Obviously, I know that Hans is much more versatile than just the loud percussion. Directors go to him because they want that loud epic soundtrack. You wouldn't go to Kendrick Lamar for the next best rock record. I think saying that he needs to mix up his go to formula from the loud percussive sound is just a bit of a strange remark seeing that he does so much more that goes unnoticed.Īt the same time, his style is also about the epic scores. (Although holy crap I just realized Batman Begins is 12 years old). These are all just from some of his most famous soundtracks in the last few years. He is an extremely versatile composer who everybody thinks only does BWAAAAAAH whereas some of my favourite pieces of his are the slower ones.Ĭouldn't find a link but Goodbye My Son from Man of Steel
![blade runner 2049 music blade runner 2049 music](https://i.ytimg.com/vi/uIY6QquE6hU/maxresdefault.jpg)
Hardly ever do you hear mention of 12 Years a Slave or Interstellar or even the majority of the Dark Knight Trilogy. I feel like everybody just immediately pictures the Inception horn which was made cliche by Hollywood but was brand new at the time. I don't want to speak for Junkie XL but saying that Hans Zimmer should switch up because "not everything has to be loud and extremely percussive" is essentially picking a few of his movies to describe everything he does. It does kind of feel like we get the same piano renditions of heavy or iconic scores in trailers and then most blockbusters are just 1000 different types of THUMPING drums!!
![blade runner 2049 music blade runner 2049 music](https://2.bp.blogspot.com/-bKiPWznUqFA/WiQksrJr56I/AAAAAAABSDY/Ix0n9qYXsfQylQwnEhF_TRApe70u596vQCLcBGAs/s1600/alt%2Bblade%2Bcover.jpg)
There are some interesting new composers on the rise and I am looking forward to how things switch thematically. There's some VERY good music out there, but a lot of times, it isn't in the giant blockbusters. He captured the EXACT essence of Hermann, & should be upheld for his triumphs. For example, I thought Lincoln had some pretty forgettable music.Īlso shouts out to the guy who scored Nocturnal Animals. He kind of had a stale period in the years after the SW prequels and TFA. Considering his next few films could very well be his last, I expect him to deliver masterpieces. I can't wait for the score to TLJ to drop. I don't think it was edited into the actual film as well as it could've been, but thematically, it picks up RIGHT where he leaves off in Sith. And then, TFA's score hit online, and I was floored. I thought his score for Sith was BY FAR the best in all of the SW saga. I must say that John Williams, in his late 80s, is still dropping jewels.
![blade runner 2049 music blade runner 2049 music](https://image.tmdb.org/t/p/w1280/mABdwROMFSOY6NDpVuDe0sleY8s.jpg)
I would like for Hans & XL to switch up their seemingly go to formula tho, because they are better than just extremely loud, extremely percussive. It showed up A LOT in WW, but it was intertwined into other pieces. I loved that the composer carried it over for the WW stand-alone as well. I never would've guessed that of all characters WW would have the single best theme in BvS. I do agree, the bigger films need some versatility, but I love what Junkie XL & Hans did for Wonder Woman. In regards to some straight up uncomfortable ambient elevator music, the score that Reznor (and his partner I can't place atm) made for Gone Girl is right up at the top of Hollywood taking chances.