And Jerry Goldsmuth recounting how many times Wise and some executives pushed him into rewrites until he came up with the best fanfare ever in science fiction ( Star Trek I). Thirdly, I remember Maurice Jarre recounting how many times David Lean rejected one theme after another after another after another (from such a composer), until finally Lara's Theme materialized. Has film music become 'a parody of itself' like you say - and therefore Hans is the ambassador of that parody, or is he an excellent film scorer? And in my book, an excellent film scorer does not write precicely the same score for threeВ such very different films as Inception, TRON2, and The Dark Knight. The Gladiator.В a, the theme is stolen beyond the accepted levels of musical 'borrowing' (obviously it was temp tracked and imposed), so no credit there whatsoever b)В Crowe's personal theme could not have beenВ further from proper musical characterization. It is only because I know I am talking to somebody who knows music that I bother again.ДЇirstly, I have to strongly disagree re. Mike, I have written so many pages on this forum regarding my appreciation of Hans' scores and musical abilitites that it was superfluous the last time I did it (and the 10 times before that). He has an original mind, but millions of composers are prepared to (or can only) ape him.Д®rrikos and William, I understand your frustrations and agree that the definition of a composer is a little loose these days, but the genie is out of the bag-now where did I put those spiccato minor chord loops. From a directors' expectation through to the easy way out in using stock music techniques by the composer, music in film has become a parody of itself.ДЄll said and done though, I do think Zimmers proclivities are well suited to film and he is an excellent film scorer who has definedВ a certain genre of writing to a very succesful degree. The easy access to samples allied with the belief amongst many composers that orchestration can now be learnt via a DAW, has tended to dumb down the whole process of composing for film in particular. This reliance by the composer on sample companies, has bestowed uponВ said companies enormous influence over the last 10-15 years or so, in dictating the direction of the style of orchestration used in film/media. Has anybody heard a so called 'epic' stlye music recently in film that does not use spiccato strings and 6 horns marcato? But secondly and perhaps more compromising, is the reliance on whatever the sample companies decide to record in the way of articulations and instrumental techniques. The problem for me with film music (and media composers today) is the reliance on 2 things.(among many others!)ДЇirstly, formulaic harmony and some associated techniques, all intended forВ immediate consumption, which someВ may argue is appropriate given that the genre is popular entertainment. To be fair to Zimmer, he is only talking about film music and is qualified to do so. I can't say I dislikeВ Zimmers' film scores, I think Gladiator is outstanding as is the famous cue from Inception, and the sheer nerve of writing just 2 notes for the Dark Knight themeВ is impressive.

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