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It seems pretty promising! "Fate Has Smiled Upon Us" sounds similar to "Arrival To Earth" from Transformers (which is a plus), and "Nottingham Burns" has a truly distinctive Celtic sound to it. Looking forward to both the music and the movie!
I wasn't a huge fan of the Transformers score Miles. Outside of theme, there was nothing really about it that I hadn't heard before and done better.
That being said, I can understand you liking the similarity between "Fate Has Smiled Upon Us" and "Arrival To Earth" But that could also be a bad thing. You have to remember this is a Robin Hood film, and one that claims to be historically accurate.
Robin Hood isn't Robin Hood if the music doesn't hold any relation to the character, period etc.
That's one of the reasons Clash Of The Titans got such a poor response from the large majority of film score listeners. In all that rush to the finish, Djawadi forgot what he was scoring. If the music doesn't say Ancient Greece? Then why put it in a film that wants you to believe it is?
It's not about old-fashioned vs. modern. It's about pure common sense. If Djawadi isn't to blame, then the producers most certainly are.
Even when Zimmer scored Gladiator which was a considerable U-turn from the established sound, he still used a collection of instruments and Lisa Gerrard's vocals to say to the listening, you are in Rome. This is what I believe and hope Robin Hood will achieve also.
This "McDonalds" approach to film scoring has to stop. I have no problem with Remote Control being part of the business and the talent that come from Zimmer's company, but they cannot just be putting the same score into one film, they would another. This approach will in the long run do nothing but backfire badly.
Even Revenge Of The Fallen, whilst Modern and set in the present day, Jablonsky/Bay didn't even attempt to reflect the fact that the action for the last half of the film was taking place in Egypt. They could have had the entire cast in New York and the music would have been just as suitable. Not to mention the ruining of the score by having Linkin Park involved. Bay needs to be keeping these kinds of popular artists completely away from the scoring duties.
I thought both Transformers scores had their moments, the original was enjoyable, nothing special, the sequel was worse, I don't recall a standout track like "Arrival To Earth" from the original in Fallen and I doubt a complete release would change that.
Maybe Jablonsky will pull a Zimmer and his third score will be a vast improvement on the previous two.
If Robin Hood does appear to be the sort of score a film of this kind should absolutely have? I hope it's a huge success. As everybody knows, these Hollywood producers only know money, and if they see this film with that sort of score? They will only want the same. Now nobody wants the "same" but we all know what that means, it means scores that reflect their setting, reflect their characters, reflect their time period and bring well written, memorable music to the table in the process.
This is the turnaround that needs to happen in film music. Hopefully Hans and the folks at Remote Control will realise this, and bring good work to the table, before it's too late.
The way things are going now? Scores like Clash Of The Titans are already going out of fashion. People grow, people change. Eventually this sort of Remote Control scoring is going to become so oversaturated that it will lead to the general public complaining about it like they would anything else. We all know producers take the general public very seriously who attend their test screenings. Therefore all that will happen is you will start seeing your first batch of RC scores being rejected, thus starting the downfall of manufactured film music.
I don't want to see this happen.
Remote Control have talent to offer and I really do hope they will get their act together.
Yes you are on the right wavelength buddy. It's what part of the orchestra performs which instrument at any given point in the music, the overall sound of the performance and how the performance of the players come across.
i think i will enjoy robin hood much more than any of zimmer's last scores, like sherlock holmes, angels & demons, the dark knight and even pirates 3.
why? because whilst zimmer can come up with a catchy melody and potential for a great sounding score, the orchestration on his big scores always blows, it sounds completely banal.
look at when horner ripped off part of gladiator in avatar, he actually improved upon it and made it sound far better simply because horner is a master at orchestration.
thats why i wouldnt ever put zimmer in the same league as powell.
powell knows how to orchestrate well, he may not be quite as big of a name as of yet, but he's getting there and hope he does.
just like the samples of this score i have heard so far have a good classically orchestrated sound to them, marc's score doesn't sound like a bunch of musicians playing the same note, along with an in your face mix reminiscent more of rock music than classical in structure.
it may sound like im ripping on zimmer, im not, im just stating the facts. i do like zimmer alot, but none of his scores sound as good as they could because of the completely amateurish approach to the orchestration.
remember all those re-recordings you have heard of zimmer that sound crap? it's not down to a bad performance 9 times out of 10, it's down to the orchestration. zimmer covers up bad orchestration by making everything sound loud and banal. if he would just know how to orchestrate the right way he wouldn't even need to do what he does. maybe one day he will.
composers like powell and gregson-williams etc have clearly figured it out already, so what's the problem with zimmer? i say it's either carelessness to his approach or a pure ego-driven mindset, one of the two.
Enrico: I think its wrong to say that Marc Streitenfeld isnt good to make score for great films.
he made a awsome job whit the score for american gangster, and from what i have heard the robin hood score will be awsome :) i like Marc Streitenfelds score and i hope he will make score for more then just ridley scotts movies.
Sorry for my bad englis :S Im from norway so that explains it :P
I agree with Craig: I think that Robin Hood should have the elements that he wrote...however I thought and think that Robin Hood should be done by Zimmer...This composer (M.S.) isn't so good to do these great films...
"The musical score is good as well, but not very memorable"
thats what i read on one review.
to me? thats good enough. believe it or not? alot of people dont remember the score to gladiator either.
now a lot here will say "i remember it!!" as do i, i think it was very memorable, then again i know the score extremely well. i think alot of people out side of the closing music wouldnt remember a note, especially with the oversaturation of the zimmer sound in hollywood now and the crappy knockoffs like clash of the titans.
i for one am still very much looking forward to it, i think that also do to it appearing to have 3 things i really wanted it too:
1) a celtic feel reflective of the period and character 2) a symphonic sound that sounds old-fashioned yet modern too 3) a good main theme, which this film has.
I agree about "I Don't Think Now Is The Best Time". That cue probably has the best orchestration of Zimmer's entire career so far. Even then it could still be improved considerably.
I wish he would have scored Pirates 4 maybe he could have continued with that sort of approach. I have a real worry though that the franchise is only going to go backwards, musically especially. Oh well. :/