I'm curious about the Mandalorian score. So far I've seen only 1 scene, and the music in it was, literally, one of the worst crap I've ever heard, ever. It was some action music, but ******ed to the highest degree.
A cat taking a nap on the keyboard could produce that. It was some stupid loud rhythmic synth patch, repeating over and over and over again, not reflecting what's happening on the screen in the slightest. I couldn't believe anyone had payed for this and was ok having this in his show. I was shocked had bad it was.
More so used in a Star Wars thing, whose films music is the pinnacle of film scoring!
People like this now get Oscars. F***ing meaningless.
But I hope the rest of the score is better. But setting the level so low, I don't know what to say. I would be ashamed giving any client a product like this.
As for Zimmer. Let's not pretend he's some compositional ultra-maestro. He's great at what he's doing. He can come up with great themes, amazingly great production and is very innovative. Structurally, some (and not just few) of his compositions are very plain, like in Inception, etc., but they still kick ass. But it shows a lot that he's like a rock-n-roll guy composing for things that sound like an orchestra, than a classical composer who composes for an orchestra.
I've never heard any piece of his that would be somewhere near the level of Williams, Herrmann or Rozsa, for example.
Yet, I love his music, because he's great at what he's producing, and his collaboration with Nolan has always worked.
I think Nolan is far from being as musically knowledgeable as someone like Spielberg or more old-school filmmakers, and again, it shows. Nolan never edits into music. He said it feels to him that scenes are then longer, if he takes music into consideration and he does not do that. Which is the exact opposite of when in older films music carried the movie a lot of the time. Like Luke and the binary sunset. The scene is rather long and the music there is the main thing and the film is edited to let the music do its thing. There are episodes of Twilight Zone (the old series) where directors were like "we don't have to show this and this, the music will tell all of what's important about it", and they let the music play. Like Luke and the sunset.
Nolan even said he does not want music to distract the viewer from the film. WTF, Chris, thanks for ruining modern movie music by making this an etalon, plus Zimmer makes everything so loud and vehement that I don't think Chris got what he wanted.

Maybe he saw Goransson won an Oscar so he took him, but at least Zimmer had his vision and experience, with Nolan letting the composer do his thing... that's what I'm afraid of.
I remember one conversation between Spielberg and Williams, where Williams said Spielberg needs a better composer for The Schindler's List and Spielberg responded, "I know. But they're all dead!"

Spielberg is someone who is musically literate, unlike Nolan, Abrams and basically the majority of today's blockbuster filmmakers, and again, it shows.
For example a guy who cares about the music is Seth Macfarlane, when I saw who he hired to compose for The Orville, it was obvious he wants someone who can do quality orchestral music, not some modern s**t.
I'm not against electronic music or whatever, but I demand some level of craft when it comes to high budget stuff.
I was listening to Mozart and Beethoven a lot lately, and maybe I should stop so my expectations for music are not so high. Sometimes I'm listening to these recent scores and I'm like "So, when does the music start?".

I was listening to Herrmann's Northwest again, then to some Wonder Woman track, and I was like, well... I'm waiting... where's the composition?

I don't want to sound harsh or anything, but that was literally how I felt like.