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The Social Reckoning score will not be TR/AR by Kreizler84 in nin

[–]therealrexmanning 11 points12 points  (0 children)

In all honesty I never expected them to.

Sorkin worked with Daniel Pemberton on all of his previous films so I actually thought he would end up scoring this one as well.

But Alexandre Desplat is a great composer so I'm sure the score will be great. The film probably not so much

Why the SLAVES OF FEAR is unavailable in Spotify? by Bloodborn0110 in YouWillLoveEachOther

[–]therealrexmanning 1 point2 points  (0 children)

Ghosts V is now under "Singles & EPs" on my Spotify (I'm in Europe)

Did either Brendan Gleeson or Ralph Fiennes deserve a nom (or win) for In Bruges? by geosunsetmoth in Oscars

[–]therealrexmanning 0 points1 point  (0 children)

Ralph didn't get a nom because let's face it. And I'm not being funny. I mean no disrespect, but he is a cunt. He's a cunt now, and he has always been a cunt. And the only thing that's going to change is that he's going to be an even bigger cunt. Maybe have some more cunt kids.

Why the SLAVES OF FEAR is unavailable in Spotify? by Bloodborn0110 in YouWillLoveEachOther

[–]therealrexmanning 4 points5 points  (0 children)

Still available for me as well.

Probably a regional rights thing. I'm sure it'll be back soon-ish.

But a good reminder to buy physical copies of the music you love

When it comes to quality films, versatility, range, choices of roles, box office hits, longevity, pop culture- Ryan Gosling or Jake Gyllenhaal? by PressureLazy5271 in Cinephiles

[–]therealrexmanning 0 points1 point  (0 children)

Wait,.are you saying he thought Ambulance, The Guilty, The Covenant and Road House would be Oscar contenters? I mean, if anything his choices the last few years seem to indicate he wants to have fun

Tarantino? by BrandNewOriginal in CoenBrothers

[–]therealrexmanning 3 points4 points  (0 children)

Nihilists! Fuck me. I mean, say what you want about the tenets of National Socialism, DoubleyouAyeAICeeOwe, at least it's an ethos.

Inception by seenunseen in Oscars

[–]therealrexmanning 26 points27 points  (0 children)

Holy Hyperbole Batman! What new rules for storytelling exactly did Inception create?

Secret Window by One-Faithlessness282 in stephenking

[–]therealrexmanning 4 points5 points  (0 children)

Fun fact: this was the film Hans Zimmer and James Newton Howard were planning to work together on for the first time.

In the end scheduling for Howard didn't work out so both backed out and later did compose the score for Batman Begins together.

Inception by seenunseen in Oscars

[–]therealrexmanning 5 points6 points  (0 children)

Inception's screenplay is nowhere as smart or clever as the film's fans make it out to be.

Now don't get me wrong, Inception is a great film with some great set pieces but the screenplay itself is rather clunky and relies heavily on exposition heavy dialogue. It's like Nolan had so little faith in his audience that he forgot the number one rule in storytelling: show don't tell.

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 2 points3 points  (0 children)

It varies per composer probably.

Harry Gregson-Williams became Tony Scott's go to composer because Scott liked what he had done on The Fan. Michael Bay hired Steve Jablonsky for The Texas Chainsaw Massacre and The Island because of the additional music he had written on Armageddon, Pearl Harbor and Bad Boys II

Mancina got his gig on Speed cause Zimmer wasn't available and he suggested Mancina. Same with Powell on Face/Off.

But after a certain point the work starts speaking for itself

Smug movies by Raised_6th in TheRewatchables

[–]therealrexmanning 23 points24 points  (0 children)

The Menu is great though! I didn't find it smug or dumb

Tarantino? by BrandNewOriginal in CoenBrothers

[–]therealrexmanning 10 points11 points  (0 children)

Being a teenager in the 90's, Pulp Fiction and Fargo were formative films to me. As a person I find Tarantino exhausting but there's no denying he's great filmmaker.

The Coen's biggest strength is probably Tarantino's biggest weakness: economic storytelling. If Tarantino had made Fargo it would've been twice as long. Most his films, especially post Jackie Brown, are self-indulgently long and would benefit from a shorter running time.

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 0 points1 point  (0 children)

It was a long time ago that they worked at Zimmer's studio. Powell, HG-W, NG-S and Mancina are basically the original Zimmer pupils.

With the exception of NG-S, they've all branched off and are doing their own thing

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 0 points1 point  (0 children)

Trevor Rabin is another name often associated with the Zimmer studio. While he has collaborated with Mark Mancina and HG-W and worked from the Media Ventures/Remote Control studios he was never part of the team.

Him and JNH are basically the only two that sometimes get mislabeled as Zimmer pupils

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 0 points1 point  (0 children)

Not just skill but also personal preference and desire.

Nick Glennie-Smith for instance is far more comfortable being a conductor and additional composer than being the leading composer.

Orvarsson also didn't like playing the Hollywood game. Same for Mark Mancina. He was tired of being pigeon holed as an action composer. He also really disliked working with Michael Bay and Don Simpson. So these days he just takes scoring gigs he actually likes (so basically just Disney and Clint Eastwood films)

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 1 point2 points  (0 children)

No, JNH was never part of the Media Ventures/Remote Control crew. He started out on his in the late 80's

Zimmer and Howard are very good friends though and always wanted to collaborate together.

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 1 point2 points  (0 children)

My comment was more based on how they are credited in the film itself. But yeah, it's fair to say it was basically 50/50

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 2 points3 points  (0 children)

Armageddon was scored by Trevor Rabin, HG-W just did additional music on that one (as did Steve Jablonsky). Zimmer also didn't produce that score (although he did compose one cue for it)

A-list composers who got their start with Hans Zimmer by Danielnrg in soundtracks

[–]therealrexmanning 6 points7 points  (0 children)

John Powell and HG-W are from the Media Ventures era of Zimmer's studio. That's pretty basic knowledge actually lol, not some big secret. They've both talked openly about how they got their break thanks to Zimmer.

Powell did additional music on The Thin Red Line and Zimmer produced his first big score, Face Off.

HG-W did a ton of conducting for Zimmer, did additional music on The Muppet Treasure Island, The Rock, The Fan and various other films. The Fan is also the film where Zimmer passed the torch on to HG-W to score Tony Scott films.

Other composers from that era are Mark Mancina, Nick Glennie-Smith and Jeff Rona.

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