dcoscina
03-12-2005, 12:24 PM
I've been quite vocal about my disdain for much of Zimmer's orchestral works. So I figured I'd provide a different slant on this influential composer.
What scores of his or cues really work for me.
Well, first "A Hard Teacher" from The Last Samurai. This particular cue is an excellent set of variations on one of his primary themes from the film. In fact, it's so deflty done, I'd say it approaches Goldsmithian proportions. Also, Zimmer has a great sensitivity when using a largely electronic palette and as such does a great job of blending flutes and oboes in with the synth pads. It's a really excellent cue.
Although the first scene in Gladiator features overly frenetic editing, and encompasses Holst's The Planets, I like the humming male chorus that symbolizes the Roman strength and the "Mars" reference works well in the context of the ensuing conflict with the Germanians (I wonder what ZImmer thought of that scene being German himself?).
"As Good As it Gets"- the scene in which Jack is faced with returning Verdel (that cute little dog) back to his owner, Zimmer underscores it with a very quiet yet moving string/harp setting. In spite of the charges that Zimmer slaps music onto scenes with the sensitivity of a boxer, cues like this one prove them wrong. In fact, the whole score is a well written piece for smaller ensemble.
The Thin Red Line- "Journey into the Line" Okay, for great bombast, this is one of my favorite cues. I love how it builds like a concert hall procedure piece with the ticking clock as a rhythmic guide. And I LOVE Zimmer's use of the CS80 brass doubling the French Horns for that 3 note descending line that builds in the string section first with some excellent harmonic suspensions. Of all Zimmer scores, The Thin Red Line is my favorite. I love the minimalist construction of the pieces. It flows really well. It's an exquisite score.
So, there it is. Only a few obviously but I more or less wanted to get the ball rolling. ANy other faves or examples of Zimmer's skill?
What scores of his or cues really work for me.
Well, first "A Hard Teacher" from The Last Samurai. This particular cue is an excellent set of variations on one of his primary themes from the film. In fact, it's so deflty done, I'd say it approaches Goldsmithian proportions. Also, Zimmer has a great sensitivity when using a largely electronic palette and as such does a great job of blending flutes and oboes in with the synth pads. It's a really excellent cue.
Although the first scene in Gladiator features overly frenetic editing, and encompasses Holst's The Planets, I like the humming male chorus that symbolizes the Roman strength and the "Mars" reference works well in the context of the ensuing conflict with the Germanians (I wonder what ZImmer thought of that scene being German himself?).
"As Good As it Gets"- the scene in which Jack is faced with returning Verdel (that cute little dog) back to his owner, Zimmer underscores it with a very quiet yet moving string/harp setting. In spite of the charges that Zimmer slaps music onto scenes with the sensitivity of a boxer, cues like this one prove them wrong. In fact, the whole score is a well written piece for smaller ensemble.
The Thin Red Line- "Journey into the Line" Okay, for great bombast, this is one of my favorite cues. I love how it builds like a concert hall procedure piece with the ticking clock as a rhythmic guide. And I LOVE Zimmer's use of the CS80 brass doubling the French Horns for that 3 note descending line that builds in the string section first with some excellent harmonic suspensions. Of all Zimmer scores, The Thin Red Line is my favorite. I love the minimalist construction of the pieces. It flows really well. It's an exquisite score.
So, there it is. Only a few obviously but I more or less wanted to get the ball rolling. ANy other faves or examples of Zimmer's skill?