This maybe old news to some people but I only just found-out the upcoming Lion, The Witch and The Wardrobe film will be scored by...Harry Gregson Williams!!!:x
Why is every single film that calls for a bold, surging, epic symphonic score placed into the hands of Hans Zimmer and Media Ventures? I mean Gladiator, Pirates of the Caribbean, King Arthur, Kingdom of Heaven, etc., etc.
Now, don't get me wrong -- I've LIKED some of Hans Zimmer's scores. I still think his score for First Born (BBC, 1989) is one of the best unreleased scores of the past 20 years.
But I DON'T think Zimmer's electro-acoustic-ethno-new age style is right for everything, and he and his cronies (who all seem to write just like him) are grabing every epic adventure / epic fantasy which comes along.
I mean I love John Williams, but I wouldn't want every single movie to sound like John Williams. But still I'd rather every movie sound like Williams over Zimmer. This "Hans Zimmer sound" has become all-pervasive, hanging from modern cinema like so much Spanish moss. Lets hear some different voices for a change!
Lion, Witch & Wardrobe score -- say it aint so!!!
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Paul MacLean
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Lion, Witch & Wardrobe score -- say it aint so!!!
Last edited by Paul MacLean on Wed Jan 06, 2010 11:46 am, edited 1 time in total.
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AndyDursin
- Posts: 34270
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Paul,
This is sad news indeed. I think KINGDOM OF HEAVEN said it all -- all-cliche city, though at least the movie supplemented it with enough temp-track music apparently to make it less noticeable.
You know how we look back on movies of the '70s and early '80s with their pop tunes and synth soundtracks? The Harold Faltermeyer and Georgio Moroder scores from the early '80s and how dated they were?
Well, years from NOW people will look back on our "modern" cinema and be able to pinpoint the era from the hackneyed and cliched Media Ventures scores which are in every-other major release we get these days.
Oh well....
This is sad news indeed. I think KINGDOM OF HEAVEN said it all -- all-cliche city, though at least the movie supplemented it with enough temp-track music apparently to make it less noticeable.
You know how we look back on movies of the '70s and early '80s with their pop tunes and synth soundtracks? The Harold Faltermeyer and Georgio Moroder scores from the early '80s and how dated they were?
Well, years from NOW people will look back on our "modern" cinema and be able to pinpoint the era from the hackneyed and cliched Media Ventures scores which are in every-other major release we get these days.
Oh well....