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Type {{{company_type}}}
Founded {{{foundation}}}
Headquarters [[Santa Monica, California]], [[U.S.]]

<tr><th style="text-align:right; padding-right:0.75em;">Key people</th><td>Hans Zimmer</td></tr><tr><th style="text-align:right; padding-right:0.75em;">Industry</th><td>Music industry</td></tr>

Remote Control Productions, Inc. is a film score company run by composer Hans Zimmer and based in Santa Monica, California. Originally known as "Media Ventures," which was conceived and founded by Jay Rifkin and Hans Zimmer,[1] the company changed its name after the partners both filed lawsuits against each other.[2][3] Today, Remote Control is home to a large group of composers mentored by Zimmer, many of whom have had successful film scoring careers as part of the company or on their own.

Remote Control Productions has been responsible for the scores for a number of successful live-action films including the Pirates of the Caribbean movies, Iron Man, Gladiator, Mission: Impossible 2, The Last Samurai, Transformers, Hancock, Kingdom of Heaven, The Da Vinci Code, Inception, Sherlock Holmes and its sequel, and The Dark Knight Trilogy, along with successful animated films such as the Shrek series, Kung Fu Panda, Madagascar, The Lion King, and more. Many composers from Remote Control Productions have also worked on the scores of successful video games such as the Metal Gear and Skylanders series, The Sims 3, Gears of War 2, Call of Duty: Modern Warfare, its sequel, Call of Duty: Modern Warfare 2, Crysis 2, Assassin's Creed: Revelations, and Assassin's Creed III. Harry Gregson-Williams was the first Media Ventures composer to work in the video game industry on Metal Gear Solid 2: Sons of Liberty in 2001.[4] Klaus Badelt, Stephen Barton, Steve Jablonsky, Lorne Balfe, and Hans Zimmer joined a few years later.


Composers who are working or have worked with Hans Zimmer at Remote Control Productions include:[5]

Composers of Remote Control Productions who are working in video games.

Criticism Edit

Numerous film music critics have blamed Zimmer and his studio with being responsible for a decline in quality in mainstream film scores. Christian Clemmensen of Filmtracks frequently criticizes Zimmer's constant use of ghostwriters and writing music using a "lowest common denominator" approach.[9][10][11][12][13] James Southall of Movie-Wave said, "Zimmer’s way of writing scores goes pretty much like this – he comes up with some “ideas” at an early stage, these ideas are then turned into a suite of music (sometimes with the assistance of Lorne Balfe), and when the actual scoring begins, the film is split into chunks and each chunk gets allocated to a team at Remote Control, who take music from the suite and apply it to their scenes...but there is always the danger that with so many cooks having a go at the broth, they want their own part to stand out, seem like the most important, and in the end nothing seems important. [14] Remote Control Productions has been accused of having a monopoly in film music, where filmmakers hire composers working there to create music that sounds similar to Zimmer's style instead of hiring composers for their own styles.


External linksEdit