The FALLOUT Between Ridley Scott & ALIEN Composer

[@dizzydrummer-bi7br]

Zimmer scores are for people that don't know music and are easily impressed by a series of sustained notes over an accelerating accompaniment. Dune soundtrack is so dull, and sounds like so many of his others

[@scatmancrothers]

agreed on hans zimmer, but i don think it's his fault nesserarily, it's the endless hans zimmer copycats you hear everywhere over the last decade

[@Geronimo_Jehoshaphat]

Your glib ignorance on the subject of Hans Zimmer is pure hipsterism.I could go on, and explain exactly with itrefitable examples, but some people just want to cling to their resentments.

[@moviola_film]

I think Hans Zimmer has done some great soundtracks in the past, but so much of it sounds the same now, and the fact that the 'Zimmer sound' has become the 'go to' sound for every big movie release going creates a boring environment and makes many of the movies feel and seem the same. Homogenization is the result of an industry that is afraid to take risks and afraid of investing in originality. By the way anyone using the term 'hipsterism' is a pretentious word a real hipster would use.

[@Geronimo_Jehoshaphat]

@@moviola_film Okay, I'll bite. Let me lay out a better platform decorum for my views, than just the accusatory kneejerk backlash hastily flung into the internet ether. Firstly though, I use the appropiate term that is well thought out to exactly describe the circumstance or phenomenon at hand. A "hipster" is a culture vulture that just glibly blathers about how they're above every popular convention for sheer resentful pride to bolster their own inflated ego in vampiric vanity because their brittle identity depends on it - even though they have no actual acumen, aptitude or erudition to pull their ample obnoxiously feigned connoisseur / aficionado opinions from. Now, your initial dismissive essay assessment on Hans Zimmer and his legacy smack of glib ignorance in the purest tradition of philistinian hipsterism - yes, those naughty naughy terms - devoid of context for zeitgeist trends to rail against, in a cause and effect equation which Zimmer certainly didn't invent. Sure, I could go on, and precisely detail a plathora of examples proving Zimmer's strong thematic sensibilities, astutely nuanced storytelling contribution, constant industry leading technical innovation, perpetual artistic evolution and professional integrity - taken on the whole along with his immense influence, makes him undeniably both a maverick and a maven, second to none. Evidence also suggest that in many respects Zimmer's oeuvre shares a lot of commonalities with his alledged antithesus Jerry Goldsmith's career approach of relevance through adaptability and experimentation. You think there weren't a cavalcade of hack Goldsmith / John Williams immitators also churning out disposable sound-a-like hemogeny in their era of reign too? Zimmer was formed out of the camp that was a direct reaction to that overwrought masturbatory orchestrative methodology mundanity in itself. His progenitors being a diverse array of outlyers to industry standards drawing from pop textures over classical tropes such as John Carpenter, Vangelis, Tangerine Dream, Giorgio Moroder, Harold Faltermeyer and Jack Nitzsche - but then balanced with the ever audacious more orchestrial sensibilities of revered meastros like Ennio Morricone in building sonic layers toward crescendo and, yes - Jerry Goldsmith in his experiments with world fusion instrumentations, particularly involving driving percussion. You really take issue with Zimmer's collaborative all-hands rock band approach which generously mentors protegé to get directly involved in the creative process and gain actual credit to their resumé so they can have a shot at making their own name in the millieu of film composition rather than slog out a meager career as an invisible "assistant" ghost writer to a fraud like Michael Giacchino (who readily accepts his "Up" Oscar for plagiarizing Alberto Iglesias' "Sex & Lucia" theme)? You'd rather cinema didn't have defining contributions from John Powell, Mark Mancina, Harry Gregson-Williams, Nick Glennie-Smith, Tom Holkenborg, Trevor Morris, Geoff Zanelli, Blake Neely, Lorne Balfe and Benjamin Wallfisch? Just because they come from Zimmer's apprenticeship at Remote Control / Media Ventures and share a once unorthodox methodology thats effectiveness and efficiency was so apparent it had to take over as the new convention - over the laborous tedium of classically written compositional autonomy (which still ultimately relied heavily on derivative templates to produce enough material for turn around in meeting schedule deadlines inherent in an industry with time and funding quotas)? Do I wish for more ecclectic soundscapes in cinema, including a return to orchestrial classicalism, instead of just a bunch of synthetic droning to ape the success of particular Hans Zimmer scores? Yes. And that's why I'm always advocating to more frequently employ those types of certainly underrated established composers such as Christopher Young, John Debney, David Arnold, Joel McNeely, Elliot Goldenthal, Edward Shearmur, Ilan Eshkeri, Bruce Broughton, Trevor Jones, Carter Burwell, Cliff Eidelman, and Richard Harvey on far more prestige projects rather than religate them to mediocre genre material so often beneath their deserving talent level. So we probably agree more than not, I just take exception with your dismissal of Hans Zimmer, because he's at this point an indelible molder of modern cinema's more progressive elements of actual sophistication in getting away from mickey-mousing every evident action on screen and instead lyrically amplifying the connective contexts / subtexts /pretexts otherwise absent from view. Zimmer often plays totally counter to what the picture is presenting, to evoke a deeper throughline of pychology or purpose which gives poetic meaning beyond the superficial accompaniment of mere emphasis (which acts only as a kind of lush vapidity of overt whimsy and sentiment that even king John Williams is frequently guilty of indulging). Rectifying the shallow habit of musical underlinings for reverberating sonic footnotes in service of nuanced storytelling edification in condusively cinematic emotional language, is Mt. Rushmore merit epitomized.