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| quote: | Originally posted by SYSTEM-J
The score is a massive part of the original. The film is practically an extended music video, in many ways.
I don't really like Zimmer's contemporary style. He's the market leader in the new style of film score than shuns leitmotifs and melodies in favour of dense sound design. I thought his score for Dunkirk was irritating and devoid of emotional content, for example. The polar opposite of what Vangelis did in 1982.
Again, I haven't seen the new film yet, but this change of musical tack is another hurdle that must be overcome if I'm to believe the hype. |
I'd suggest seeing the film before judging the score.
Hans does what he does and he is far more sound design than most other composers (and a lot of other composers use sound design for a lack of musical talent - see Trent Reznor for more details).
He's always been heavily entrenched in sound design, and not so much motifs or melodic themes, although True Romance, Gladiator and the Lion King would be good arguments of the opposite. There's a reason he's arguably one of the top 5 or even 3 living composers, and his niche has been to do something different be it the heavily synth and drone laden arrangements, or relying more on atmospheric tropes than thematic composition.
I will say, he knows what he's doing and when to use atmosphere and sound design over melody and motif. Dunkirk was that way for a reason. Dark knight straddled to the two perfectly. Smillas feeling for snow does the same.
I actually think given that BR2049 is more atmosphere than plot, he got it right, and the thing people keep forgetting is that he was only brought in half way through, once Johannson had failed to deliver a cohesive vision (See daft punk and Tron for more details).
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