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.
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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. 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). 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.
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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.