Great score. But its a pity the credited composer wrote almost none of it.
I know it's a tired debate, but I don't know how people here are so comfortable with the fact he takes full compositional credit for scores like this, Madagascars etc.
Scores like this you can't even earnestly say he wrote the themes like with Pirates. At least there the core of the material is coming from him. Here, the giddy up theme is Lorne, the villain theme and Homer suite are Jackman, the Lisa theme is Alti, etc. etc. Even the main theme arrangement isn't his.
I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him, that's not the problem. Those aren't his strengths, it's not a big deal. Hans is good at what he's good at, simple melodies and interesting sound-scapes. He's also good at organising his talent. The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me.
|Hybrid Soldier||2015-04-19 20:53:59|
|Well if you take the cue sheet every composer is credited for every cue on this score...|
The name on the film credit is a contract.
I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...
|Exactly, ghostwriting is very common in the industry. At least his collaborators get credited here.|
"Hans is good at what he's good at, simple melodies and interesting sound-scapes."
You're making it seem as if he was some sort of second rate composer, probably unintentionally, but let's not forget that he wrote Gladiator, Lion King and Prince of Egypt almost all on his own and those are considered film score classics. The first one even made it's way into many contemporary classical selections.
It's true that he took a step back in the 2000s focusing more on his role as a producer and this one is probably the prime example. However, his theme suites, especially for potc, are already a very good representation of the score's memorable parts and I'm sure the result wouldn't be very different if he did everything by himself.
And what exactly do mean by "his limitations"? You seem pretty new to Zimmer's music. He can do Powell as well if necessary as shown in Kung Fu Panda 2.
|Hybrid Soldier||2015-04-19 23:13:32|
|Don't think Hans can't do anything and needs people to do so... I think it was valid 25 years ago when Shirley Walker was orchestrating & arranging his scores...|
But now, not really, he can do anything... He doesn't use add. composer because he HAS to, but because he wants to. Most of the times he starts the cues, gives direction and leads his guys where he wants them to go, and always has the final say...
I'll take an example, Rush... If you check the cuesheet, it's quite a mess, you basically have 0 cue with Hans alone... And yet he wrote most the themes to picture this time, with Ron Howard & Peter Morgan in the room. No theme suites... Then the guys just arranged slightly & added stuff... But a lot of the cues are him in the first place...
|Edmund Meinerts||2015-04-19 23:14:36|
|Except that was Powell himself doing Powell in KFP 2 (well, Powell and Palfe). ;)|
|Palfe? haha... btw Edmund, do you still think "More Cannons" is Powell. I'm pretty sure I hear bits of it in Lorne's (excellent, btw) "Home" score! |
|Edmund Meinerts||2015-04-20 00:35:44|
|"More Cannons" is Bowell/Palfe. What the weighting is, I don't know, though I'd be inclined to think something like 70-30. Bits of Home sounding like it isn't all that convincing an argument, since a composer doesn't need only to rip off his own repertoire ;) I'm more convinced by the Megamind similarity towards the end of that track.|
|"I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him"|
LOL. How funny is this statement. Just can't stop laughing. Ignorance is bliss.
|>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...|
Now you got me curious...
"The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me."
Interesting you impress upon this point with this score. Conversely, like Hybrid cites, a contract is a contract. Let us not pretend that Hans kicks and shoves his collaborators -- writers, arrangers, etc -- into a closet never to be mentioned or heard from again. Essentially everything he does is a collaboration, and credited so appropriately, minus an example or so by my observations.
I don't criticize Harry or Powell every time the liner notes from a score don't specifically praise Hans.
Who knows @ the dynamics, influence, inspiration, success of a given cue? Those that work on it. From the idea, to the last note.