Could someone please explain the Hans Zimmer hatred on this site?

Whatareyoukiddingit'smyfavoritethingaboutthesite

Lol u.

But no, I love Michael Giacchino too. A lot of the reason I like him is actually how impressed I am with his versatility.

Meh, imo his Short Film music is a lot better than his feature length music (case in point: Day and Night theme [1])

edited 15th Sep '11 9:18:47 PM by Mattonymy

I just saw the 3-D version of The Lion King today (one of the few Zimmer scores I can tolerate) and I noticed how parts of his score sounds similar to the score of The Deer Hunter (scored by his mentor, Stanley Myers). Which made me realize something.

• Zimmer was a protege to Stanley Myers.
• Zimmer wasn't a bad composer when he was under Myers' wing.
• Myers died in 1993.
• Zimmer began working with proteges in 1994 (Mark Mancina was his first, doing replacement scores to Monkey Trouble and Speed).
• Zimmer did much of the score to The Lion King before Myers died.
• The Lion King is considered by some the last score of his worth listening to.
• After Myers died, Zimmer won his Oscar and Zimmer began training proteges, that is when he lost his shit and became a egotistical hack.

edited 18th Sep '11 3:42:14 PM by Buscemi

I dont get it

The origins of Hans Zimmer's career. The guy lost it when his mentor died and he won an Oscar. When he was under Myers' wing, he was okay because he was still the student. When he became the teacher and won his Oscar, he became power-mad and became less of a teacher and more of a factory owner. He gets filmmakers and producers under his spell due to his power by having one (or seven) of his people to do a movie. If you want someone else, tough shit. Zimmer will make sure that you don't get anyone else.

A film composing world ruled by Zimmer is a scary place.

I feel like you're exaggerating. Plenty of movies still have scores not provided by Zimmer or his proteges. He seems ubiquitous, but I find he's only really ubiquitous in movies where the people in charge already didn't care whether or not the movie they were making was worth shit, just whether or not it'd sell. And in that situation, why not pick the Zimmer sound? What sells sells.

edited 18th Sep '11 9:09:12 PM by Sporkaganza

Because there are other, better composers you can go with that sell too.

Sure, but Zimmer, et al. is the easiest.

Again: I'm saying that, with a few exceptions, his style tends to show up in movies that aren't really that concerned with quality to begin with.

Unlike James Horner who don't get me wrong I much like better than Zimmer,but unlike Zimmer seems to love plagiarising whole passages from others. I could start a thread for all the uncanny similarities between Horner and Porokiev.

I loved the score that Zimmer did for Gladiator. Nuff said on that score I think.

Lisa Gerrard was who made that score work (she's possibly the only Remote Control artist I can tolerate). Zimmer's material was rather cliche and in a way, Gerrard saved it.

Gerrard also did great additional work on non-Remote Control scores such as The Mist and Priest.

No Zimmer score, no Gerrard artistic wailing. Which I liked by the way. So there,

the idea Han zimmer hate is odd to me, since he's awesome

My opinion: Hans Zimmer has pigeonholed HIMSELF into a fairly specific sound, making him similar to a Pigeonholed Voice Actor... I think it's not a good thing. However, he did find a sound that actually WORKS — and holy crap is it awesome.

He is capable of being more diverse than he is, but he is amazing at being what he is.

So for me, Hans Zimmer in music = Norio Wakamoto in voice acting.

Both are way more talented and potentially diverse than you'd know by their output. But their output is AWESOME.

Hype Aversion. /end

I think the "Hans Zimmer hatred on this site" is just one guy who expresses his opinion often enough to give the impression that it is the view of the community as a whole.

(No offence meant.)

edited 10th Feb '12 1:13:25 PM by dontcallmewave

None taken (I never intended it come off like that anyway, I just have strong opinions). And it's not this site. It's mostly the film scoring circles that don't like him (for example, most Film Score Monthly members find his style rather boring).

In retrospect, I do like some Zimmer (pre-Oscar and his mentor Stanley Myers' death) but the guy lost it after he won his Oscar. His ego became bigger than his name and his attempt to become the Bill Gates of film composing isn't working the way he hoped (his company gets lots of gigs but as I said, it's not well-liked).

You are entitled to your opinion, but if it isnt any inconvenience, would you mind trying to be careful to phrase it in less vitriolic terms?

It seems to mee that you are suffering a severe case of Opinion Myopia.

I've mellowed considerably on Zimmer since this topic came up. I'm kind of ambivalent about him now. He's pretty decent, and he can be great in stuff like Sherlock Holmes (don't try to tell me those scores are Morrione ripoffs again, by the way, because they really aren't, disregarding the use of an actual Morricone track in Holmes 2), but... he is very, very far from being the best composer ever, and when I see people mentioning him in the same sentence as people like John Williams, that does piss me off.

Zimmer sucks, Randy Newman for life.

Zimmer doesn't write my favorite music in and of itself, but as a complement to the screen, he's excellent.

Randy Newman isn't really a great composer either. He's not bad, but he's pretty mediocre. The songs he writes for movies are pretty darn good though.

I don't even think his songs are very good. Not the lyrics, anyway.

That said, I'm more of an Alan Menken and John Powell kind of person. Zimmer is all right, but I don't listen to him much.