im fine with zimmer returning but tbh i prefer goransson
Soundtrack: Göransson Returns
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I never thought I'd be saying this, but I think I would pick Göransson. His work on Tenet felt insanely fresh to me, and I think he'd bring that quality to this. It's not the sort of film I would imagine Göransson score, and that's what makes it appealing.
But obviously, I'd also be pumped to see Zimmer or Julyan return.
But obviously, I'd also be pumped to see Zimmer or Julyan return.
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Yes, it would be an opportunity for him to challenge himself and to go into new territory, musically and creatively. Composers like Zimmer, or him, can also adapt and respond to the sensibilities and desires of a director like Nolan, who has a very strong relationship with music.Innovator wrote: ↑September 10th, 2021, 7:57 amI never thought I'd be saying this, but I think I would pick Göransson. His work on Tenet felt insanely fresh to me, and I think he'd bring that quality to this. It's not the sort of film I would imagine Göransson score, and that's what makes it appealing.
But obviously, I'd also be pumped to see Zimmer or Julyan return.
Göransson AND Julyan.
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I’m probably in the minority and might catch some flack for this, but I just don’t find Goranssons work anything special or even good tbh. Tenet he just sounded like a 2nd rate Zimmer without the mastery and talent of the latter. Still can’t understand the love for that score and I’ve listened to it multiple times. Some nice ideas but overall just not good.
That being said, if this ends up in the same way of Dunkirk/Tenet…just get Goransson and stop wasting Zimmers time.
That being said, if this ends up in the same way of Dunkirk/Tenet…just get Goransson and stop wasting Zimmers time.
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Minst wrote: ↑September 10th, 2021, 12:53 pmI’m probably in the minority and might catch some flack for this, but I just don’t find Goranssons work anything special or even good tbh. Tenet he just sounded like a 2nd rate Zimmer without the mastery and talent of the latter. Still can’t understand the love for that score and I’ve listened to it multiple times. Some nice ideas but overall just not good.
That being said, if this ends up in the same way of Dunkirk/Tenet…just get Goransson and stop wasting Zimmers time.
I see your pov, I love Ludwig, but tbh I do sense he's a bit overrated, especially here. That being said even if it's a Dunkirk/Tenet like score I'd always prefer to have Zimmer on board. The depth of his sound and the purposefulness behind his ideas is what completes a Nolan masterpiece imo.
I hope all the new key crew members from Tenet carry over to this. So I'm voting for Goransson.
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Same here.Joshua Strong wrote: ↑September 10th, 2021, 1:12 pmI hope all the new key crew members from Tenet carry over to this. So I'm voting for Goransson.
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On the contrary of Tenet, this feels quite suited to the qualities Lame showed elsewhere.Joshua Strong wrote: ↑September 10th, 2021, 1:12 pmI hope all the new key crew members from Tenet carry over to this. So I'm voting for Goransson.
After Casey Affleck vs Michelle Williams, after Scar Johannson vs Adam Driver, now Oppenheimer vs Teller.
I'm not really worry about the score. I just wish for something more sentimental less electric, like Interstellar.
I'm much more wondering about the other departments. Still feel Hendrix Dyas'work on Inception is superior to any of Crawley, but I figure the function over form approach of Crawley is what Nolan asks. After all, it's Nolan who chose to have a kind of sovietic building for as an Opera instead of a beautiful monument like many operas are.
For costume I'm fine with Zophres or Kurland.
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You know I’m gonna go Ludwig every time!!!
I’ll always take a Zimmer score but I would definitely be a bit let down if it’s not Ludwig
I’ll always take a Zimmer score but I would definitely be a bit let down if it’s not Ludwig