind of changes when the Grail theme appears. Silias seemed to have a motif at first (First minute of Citrine Cross), but I'd have to see the film again to really see if I was right.

From here out, I shall simply refer to The DaVinci Code as The Phantom Menace 2K6.

The most excitement I could gauge from the audience, as well as myself, was when Ian McKellen first joins the little quest and is obviously into it. How Akiva Goldfoot and his Screenplay Machine could not figure emotional response into the script is beyond me, but he was just as clueless with A Beautiful Mind and that got him an Oscar, so what do I know?

As for Zimmer's music, it may be a work of art on CD, but on film it's about as uninvolved as Hanks until the last act. We do get a theme for the first 2/3, or maybe more of a few recurring chord changes, and it fit the tone to my ears but nothing more. However, the finale music was striking, and I did enjoy it, but for some reason when I was walking out of the theater remembering it, it kept changing into Edelman's music for the canoe chase from The Last of the Mohicans.

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Originally posted by gkgyver:
I enjoyed Da Vinci Code alot. Granted, it wasn't the whoppin' piece of brilliance we expected it to be, but it was intriguing and fun.

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Who's "we"? I don't know about the rest of you, but I got pretty much what I expected: A lame movie by a lame director. I just burst out laughing listening to CBC and hearing that people in India are on a hunger strike in protest of this piece of junk movie: HAHAHA! Poor them. What a bunch of suckers.

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Originally posted by sean:

Who's "we"? I don't know about the rest of you, but I got pretty much what I expected: A lame movie by a lame director. I just burst out laughing listening to CBC and hearing that people in India are on a hunger strike in protest of this piece of junk movie: HAHAHA! Poor them. What a bunch of suckers.

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It's obvious that they're protesting due to the films average-ness. To quote one Hindu: "I thought this was supposed to be the most anticipated movie of the summer?! Damn those Americans; all of thier most anticipated movies cannot escape the term lackluster!"

SPOILERS

And then I can just back out of the thread...

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Originally posted by rkeaveney:
Hans' score gets the wimpiest mix in recent memory. WOW, was it weak! Too bad too as it's great on CD.

Ryan

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Actually, it's funny that you bring that up. I was sitting in the theater going, "ok, for a movie that earned a higher rating in other countries due to it's score and sound mix, this is really unimpressive." It seemed like through the entire movie, nothing really fluctuated sound wise. The score was as loud as the dialogue, the dialogue was as loud as a gun shot, a gun shot was as loud as a plane taking off. I am hoping for a better mix when it's released on Blu-Ray.

Clayton

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Originally posted by BMikeJ:
Al, it takes just a few seconds to type the word.

SPOILERS

And then I can just back out of the thread...

It's a courtesy that sean on many occasions hasn't cared to extend to anyone on this board. And the subject has been brought up more than once.

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Take this into account: Sean's name is synonymous with spoilers. Have you never read any of Sean's other mini-reviews here? Just don't read them if they are from Sean.

And I agree with AI about the frustration: if you've read the book, fine; you definitely know what to expect. But I hadn't (nor will I if I have to go through all of that pointless exposition again, let alone the amount of times every single thing had to be explained in the film) read the book and the twists and turns were fairly tame.

And the sound mix; yep. It was atrocious.

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Originally posted by Al:
Does this score really play that differently on CD? Is there much more thematic material, development, or consistency? Obviously it must have a better a sound mix, but I wasn't all that impressed with what I heard in the film, as I already stated. However, because of some of you guyses's comments, I'm almost convinced to pick up the album (which would be the first Zimmer album I've paid full price for since The Peacemaker came out back in 1942 or something).

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To correct you, it was 1943 that The Peacemaker was released.... 1943.... But yes, the score is actually much more solid on the CD than in the film. In the film I hardly noticed the score, but on the CD, everything seems more thematic and seems to flow better. In my opinion that is. And tracks 10 and 13 are very good! Even if 13 does resemble King Arthur!

Clayton

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Originally posted by Al:
Does this score really play that differently on CD? Is there much more thematic material, development, or consistency? Obviously it must have a better a sound mix, but I wasn't all that impressed with what I heard in the film, as I already stated. However, because of some of you guyses's comments, I'm almost convinced to pick up the album (which would be the first Zimmer album I've paid full price for since The Peacemaker came out back in 1942 or something).

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Yeah, it is well worth the price. There are some great pieces that didn't even make it into the film, for whatever reason, like "Poisoned Chalice" (which just blows my mind) and the Richard Harvey choral finale is quite stunning, as well. It's a solid score. Da Vinci Code, as a film, probably has the worst sound mix I've heard since Attack of the Clones, in how the music is treated and represented, and it just has an overall bad mix where literally nothing stands out: Honestly, if I didn't already own the CD and had just gone by what I could hear in the film, I probably wouldn't have bought the score, so I see where you're coming from, for sure. That said, Al, it's well worth the price for this score, IMO; go on Clayton and I's recommendation, you won't be dissapointed.

But can't everyone assume that we're talking about movies and movie music here, and that spoilers are virtually a given in such discussions? Go out, see the film, then come back and read.

But at the same time--(and now I'm griping at Sean)--Jeez, man--not everyone lives in the Continental 48--we don't all get the gloriousness of opening weekend, and some folks have to wait weeks, sometimes months before seeing the film. Can't you extend some courtesy and excercise some self-control? Or if you have to get it off your chest, head over to IMDB and kick over sandcastles in those kids' sandboxes, yeah?

The circumstances are bad enough that one finds it impossible to discuss this topic (The DaVinci Code) on any other board anywhere without inciting some kind of religious/political debate--do we really have to crap where we live?

Lancelot: I was just fresh from seeing the movie and thought I'd post some thoughts while it was still fresh in my mind—there's no point in me waiting to post what I thought about the film at a later date. I see nothing wrong with that. The thread is called "The Da Vinci Code," so it's pretty obvious what's going to be dicussed on opening weekend.

BMikeJ: I commented on the movie and the movie music. You assumed right that I'd mention the music, and for obvious reasons, I mentioned the movie, as well; it is opening weekend, and unless you were unaware of that than that's no one's fault but your own. Writing about the movies that film scores are attached to goes hand-in-hand, you can't escape that, so live with it. Also, since you seem to dislike me, my posts, and my opinions, than please—to lower your chances of reading something written by me—don't enter a message thread started by me.

Other than that, BMikeJ, if you've got an opinion on Hans Zimmer's music for The Da Vinci Code or the movie itself or how the score works in the movie, than please, don't be shy, let us know what you think about it (rather than what you think of me, because I don't think anyone else really cares).

nuts: I, too, can't stop playing this score, it's incredible, and I didn't hear the Mel Wesson stuff in the movie, just a lot repetition of the theme associated with Silas; Ryan's right, the performance in the film is orchestrated much like "Burning The Past" from Kingdom Of Heaven. Also, The Da Vinci Code film, IMO, has the worst sound mix since the hatchet-job-super-quiet-muted-horrible sound mix that Ben Burtt gave Attack Of The Clones a few years back. On top of that, Ron Howard shot the film in 35mm, but clearly had no idea how to fill his frame (just check out that awful car chase).

Now, this makes your comments in this thread all the more ridiculous, for obvious reasons, and shows your total lack of repect towards others as well. So, don't lecture me about supposed spoilers you can't even point out and music and movies you won't even comment on. Channel your anxieties somewhere else.

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Originally posted by Marian Schedenig:
I never thought I'd see the day when someone voluntarily compares himself to justin_boggan.

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Here is the link to the thread that sean is quoting me from...
http://www.moviemusic.com/mb/Forum1/HTML/012943.html

If you're going to quote someone to make an argument, it's not a bad idea to show where the quote came from, sean. You're a college student. You've written papers. Don't you know this? Oh. Short attention span. I forgot.

I stand by what I wrote in that thread and I don't know what that has to do with this thread. I'd like you to slow down with the tippy-typing and articulate the point you're trying to make. I want to try to understand.

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Originally posted by BMikeJ:
sean, I'm flattered that you've taken the time to do some research on what I've written on this board. And I'm also flattered that you are quoting me, like one of your favorite movie quotes, or perhaps a quote from one of your favorite writers... It's a shame that you're not actually reading what I'm writing or perhaps noticing that I've made a lot of posts on this board that have NOTHING to do with sean o'neill. Taking a quote from me in another thread and dropping it in here means very little because you're taking what I've said out of context and just putting it in here to make a point. What point? I have no idea... At the beginning of this thread, yes, at the beginning... You may have forgotten because of your short attention span... I wrote about SPOILERS in your posts and the lack thereof. Again, I'm not the only person who has mentioned this to you but you keep doing the same thing. Why you can't type that simple word out? I don't know...

Here is the link to the thread that sean is quoting me from...
http://www.moviemusic.com/mb/Forum1/HTML/012943.html

If you're going to quote someone to make an argument, it's not a bad idea to show where the quote came from, sean. You're a college student. You've written papers. Don't you know this? Oh. Short attention span. I forgot.

I stand by what I wrote in that thread and I don't know what that has to do with this thread. I'd like you to slow down with the tippy-typing and articulate the point you're trying to make. I want to try to understand.

Have I written too much? Have you tuned out already?

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HAHA! Well, not that it matters, but originally I had put a link to the thread, yet thought it wasn't all that important (anyway, all you'd have to do is search your user name or for Goldsmith's Breakheart Pass, for anyone who actually cares). As far as doing so-called research, I just took your advice and did a quick overview of what you've typed here before, and there wasn't much to work with. To answer your question: you haven't written too much at all, you've actually written too little. And, you're really trying too hard when you write that I have a short attention span, because that's just not the case: I just didn't enjoy reading Lou's ridiculous rants on why his opinions are better than everyone else's, and at that length, come on! I'm sure, like me, you have better things to do than read Lou's big, prophetic posts.

See, BMikeJ, this message thread is about Hans Zimmer's music for The Da Vinci Code and, of course, about the movie, too, and not about criticising me. Now, you have yet to point out anything I spoiled about this movie (and no one else has, either) for you, and you have yet to add any comments on Zimmer's score or the actual film. So, please, BMikeJ, you are once again invited to participate in this thread by properly commenting on the material at hand (Zimmer's Da Vinci Code score and the supposed spoilers I shockingly revealed [which I didn't at all if you actually read it]).

<<There's a ridiculous flashback scene where we get to see how Tom Hanks and Amélie jump out of a plane in a hangar after realising they've escaped, just in case the audience is as stupid as the filmmakers think they are. >>

<< It was fun to see Magneto go crazy-off-the-chain-insane in his final scene; and equally fun when they find out they have a "laser key" (hilarious!) to open a safety deposit box that Das Boot really wants his hands on. Also hilarious is the priests who are part of the Illuminati, or the Cult of Jesus, or something, playing pool and answering cell-phones while handling millions of dollars in bearer bonds in their evil mansion.>>

I know you wrote this several days back so I can understand if you might have forgotten about it. Maybe you don't understand the concept of spoiling a surprise for someone... Maybe they don't wrap the Christmas presents in your house...<HR size=1></BLOCKQUOTE>

In actual fact, those striking passages of mine have nothing to do with the plot and spoil nothing; just quick things I found amusing. It's so funny to me that you have absolutely NO INTEREST WHATSOEVER—you have yet to even mention Hans Zimmer in one of your posts in this thread, which makes me wonder why you supposedly care if I write about the movie and/or the score—in discussing the score to this film. All you want to do is crap on me for nothing. No one else in this thread is upset with my original post like you are: But I'm sure you're intelligent enough to follow my previous advice, and that is to not enter a thread that I've started—so, X3 comes this weekend, beware.

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Originally posted by BMikeJ:
. . . unless you are going to warn me about SPOILERS...

<<There's a ridiculous flashback scene where we get to see how Tom Hanks and Amélie jump out of a plane in a hangar after realising they've escaped, just in case the audience is as stupid as the filmmakers think they are. >>

<< It was fun to see Magneto go crazy-off-the-chain-insane in his final scene; and equally fun when they find out they have a "laser key" (hilarious!) to open a safety deposit box that Das Boot really wants his hands on. Also hilarious is the priests who are part of the Illuminati, or the Cult of Jesus, or something, playing pool and answering cell-phones while handling millions of dollars in bearer bonds in their evil mansion.>>

I know you wrote this several days back so I can understand if you might have forgotten about it. Maybe you don't understand the concept of spoiling a surprise for someone... Maybe they don't wrap the Christmas presents in your house...

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WHAT?! Trust me here, those are the least things you have to worry about being spoiled here; these are some of dumb gags that Dan Brown, Akiva Goldsman, and Ron Howard think an intelligent audience might be too dumb to understand.

And I would know this... how? I haven't seen the movie, sean. I initially checked on this thread for opinions on the SCORE. And in this very first post, I see you revealing events in a film that I haven't seen and intend to. Why are you not grasping this? Do I have to create some kind of Flash movie to illustrate this to you?

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Originally posted by BMikeJ:
<<In actual fact, those striking passages of mine have nothing to do with the plot and spoil nothing; just quick things I found amusing.>>

And I would know this... how? I haven't seen the movie, sean. I initially checked on this thread for opinions on the SCORE. And in this very first post, I see you revealing events in a film that I haven't seen and intend to. Why are you not grasping this? Do I have to create some kind of Flash movie to illustrate this to you?

Oh... Hans Zimmer. The album has some nice moments. I was very surprised to see that Richard Harvey was credited as the conductor. He is a wonderful composer in his own right. I may appreciate the score more AFTER I've seen the movie. Hans Zimmer.

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No, BMikeJ, I wouldn't enjoy watching any of your Flash projects. Unless you are totally brain dead, if I put a thread up called "The Da Vinci Code" on the opening weekend of The Da Vinci Code, than it's so obvious I'll be discussing the movie/score; also, I've done this countless times in the past with films on their opening day, and it's only been recently that you and some other cracker have complained, needlessly, about so-called spoilers: one was for Howard Shore getting iced in King Kong (that's so ridiculous); and another was about The Family Stone (jesus christ! are you kidding me?). I just don't consider those spoilers, so you have to live with that if you enter a thread started by me.

Now, if I were reviewing The Empire Strikes Back, I certainly wouldn't write that Vader is Luke's father; or if I were commenting on Star Trek II: The Wrath Of Khan, I wouldn't write that Spock dies. That just wouldn't be right, but I've never done anything like that.

nuts_score is right, those quotes of mine you highlighted should be the least of your concerns going into this film. They are, indeed, just dumb gags in the film and I thought they were funny, so they were mentioned. Once, and if, you see the movie you'll see our point: look, I haven't even mentioned the "Teacher," so cool your jets.

As far as appreciating Zimmer's music more after watching the movie: fat chance of that. Just scroll up and read what Ryan, nuts_score, and myself have posted about the film's sound mix and the score's representation in the film. It's just as bad, if not worse, than the horrendous mix given to Attack Of The Clones. Zimmer's music is at such a low level it might as well not be in the film. The only cue that gets a breath of fresh air here, in the film, is "CheValiers De Sangreal." Hans Zimmer.