What I find ironic is that while Iwasaki pays homage to the style, he also puts the original inspiration to shame. But Iwasaki is also very much a fan of Zimmer (mostly his early stuff). Iwasaki appears more confident and sincere in his talent for orchestral writing in the classical phase, often paying homage to the classical repertoire and the Golden Age of Hollywood. “The Composer” can be divided into two phases: One more classically oriented and one on the side of Zimmer and RC. But recently he lets his old self emerge from time-to-time. During the last decade he did mostly wear the mask of the artist while his earlier years were pretty much that of a traditional media composer. His genius comes in the form of a mask with two faces: “The Composer” and “The Artist”. But if there's an area where he is pretty much the king of media composers now, it's in the romantic impressionism departement. You get everything from 1920s galore and Italian opera to Zimmerian action and electronic dubstep. He started as a song arranger for anime and now has become a distinctive and revered voice in the anime scoring world and is one of the few old warriors left (he’s almost 50 now), waving the flag for opera and Broadway song in media scoring. His career has pretty much been anime-only and it seems to stay that way for years to come. Taku Iwasaki is after Tanaka the second most prominent „Anime Composer”, perhaps to even more extremes than the original.
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