Tag Archives: Hans Zimmer

Rocks In The Attic #618: Hans Zimmer – ‘True Romance (O.S.T.)’ (1993)

RITA#618.jpgYou wait twenty-five years for a True Romance soundtrack to be released on vinyl, and then two turn up at once. Already this year, we’ve had the long-awaited pop soundtrack for the film seeing its debut on wax; now we have a release dedicated solely to Hans Zimmer’s score. Being a fan of all things Tarantino, I had to get this to complete my collection. I mean, the guy’s practically my best friend!

Do I need this score though? No, definitely not. The pop soundtrack captures a couple of tracks from Zimmer’s score and these serve as a pretty good representation. The full score actually gets a little tedious towards the end; the innocence of the main melody turns into something a little more serious. Out go the lovely xylophones and marimbas, and in come some really dated synth cues that feel a little out of place for what is an otherwise very cool film.

RITA#618aI’m starting to come around to Hans Zimmer. I’d previously written him off as a workaday composer, but I’m starting to appreciate the occasional hidden gem amongst his many scores (137 and counting). His soundtracks for Christopher Nolan (particularly Batman Begins and The Dark Knight) have been my favourite action scores this side of the turn of the century – perfectly blending digital sounds within a traditional orchestral score.

Hit: You’re So Cool (Main Title)

Hidden Gem: Not My Clothes

 

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Rocks In The Attic #608: Various Artists – ‘True Romance (O.S.T.)’ (1993)

RITA#608.jpgIn the early 1990s, director Tony Scott was handed a piece of gold dust. Quentin Tarantino, a cocky, young up-start had been circling Hollywood for a few years trying to develop his first script, True Romance. Tarantino decided to sell the script, and Warner Brothers snapped it up greedily. In hindsight it would have been too large a project for a first-time director anyway.

Instead Tarantino turned his attention to his next script, a simpler heist story called Reservoir Dogs. This would have been an easier film to pitch with him as director – the heist is never seen, only referred to, and much of the film takes place in one location.

By the time he was handed Tarantino’s script, Tony Scott was already a blockbuster director, arguably more commercially successful than his older brother Ridley. While Ridley had scored critical successes with Alien and Blade Runner, Scott had directed Top Gun, Beverly Hills Cop II and Days Of Thunder. His collaborations with super-producers Don Simpson and Jerry Bruckheimer say more about his directing style than anything else.

True Romance then, becomes the lost Tarantino picture. His trademark dialogue is evident throughout the film – all pop-culture references and cooler than cool soundbites – but Scott’s input muddies the water somewhat. The cinematographers that Scott worked with throughout his ‘80s and ‘90s films had a very peculiar style. Lots of obtrusive close-ups, too many filtered interiors, and a very synthetic, staged camera set-up. By the time you get to something like 1996’s The Fan, the cinematography is so overbearing that the film is practically unwatchable.

Looking back, True Romance has one of the greatest ensemble casts of all time, featuring several actors who would go onto bigger things. Joining leads Christian Slater and Patricia Arquette were Michael Rapaport, Bronson Pinchot, Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, Brad Pitt, Chris Penn, Tom Sizemore, Samuel L. Jackson and a pre-Sopranos James Gandolfini.

RITA#608aThe soundtrack also differs from most Tarantino films in that it has both a pop soundtrack and an original score, by Hans Zimmer (the only soundtrack of Tarantino’s to mix pop songs with an original score is The Hateful Eight). Zimmer’s score is delightful – practically a proto-Thomas Newman score before he rewrote the rulebook on esoteric, oddball soundtracks with 1996’s American Beauty.

Some of the pop songs wouldn’t be out of place on a Tarantino soundtrack. Charlie Sexton’s Graceland, Robert Palmer’s (Love Is) The Tender Trap and Chris Isaak’s Two Hearts feel like they belong in QT’s record collection, but mediocre tracks like Charles & Eddie’s Wounded Bird and John Waite’s In Dreams reminds you that this really is just a typical run of the mill blockbuster soundtrack, and wasn’t curated in any way by Tarantino. Even Soundgarden’s Outshined sounds a little too obvious. The absence of Aerosmith’s The Other Side – presumably due to rights reasons – is personally disappointing, but it would have just dated the soundtrack even more.

Hit: Outshined – Soundgarden

Hidden Gem: Graceland – Charlie Sexton

Rocks In The Attic #509: Don Davis – ‘The Matrix (O.S.T.)’ (1999)

RITA#509I love The Matrix. It’s one of my favourite films of the ‘90s; probably my favourite science-fiction film of that decade. It’s an awesome movie, but I think I like it more for what it represents than for what it actually is. For me, the Matrix represents a truly wonderful thing – the end of George Lucas’ reign over special-effects movies in Hollywood.

Yes, Lucas was responsible for a great deal of my childhood cinema: the three original Star Wars films, and the three original Indiana Jones films. A round of applause, please. But that’s it. Nothing else. His 1973 breakout hit American Graffiti might be an enjoyable slice of 1950s nostalgia, but Back To The Future did it much better in 1985. And let’s not get started on the Star Wars prequels or the fourth Indiana Jones film.

His legacy is one of the things that ultimately curses him: Industrial Light & Magic. The special effects house set up to handle the myriad of effects shots in the first Star Wars film ultimately came to monopolise Hollywood in the decades that followed. The company may have been trendsetters in the late 1970s and early 1980s, and they hit a peak with the groundbreaking effects in 1992’s Terminator 2: Judgement Day, but by the late 1990s they had lost their edge. Nothing was special anymore; they had become complacent. The company that had once blown everybody away were now resting on their laurels.

Then a film was released in 1999 out of nowhere. Titled The Matrix, it was written and directed by brothers Larry and Andy (now Lana and Lilly) Wachowski, responsible at that point for only directing one film, Bound (1996), a crime thriller starring Jennifer Tilly and Gina Gershon.

The Matrix came along with no hype. From the outside it looked like just another science-fiction film out of Hollywood, with a steam-punk aesthetic that we had seen before in dull gothic flicks like The Crow (1994) and Dark City (1998). The lack of advance word even led to UK film magazine Empire relegating the film to its ‘Also released this month” section.

I saw the film at the cinema with my good buddy Stotty. Talk about being blown away. I was so engrossed that a Coca-Cola-induced urge to go to the toilet mid-way through had to be repressed. I wasn’t going to miss a second of this, particularly after being sideswiped by the film’s major left turn around twenty minutes in.

The idea, in retrospect, is simple: introduce the audience to the main character, then towards the end of the first act, suggest that the narrative you’re following is a fallacy, and that the film’s protagonist is being similarly hoodwinked. Hollywood had recently provided a film with a similar narrative hook, in Peter Weir’s The Truman Show (1998). Truman Burbank figures it out for himself when he overhears some radio chatter, almost gets pulverised by a studio light falling out of the sky, and notices the regularity of people bicycling down his street, but in The Matrix, our protagonist relies on others to wake him from his dream. Films ever since have played with the elastic nature of narrative. It seems like they’re ten a penny these days, but back in the late ‘90s it felt refreshing and new.

Everything about The Matrix seemed well thought-out. The design, the cast, the music, the sound, the editing, everything; but what grabbed people most of all were the special effects. The Wachowskis rewrote the book, taking their lead from the infinite possibilities of Japanese Anime rather than traditional Hollywood special effects. Finally, seven years following Terminator 2: Judgement Day, here was something that we hadn’t seen before: Bullet Time.

John Gaeta from Manex Visual Effects, working out of Alameda, California, developed a prototype of the effect prior to the film, and the Wachowskis jumped on it. Gaeta’s concept was based on an old idea – that a moving image is simply a sequence of still images played at high speed – but Gaeta’s application of the method to film action sequences was ingenious.

A simple stunt, for example one character jumping up to kick another character, could be transformed from something very simple to something extraordinary. A rig featuring dozens of still cameras would bet set up around the actors, and the cameras would shoot the movement in the scene, before being compiled together to form a moving image. By employing a fairly simple idea, the filmmakers created the illusion of movement around the action, capturing the shot at super-slow motion, but still travelling at high-speed, hence ‘bullet’ time.

There’s an element of The Matrix borne out of a clichéd Hollywood trope – that of the white male protagonist being the saviour of the universe, or the ‘one’ as Neo’s anagrammatical name would suggest – but despite this, the films manages to still feel fresh. The main protagonist is derivative to a degree, taking the base elements of George Lucas’ original Star Wars conceit – that our hero is possessed with a magical ability to transcend all evil forces – but there’s so much innovation in the film, it’s easy to overlook this. It’s like receiving a pair of socks on Christmas Day, but finding that they turn you invisible when you put them on. Erm, thanks Aunty Flo.

Of course, it’s impossible to talk about The Matrix without mentioning the sequels. At the time, they were exciting but just like the Star Wars prequels from George Lucas (him again), they suffered from a preponderance of weightless digital effects and little in the way of practical effects. Most Hollywood sequels are lazy rehashes of the same ideas that made the first film so interesting. The Wachowskis couldn’t be accused of this though; if anything, they overthought their sequels, giving them a highbrow slant that hasn’t been see in a sequel since The Godfather Part II.

It’s great to have Don Davis’ score to the film on this lovely slab of green wax. I probably enjoy the score as much as I love the pop soundtrack, which despite a few timeless classics is starting to feel very much of its time. I’m not familiar with Don Davis’ other work, but this is a great score – and its refreshing for a big action film to be scored by somebody other than John Williams, James Horner, Danny Elfman or Hans Zimmer.

Hit: Main Title

Hidden Gem: Welcome To The Real World