101–110 of 200 posts
I still really enjoy his early/progressive stuff and to this day cannot quite relate to his later stuff (80s and beyond) as much; nevertheless, amazingly, he always maintained a very unique style throughout all his years and certainly is deeply woven into the beginnings of synth music.
The combination of audio and content of this video gives me chills.
Earlier quoted context omitted.
> (there was some legal crap about releasing the original music). That crap resulted in multiple bootleg versions of the Blade Runner soundtrack. I don't know if there is a definitive one :/ Maybe with the Special Edition blue-ray? I like the voiceover version of the tracks from the original CD ("do you like our owl?"), but I also like listening to the tracks without voiceovers.
http://www.brmovie.com/FAQs/BR_FAQ_Soundtrack.htm
That's a shame. His work on blade runner just has this timeless magic to it. The sequel ends on his motif (tears in rain) for a reason too. I also forgot to mention that chariots of fire is truly great too. Some parts of his music haven't aged too well, but the stuff that hasn't is sorely missed in today's film scores. Even if Zimmer is brilliant he's not a poet.
Seriously, I can always tell a Hans Zimmer score without even having preknowledge that a film had hired him. Big, orchestral, boring score that repeats the same motifs he's been using for the last 50 years? Dude has one act.