quote:

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Originally posted by gkgyver:
Part two is up now: http://www.soundtrack.net/features/article/?id=206

Zimmer's apparently set for The Dark Knight ... well, there goes my day.

Now there's more stuff to "talk" about. For instance, I don't think it's a particulary good idea to write the themes that are supposed to capture the atmosphere of the film before you've even seen it.
But at least that explains Pirates 2.

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To me it is disturbing that many new score collectors are into the synthezied dull action music. Some of it is good, but compared to Williams, Goldsmith, and many others, it is quite sad. I love the orchestra sound, and I pray that that will not someday be scrubbed.

I realize there are other great younger score composers who utilize the orchestra,(James Newton Howard, Arnold, and others) I'm just sad that I've seen or will see (in the next 10 to 15 years)my favorite composers pass on.

>>Thor writes:

Please, could you give me the exact quote in context?<<

Yes, here:

HANS: You need to know what to hit and what not to hit because you have a thousand cuts going. Jerry Goldsmith has done his share. Total Recall, for instance. Loads of percussion, loads of things going on, loads of synths. Is it a bad score? I don't think so. I think it's a great score.

LUKAS AND JEFF: So do we.

HANS: And he's basically using the same devices I'm using.

LUKAS: But he doesn't.

HANS: He is using an orchestra synth and drums.

LUKAS: In Total Recall in particular, it's so intricate, and even when you have things that are primarily color-based, it was very structured, so that even when there are things exploding there are internal things working.

HANS: And you don't think I do that?

LUKAS: Not all the time.

HANS: Oh yeah. I do.

LUKAS: We're not accustomed to hearing it then.

"And I don't do that?"

"Well, not all the time."

"But I do."

If anyone comes off as cool in the interview it's the FSM guys. It's amazing that they were actually able to sit down with Zimmer and explain to him why they don't like his music. I've actually never read anything like it as far as film music interviews are concerned.

>>I don't think there's anything in that quote that suggests Zimmer equaling himself with Goldsmith, though. Just pointing out certain similar techniques.<<

I don't know if he's "equaling himself," but if Zimmer truly wants to be left out of the "sphere of criticism" you mention, he shouldn't compare his work to one of Jerry Goldsmith's best action scores.

And almost any other composer would have hung up the phone. In fact, the FSM guys have gone on record to state their admiration for Zimmer being so sporty about it. Hey, the FSM guys are doing the criticizing here. Zimmer just takes it in....and is cool with it.

***I don't know if he's "equaling himself," but if Zimmer truly wants to be left out of the "sphere of criticism" you mention, he shouldn't compare his work to one of Jerry Goldsmith's best action scores.***

He couldn't hang up the phone. The interview was conducted in person.

>>Why not? He's talking about a technique or "sound", not making any evaluative judgement of his own OR Goldsmith's work.<<

No? He said "I think Total Recall is a great score," hence, Han's own scores are somehow great since they use the same devices. Zimmer's "technique" is about a million miles removed from Goldsmith's. It's an IGNORANT comparison he made. They may be the same devices but they are used in completely different ways, to the point where it's like saying "ET is a great score and John Williams uses the same devices I used in Radio Fyler."

Well, stormed out of the room and slammed the door behind him, then...

***No? He said "I think Total Recall is a great score," hence, Han's own scores are somehow great since they use the same devices.***

Nah, that's stretching it.

***Zimmer's "technique" is about a million miles removed from Goldsmith's.***

I promise you Hans Zimmer is not in the same league as Jerry Goldsmith (unless you mean financially).

What I find especially irritating about the quote is that Zimmer brings up the Goldsmith score as a means of defending himself, ie "If you don't like my stuff, why do you like Total Recall? Is Total Recall a bad score because it uses electronics? I don't think so." It's HOW he uses the electronics, not the simple fact that they're being used. Don't do that, Hans.

If Goldsmith were in the room when Zimmer said what he said, he'd have turned red and screamed in his face.

Oh, I think so. Even artistically. Which one is "better" is hard to say. They approach the film medium differently and a comparison would require several compatible parameters.

***What I find especially irritating about the quote is that Zimmer brings up the Goldsmith score as a means of defending himself, ie "If you don't like my stuff, why do you like Total Recall? Is Total Recall a bad score because it uses electronics? I don't think so." It's HOW he uses the electronics, not the simple fact that they're being used. Don't do that, Hans.***

quote:

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Originally posted by Thor:
Here, Bud, have a valium.

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Seriously, jeeeez.

I'm sorry. I get upset when people disrespect Jerry Goldsmith, even when (or especially when) they don't realize they're doing it.

quote:

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Originally posted by budharney:
I'm sorry. I get upset when people disrespect Jerry Goldsmith, even when (or especially when) they don't realize they're doing it.

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Yes, clearly that is the case.

There's a funny Klaus Badelt story where he was asked what his musical background is and his reply was "I have a driver's license."

quote:

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Originally posted by budharney:
>>Every composer is capable, or else they wouldn't be where they are at now (I even include Klaus Badelt in this)<<

Yes, clearly that is the case.

There's a funny Klaus Badelt story where he was asked what his musical background is and his reply was "I have a driver's license."

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quote:

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Originally posted by Green Knight:
>>>I've got nothing but respect for Goldsmith, who is one of my favourite film composers of all time (I have 60+ CD's of him).<<<

60?!!! Oh dear lord!
I have 216 soundtracks (all original) and the the biggest number in a composer for me is John Williams 23 CD’s, and Hans Zimmer 18 CD’s. All other Composers are from 1-2 CD's to a maximum of 7-8 CD’s.
But 60 CD’s of Goldsmith?! Awesome! I only have 6 CD’s of Goldsmith (ironic eh? it's 60 with out the zero!)

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Well, I've been collecting soundtracks for about 18 years, so it's not so strange, perhaps. However, I'm not a Goldsmith completist even though I have more than 60 CD's of him. I AM a John Williams completist, however, and have more than 200 CD's of him(!).

quote:

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Originally posted by Green Knight:
But 60 CD’s of Goldsmith?! Awesome! I only have 6 CD’s of Goldsmith (ironic eh? it's 60 with out the zero!)

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iro·ny
1 : a pretense of ignorance and of willingness to learn from another assumed in order to make the other's false conceptions conspicuous by adroit questioning -- called also Socratic irony
2 a : the use of words to express something other than and especially the opposite of the literal meaning b : a usually humorous or sardonic literary style or form characterized by irony c : an ironic expression or utterance
3 a (1) : incongruity between the actual result of a sequence of events and the normal or expected result (2) : an event or result marked by such incongruity b : incongruity between a situation developed in a drama and the accompanying words or actions that is understood by the audience but not by the characters in the play -- called also dramatic irony, tragic irony

Ack! You're back!? If I insult your man-hood again will you disappear for another month?

>>budharney, if you want a recent re-cap of what Hans Zimmer thinks of his own music, in particular action music, compared to other composers like Jerry Goldsmith or John Williams, than listen to the interview with him on the remastered Backdraft disc. It's enlightening and shatters your Bizarro World version of Zimmer that just doesn't exist.<<

No thank you, one copy of Backdraft is enough for me. I am a big fan of "Bizarro Worlds." I wish I could find the one where 50% of the movies to come out of Hollywood aren't scored by Remote Control.