Hans Zimmer and a Dragon Ball live-action movie

[JulieYBM]

I do think Hans Zimmer is a good composer, his soundtrack for Pirates of the Carribean is what I think of when I think of what swashbuckling sounds like, but I agree that it’s strange for Iyoku to trot out a Hollywood talent like it’s a flex. Dragon Ball is one of the most recognizable brands on Earth. It doesn’t need Zimmer attached to be a big deal. Besides, somewhere out there is a wildly talented, probably mostly unknown composer who would trade a limb and maybe a couple organs for the chance to work on Dragon Ball. I think they should be trying to find that person.

I get the stakes are really high for Iyoku. Without Toriyama, the main thing his company exists to handle is kind of gone. If nothing else, the Zimmer thing does prove he has his eye set on bigger, more expensive hollywood style productions. Maybe he’s reaching out to the major studios behind the scenes. But as long as he’s settling for whoever the biggest name to call him back is, I don’t think he’s going to get very far.

Pirates of the Carribean's main theme is one of those things where, yeah, it's really recognizable, but I also struggle to really think of the overall score of those films are memorable or captivating. Johnny Depp being an abusive asshole also makes going back to those films for a reassessment really difficult, too.

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Like, yeah, obviously I'd jump at the chance for Sagisu Shirou or Takanashi Yasuharu or Kajiura Yuuki to have filled this position over Zimmer, but there's so many other options to go for that don't paint the entire video as a desperate plea from the nerd to be accepted by the popular kids.

[DragonBallFoodie]

That was actually Zimmer?

That was a pretty neat score. And his previous work on heroes has been wonderful (Batman, Superman, Wonder Woman, X-Men, Spider-Man), to say nothing of his other music.

[L3anD3RStar]

Pirates of the Carribean's main theme is one of those things where, yeah, it's really recognizable, but I also struggle to really think of the overall score of those films are memorable or captivating. Johnny Depp being an abusive asshole also makes going back to those films for a reassessment really difficult, too.

I admit to being biased, because the soundtrack CD was one of only three or four my parents would keep in their car, so I grew up listening to it a lot. That soundtrack, the Lord of the Rings soundtracks, and “Master and Commander” were for some reason their favorite driving music. So I've got a lot of memories tied up in it.

I’ve come to the retrospective conclusion that Curse of the Black Pearl will always be one of my favorite movies of all time, and the lack of too much emphasis on Jack is a big reason why. Making him into a Hero and not a chaotic element that pushes the pilot forward was a fatal decision for the movie’s direction. The sequels should all have had entirely new casts and focused on new stories. If wishes were fishes, I suppose

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Not to say Japanese projects can’t be “Hollywood-Esque.” It’s mostly a case of scale and production value. But Dragon Ball kind of needs its own audio identity. A really talented composer could get in there with both hands and give us some memorable and unique moments, or, hell, I mean I’m old enough to remember the original Funimation video release dub scores, with Dream Theater and Megadeth, and how they elevated everything. A really powerful needle drop can make for an unforgettable moment. I still can’t hear “Umi No Hi” without crying, and I didn’t know that song existed until I saw Dragon Ball Abridged. When the soundtrack hits, it hits like a truck.

Like, yeah, obviously I'd jump at the chance for Sagisu Shirou or Takanashi Yasuharu or Kajiura Yuuki to have filled this position over Zimmer, but there's so many other options to go for that don't paint the entire video as a desperate plea from the nerd to be accepted by the popular kids.

He is a producer, courting and charming the popular kids is a big part of his job. But I agree he’s not going about it the right way. Dragon Ball is one of the most famous and popular IPs on the planet, and he’s the guy currently in charge of guiding it into the future. Maybe he thinks the proximity to Hollywood will give him more leverage when dealing with Shueisha, but really, he should be above this.

[Hellspawn28]

I find Hans Zimmer to be overrated. He is very talented and has made great music. But, I feel like a lot of his music sounds the same.

[L3anD3RStar]

He definitely has a style and it involves bombastic notes and ominous minor keys

[Kid Buu]

I do think Hans Zimmer is a good composer, his soundtrack for Pirates of the Carribean is what I think of when I think of what swashbuckling sounds like, but I agree that it’s strange for Iyoku to trot out a Hollywood talent like it’s a flex. Dragon Ball is one of the most recognizable brands on Earth. It doesn’t need Zimmer attached to be a big deal. Besides, somewhere out there is a wildly talented, probably mostly unknown composer who would trade a limb and maybe a couple organs for the chance to work on Dragon Ball. I think they should be trying to find that person.

I get the stakes are really high for Iyoku. Without Toriyama, the main thing his company exists to handle is kind of gone. If nothing else, the Zimmer thing does prove he has his eye set on bigger, more expensive hollywood style productions. Maybe he’s reaching out to the major studios behind the scenes. But as long as he’s settling for whoever the biggest name to call him back is, I don’t think he’s going to get very far.

Pirates of the Carribean's main theme is one of those things where, yeah, it's really recognizable, but I also struggle to really think of the overall score of those films are memorable or captivating. Johnny Depp being an abusive asshole also makes going back to those films for a reassessment really difficult, too.

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Like, yeah, obviously I'd jump at the chance for Sagisu Shirou or Takanashi Yasuharu or Kajiura Yuuki to have filled this position over Zimmer, but there's so many other options to go for that don't paint the entire video as a desperate plea from the nerd to be accepted by the popular kids.

I love Sagisu Shirou's score for Kimagure Orange Road. He would be my number one pick for a DB product!

[Majin Buu]

I find Hans Zimmer to be overrated. He is very talented and has made great music. But, I feel like a lot of his music sounds the same.

This. He's good at making music that sounds "epic", but his style as a whole has always come off as generic to me. His work is polished, but not very distinct.

I know, man! That's why I think it's so asinine when people are still gatekeeping and being purists completely against Dragon Ball being live-action.

Because complaining about people not sharing your viewpoint is so much better.

People aren't in the wrong for having no interest in seeing Dragon Ball in live action dude.

[Yellow Flower King]

I do think Hans Zimmer is a good composer, his soundtrack for Pirates of the Carribean is what I think of when I think of what swashbuckling sounds like, but I agree that it’s strange for Iyoku to trot out a Hollywood talent like it’s a flex. Dragon Ball is one of the most recognizable brands on Earth. It doesn’t need Zimmer attached to be a big deal. Besides, somewhere out there is a wildly talented, probably mostly unknown composer who would trade a limb and maybe a couple organs for the chance to work on Dragon Ball. I think they should be trying to find that person.

I get the stakes are really high for Iyoku. Without Toriyama, the main thing his company exists to handle is kind of gone. If nothing else, the Zimmer thing does prove he has his eye set on bigger, more expensive hollywood style productions. Maybe he’s reaching out to the major studios behind the scenes. But as long as he’s settling for whoever the biggest name to call him back is, I don’t think he’s going to get very far.

Pirates of the Carribean's main theme is one of those things where, yeah, it's really recognizable, but I also struggle to really think of the overall score of those films are memorable or captivating. Johnny Depp being an abusive asshole also makes going back to those films for a reassessment really difficult, too.

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Like, yeah, obviously I'd jump at the chance for Sagisu Shirou or Takanashi Yasuharu or Kajiura Yuuki to have filled this position over Zimmer, but there's so many other options to go for that don't paint the entire video as a desperate plea from the nerd to be accepted by the popular kids.

I love Sagisu Shirou's score for Kimagure Orange Road. He would be my number one pick for a DB product!

NIGHT OF SUMMER SIIIIIIIIIIIIIIIIIIIIIDE!!!

Ok but seriously I love him too.

[JulieYBM]

I love Sagisu Shirou's score for Kimagure Orange Road. He would be my number one pick for a DB product!

I am eternally a fan of his work for the Evangelion series, both on the television series and the five films. Sagisu's work on BLEACH is also really amazing and varied. To be fair, all of his work is amazing and has a lot of nice variety lol. SSSS.GRIDMAN, SSSS.DYNAZENON, and GRIDMAN UNIVERSE also embody this. Even so, with the number of albums Sagisu just does outside of working on film and television, he's got great work to chose from. Shiro's Songbook 11 is so fucking good, I really like how Sagisu works with non-Japanese artists for different genres of music and most of his orchestral and choral music is recorded in Europe. It really goes to show how huge his productions are.

[GhostEmperorX]

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Could this even be the main reason? After all, his work did get atrocious overall treatment in multiple areas once Z arrived (whether that's the score convention, the release quality, etc).
It could also be later directors just not having the same mind as those who were there before.

[JulieYBM]

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Could this even be the main reason? After all, his work did get atrocious overall treatment in multiple areas once Z arrived (whether that's the score convention, the release quality, etc).
It could also be later directors just not having the same mind as those who were there before.

The composers post-Kikuchi keep going for this sort of Hollywood-esque sound, so I'd say there's definitely a desire to make Dragon Ball appeal to some weird take on 'leigitimate music scoring' or whatever the fuck. Either way, I've largely thought that the scores from Sumitomo and all of the others was really bland and forgettable. It's my hope that whoever does the score for The Galactic Patrol brings some flair back to the series. Give me Takanashi Yasuharu! I know he does a million projects but his music at least has some emotional ressonace and variety.

[GhostEmperorX]

The composers post-Kikuchi keep going for this sort of Hollywood-esque sound, so I'd say there's definitely a desire to make Dragon Ball appeal to some weird take on 'leigitimate music scoring' or whatever the fuck. Either way, I've largely thought that the scores from Sumitomo and all of the others was really bland and forgettable. It's my hope that whoever does the score for The Galactic Patrol brings some flair back to the series. Give me Takanashi Yasuharu! I know he does a million projects but his music at least has some emotional ressonace and variety.

More a problem with the direction I'd say (a lot of the older guys during Z really didn't even rely so much on BGM to begin with), but that's part of the curse; other talented names either being on side projects/inserts or turning out comparatively lackluster material compared to their wider repertoire thanks to lackluster direction or something.

[Mr Baggins]

That was actually Zimmer?

That was a pretty neat score.

I agree with this.

That whole 40th anniversary video was probably my favorite part of what I felt was otherwise an underwhelming event. I didn't even recognize Hans Zimmer from the score until they said it was him, but I thought it fit the celebratory vibe perfectly.

Do I think Dragon Ball should always sound like Zimmer? Obviously not, but that track suited the occasion very well.

[M16U3L2015]

But yeah, the decision to hire Zimmer just feels really "Trying to look legitimate" which just comes across as a major turn-off. Japanese film and television have gained their popularity around the world without trying silly nonsense like that. This is a big reason why I've also been turned off by the post-Kikuchi Shunsuke composers to work on Dragon Ball television and film, because the reach is obviously for something Hollywood-esque, which I think clashes with the charm of the otherwise Japanese film and television manner of doing the rest of said projects.

Could this even be the main reason? After all, his work did get atrocious overall treatment in multiple areas once Z arrived (whether that's the score convention, the release quality, etc).
It could also be later directors just not having the same mind as those who were there before.

The composers post-Kikuchi keep going for this sort of Hollywood-esque sound, so I'd say there's definitely a desire to make Dragon Ball appeal to some weird take on 'leigitimate music scoring' or whatever the fuck.

That made me think that, in retrospect, Kenji Yamamoto took that Hollywood approach to the point of plagiarizing soundtracks from Hollywood films such as Avatar and Terminator: Salvation.

[JulieYBM]

Could this even be the main reason? After all, his work did get atrocious overall treatment in multiple areas once Z arrived (whether that's the score convention, the release quality, etc).
It could also be later directors just not having the same mind as those who were there before.

The composers post-Kikuchi keep going for this sort of Hollywood-esque sound, so I'd say there's definitely a desire to make Dragon Ball appeal to some weird take on 'leigitimate music scoring' or whatever the fuck.

That made me think that, in retrospect, Kenji Yamamoto took that Hollywood approach to the point of plagiarizing soundtracks from Hollywood films such as Avatar and Terminator: Salvation.

Partially, yeah, that was something that he was hired for lol

When Satou Naoki was announced as doing the score for Super Hero, I was really excited because I loved his PreCure work. Unfortunately, the sound of his work for Super Hero just felt so empty. It was such a shame.

[GhostEmperorX]

That made me think that, in retrospect, Kenji Yamamoto took that Hollywood approach to the point of plagiarizing soundtracks from Hollywood films such as Avatar and Terminator: Salvation.

The guy actually told on himself on that one too:

Spoiler:

Once recording was over and we were in the MA stage (the work of matching dialogue, sound effects, and music to the picture), I realized something: This style of composing is essentially modern Hollywood film music itself, isn't it... And I'm confident that it matches the speed and story development of Dragon Ball Kai perfectly.

Now, at last, the battle begins. Please enjoy the new Dragon Ball music to the fullest.

-June 2009
-Composer, Kenji Yamamoto

[Kid Buu]

NIGHT OF SUMMER SIIIIIIIIIIIIIIIIIIIIIDE!!!

Ok but seriously I love him too.

Haha such an iconic opening.

I love Sagisu Shirou's score for Kimagure Orange Road. He would be my number one pick for a DB product!

I am eternally a fan of his work for the Evangelion series, both on the television series and the five films. Sagisu's work on BLEACH is also really amazing and varied. To be fair, all of his work is amazing and has a lot of nice variety lol. SSSS.GRIDMAN, SSSS.DYNAZENON, and GRIDMAN UNIVERSE also embody this. Even so, with the number of albums Sagisu just does outside of working on film and television, he's got great work to chose from. Shiro's Songbook 11 is so fucking good, I really like how Sagisu works with non-Japanese artists for different genres of music and most of his orchestral and choral music is recorded in Europe. It really goes to show how huge his productions are.

Have you seen Kimagure Orange Road? It's one of my favourite anime and his music just adds to it.

Love his work on Bleach and Eva too.

[JulieYBM]

NIGHT OF SUMMER SIIIIIIIIIIIIIIIIIIIIIDE!!!

Ok but seriously I love him too.

Haha such an iconic opening.

I love Sagisu Shirou's score for Kimagure Orange Road. He would be my number one pick for a DB product!

I am eternally a fan of his work for the Evangelion series, both on the television series and the five films. Sagisu's work on BLEACH is also really amazing and varied. To be fair, all of his work is amazing and has a lot of nice variety lol. SSSS.GRIDMAN, SSSS.DYNAZENON, and GRIDMAN UNIVERSE also embody this. Even so, with the number of albums Sagisu just does outside of working on film and television, he's got great work to chose from. Shiro's Songbook 11 is so fucking good, I really like how Sagisu works with non-Japanese artists for different genres of music and most of his orchestral and choral music is recorded in Europe. It really goes to show how huge his productions are.

Have you seen Kimagure Orange Road? It's one of my favourite anime and his music just adds to it.

Love his work on Bleach and Eva too.

I have not, no >_< I need to check out his older stuff eventually.

[Kid Buu]

NIGHT OF SUMMER SIIIIIIIIIIIIIIIIIIIIIDE!!!

Ok but seriously I love him too.

Haha such an iconic opening.

I am eternally a fan of his work for the Evangelion series, both on the television series and the five films. Sagisu's work on BLEACH is also really amazing and varied. To be fair, all of his work is amazing and has a lot of nice variety lol. SSSS.GRIDMAN, SSSS.DYNAZENON, and GRIDMAN UNIVERSE also embody this. Even so, with the number of albums Sagisu just does outside of working on film and television, he's got great work to chose from. Shiro's Songbook 11 is so fucking good, I really like how Sagisu works with non-Japanese artists for different genres of music and most of his orchestral and choral music is recorded in Europe. It really goes to show how huge his productions are.

Have you seen Kimagure Orange Road? It's one of my favourite anime and his music just adds to it.

Love his work on Bleach and Eva too.

I have not, no >_< I need to check out his older stuff eventually.

I think you'd like it. I also enjoy Nadia: The Secret of Blue Water.

[JulieYBM]

Haha such an iconic opening.



Have you seen Kimagure Orange Road? It's one of my favourite anime and his music just adds to it.

Love his work on Bleach and Eva too.

I have not, no >_< I need to check out his older stuff eventually.

I think you'd like it. I also enjoy Nadia: The Secret of Blue Water.

I've looked a bit at his Nadia work, in particular because he adapted at least one track from Nadia for the third Shin Evangelion movie. It's so cool how a track from a different sries can just come back and get a reinventing all those years later.

I need to break out my copy of the series and just watch it in general. >_<