XANDER CAGE
Member
First off, no TDKR spoilers. If you need to talk about that film's score in relation to the action on screen, please do so with proper tags and in the vaguest possible terms.
Anyway.
I'm a big fan of film scores, although I wouldn't consider myself an expert or particularly knowledgeable fan or anything. I just like interesting soundtracks, and some of my earliest music memories involve film scores. I know that Hans Zimmer has quite a huge catalog, including romantic comedies and other weird stuff as well as the bombastic stuff he's known for. I picked up the TDKR soundtrack last night and, I have to say, it's pretty disappointing. I know James Newton Howard collaborated with him on Begins, and I gotta say, from the sound of things he really kept Zimmer in line. TDKR's score (at least in album form, I remember liking it just fine in the film) just sounds like a series of rumbles and drums with no real form played over the themes from Begins. The only real interesting flavor on the whole album is the chanting stuff from the trailers, and it's only worked into a few tracks sparingly.
Here's the thing, though... Zimmer is no talentless hack. He'll score anything if you pay him enough, it seems, but he's not bad at writing music.
The Dark Knight - Why So Serious?
I know this is still in Newton Howard territory, but if I remember right this theme was mostly Zimmer's idea. It's scratchy and tense and instantly recognizable.
Sherlock Holmes - Discombobulate
There's some typical Zimmer bass-abuse here, but there's also a catchy, quirky melody played on an instrument that stands out from the low wash. I had this shit stuck in my head for days after seeing the movie, and while the album on its own isn't fantastic, the score has some nice variations and it mostly feels right. Bonus points for the London bell chime that he incorporates during this track: Psychological Recovery... Six Months
The Thin Red Line - Journey to the Line
Once again, it has the Zimmer qualities that usually make my eyes roll - low rumbly bass at all times, a healthy helping of brass swells - but it's far more restrained, and the heights it reaches during its peak feel earned, thanks to the slow nature of the film, the album, and the track itself.
Inception - Dream is Collapsing
Hello, bass storm. Hello, wall of fucking brass horns. Still, the use of electric guitar at the beginning (and occasionally throughout the score) adds a lot to this soundtrack, and gives it a unique sound... every now at then, at least. The fact that the score incorporates the Edith Pfiaf song central to the plot is also awesome. I actually think this soundtrack suffered from being performed by Zimmer's usual crew (which I assume is an army of 500 french horns and 1000 cello players) - the actual themes are fantastic, but they're played in such an overwrought, silly fashion. Proof/bonus: Time played by one man with a guitar pedal.
There's tons more, probably even films I've seen without realizing Zimmer scored them. I just... dunno with this guy. I have a very love/hate relationship with his scores, and the fact that he's just so ubiquitous (not to mention the fact that it seems like many other composers are hopping on his ALL BASS ALL THE TIME train) doesn't help me appreciate his work much more. But then he goes and does interesting work every now and then - not always stuff that I like, but at least stuff that I can appreciate rather than tune out.
Anyone else have strong feelings one way or the other about his music? Favorite/least favorite scores and tracks, etc?
Anyway.
I'm a big fan of film scores, although I wouldn't consider myself an expert or particularly knowledgeable fan or anything. I just like interesting soundtracks, and some of my earliest music memories involve film scores. I know that Hans Zimmer has quite a huge catalog, including romantic comedies and other weird stuff as well as the bombastic stuff he's known for. I picked up the TDKR soundtrack last night and, I have to say, it's pretty disappointing. I know James Newton Howard collaborated with him on Begins, and I gotta say, from the sound of things he really kept Zimmer in line. TDKR's score (at least in album form, I remember liking it just fine in the film) just sounds like a series of rumbles and drums with no real form played over the themes from Begins. The only real interesting flavor on the whole album is the chanting stuff from the trailers, and it's only worked into a few tracks sparingly.
Here's the thing, though... Zimmer is no talentless hack. He'll score anything if you pay him enough, it seems, but he's not bad at writing music.
The Dark Knight - Why So Serious?
I know this is still in Newton Howard territory, but if I remember right this theme was mostly Zimmer's idea. It's scratchy and tense and instantly recognizable.
Sherlock Holmes - Discombobulate
There's some typical Zimmer bass-abuse here, but there's also a catchy, quirky melody played on an instrument that stands out from the low wash. I had this shit stuck in my head for days after seeing the movie, and while the album on its own isn't fantastic, the score has some nice variations and it mostly feels right. Bonus points for the London bell chime that he incorporates during this track: Psychological Recovery... Six Months
The Thin Red Line - Journey to the Line
Once again, it has the Zimmer qualities that usually make my eyes roll - low rumbly bass at all times, a healthy helping of brass swells - but it's far more restrained, and the heights it reaches during its peak feel earned, thanks to the slow nature of the film, the album, and the track itself.
Inception - Dream is Collapsing
Hello, bass storm. Hello, wall of fucking brass horns. Still, the use of electric guitar at the beginning (and occasionally throughout the score) adds a lot to this soundtrack, and gives it a unique sound... every now at then, at least. The fact that the score incorporates the Edith Pfiaf song central to the plot is also awesome. I actually think this soundtrack suffered from being performed by Zimmer's usual crew (which I assume is an army of 500 french horns and 1000 cello players) - the actual themes are fantastic, but they're played in such an overwrought, silly fashion. Proof/bonus: Time played by one man with a guitar pedal.
There's tons more, probably even films I've seen without realizing Zimmer scored them. I just... dunno with this guy. I have a very love/hate relationship with his scores, and the fact that he's just so ubiquitous (not to mention the fact that it seems like many other composers are hopping on his ALL BASS ALL THE TIME train) doesn't help me appreciate his work much more. But then he goes and does interesting work every now and then - not always stuff that I like, but at least stuff that I can appreciate rather than tune out.
Anyone else have strong feelings one way or the other about his music? Favorite/least favorite scores and tracks, etc?
