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THE AMAZING SPIDER MAN 2 SONGS FREE
This one has for some reason been blessedly free from pre-release hype, but if the composer had said this time that he was taking film music in a new direction, the music is the proof that he could actually have had a case. (I expected to ask… why so serious?) Instead, Zimmer and his collaborators (the album is credited to “Hans Zimmer and the Magnificent Six”, the latter being Pharrell Williams, Johnny Marr, Tom Holkenborg, Mike Einzinger, Andrew Kawczynski and Steve Mazzaro) have gone in a completely different direction – not just to James Horner, which was inevitable, but also to where Zimmer has gone before. These things are meant to be fun, meant to be pieces of entertainment I feared we’d be hearing more relentlessly oppressive sturm und drang, the notion of Spider-Man having an heroic theme would be consigned to history, and so on. With a trilogy of Batman scores and then a Superman one behind him – none of which I particularly liked – I approached this with some trepidation. While at times there seems to be a big disconnect between things he says in interviews and the aural proof that ends up on the soundtrack – Man of Steel was going to sound like no music that had ever been heard before, as I recall as I also recall, it sounded like a pretty dull retreat of an awful lot of other things – there is no denying that Hans Zimmer has genuinely changed direction on numerous occasions through his career (and that many of these changes in direction have changed everyone else’s direction too – not just the HORN OF DOOM, think back to all the wailing women after Gladiator, all the action music after Batman Begins his influence is remarkable).Īnd so that leads us to The Amazing Spider-Man 2. So now if he uses this device he came up with, it sounds to the world like he’s copying everyone else – and so he periodically needs to reinvent himself. Except to the extent that some of those pale imitators work at Zimmer’s own studio, he is of course not the man to blame there – if he is so successful that all those filmmakers want music that sounds like his, and all those composers (though many of them seem hardly worth of the name) want to write music that sounds like his, then what is he to do about it? It does present him with a bit of a problem though – for example, since Inception‘s HORN OF DOOM was first heard in 2010, it has been heard in twenty five thousand other film scores (trust me, I’ve counted them) and has reached the point where it sounds clichéd and ridiculous. I’m not talking about his own scores – but all the pale imitators. With his extraordinary dominance of blockbuster film music, it’s easy to see why this composer is so controversial.
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In any case, one thing was certain – this would be a very different Spider-Man score, with Zimmer never likely to go anywhere near the symphonic elegance of Horner’s wonderful work (which in hindsight is easily the most impressive score for any film with the Marvel logo at the start).
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I don’t know the circumstances here – perhaps Horner was asked but didn’t want to do it perhaps actually Zimmer had been the first choice to score the first film but was unable or unwilling for some reason to do it. Given that, it was a big disappointment to learn that Horner wouldn’t be returning for the sequel with him not coming back, duties passed – with a certain inevitability – to the ubiquitous Hans Zimmer, adding Spider-Man to Batman and Superman in his collection. An even bigger surprise was the choice of composer, James Horner – finally a move away from the relentless doom and gloom that has blighted most films of its kind over the last decade and a reminder of what a good film score can actually do for a film like that, with genuine emotion and an actual, no-holds-barred brilliant theme for the title character. Marc Webb was a slightly surprising choice to make The Amazing Spider-Man, an indie director with a solitary “hit” to his name, but he delivered a solid comic book caper that for me at least was the most satisfying film so far featuring that character, fresh and light and remembering its primary purpose was as a piece of entertainment.