NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback

 SEARCH
 

 FAN COMMENTS
Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004
The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/
Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.
What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Harry Gregson-WilliamsTrevor RabinHans ZimmerDon Harper
ComposerComposerAdditional MusicAdditional Music
Armageddon
Label: Sony Music Soundtrax
Length: 50'13
HZimmer.com rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (8798 votes)
  1. Armageddon Suite (5:20)
  2. Harry & Grace Make Peace (1:43)
  3. A.J.'s Return (4:27)
  4. Oil Rig (1:59)
  5. Leaving (2:30)
  6. Evacuation (3:43)
  7. Harry Arrives At Nasa (1:00)
  8. Back In Business (1:37)
  9. Launch (7:54)
  10. Words (1:37)
  11. Underwater Simulation (2:10)
  12. Finding grace (1:06)
  13. Armadillo (1:15)
  14. Short Straw (3:46)
  15. Demands (1:26)
  16. Death Of Mir (1:32)
  17. Armageddon Piano (0:33)
  18. Long Distance Goodbye / Landing (6:33)
Create Topic

Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading !
Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.

  Your name :     

Please enter number: 100 

Corrina reply Replies: 1 || 2019-07-17 15:25:29
Just out of curiosity... what instrument is playing when Liv and Ben are running towards each other at the end? (Long Distance Goodbye/Landing? I love that instrument!


Knight2019-07-17 15:32:50
Electric violin

Knight reply Replies: 0 || 2019-01-30 23:15:46
Just realized the Harry & Grace credit is wrong, its a Rabin solo... Must have been too tired lol

Knight reply Replies: 8 || 2019-01-30 04:57:41
Credits on this album are Don Harper and Paul Linford exclusively, as all cues are Rabin ones, heres what I had before the cuesheet here got updated:

Don Harper:
A.J.'s Return
Leaving
Evacuation
Harry Arrives at NASA
Launch
Underwater Simulation
Short Straw

Paul Linford:
Armageddon Suite
Harry & Grace Make Peace
Oil Rig
Words


Mike2019-01-30 05:36:56
Hybrid, I think you've got a rival....


TrevsFan2019-01-30 09:17:44
lol :)


Hybrid Soldier2019-01-30 12:34:29
Poor journalism, if you ask me...

Did you cross check any of this ? ;)


Knight2019-01-30 13:34:28
Yep, cross-checked all of them with the complete score


Knight2019-01-30 13:43:38
Thankfully Rabin almost never significantly changes his cue names, so all of these except for Words are identical to the cues on the complete


Bayhem2019-01-30 17:11:14
Thanks for all the updates, Knight. Appreciate your work.

Keep it up!


Hybrid Soldier2019-01-30 22:48:27
You cross checked nothing, you took a look at what I wrote... lol


Knight2019-01-30 23:09:26
I assumed that's what you meant by cross-checked as Linford doesn't have a website, Harper doesn't list his additionals, and there's nothing on either ASCAP or BMI about it.

Armageddon reply Replies: 14 || 2017-09-20 12:41:38
THIS, ladies and gents, is the greatest MediaVentures-RemoteControl score. No way you can convince me otherwise. lol! No seriously, even The Rock and Crimson Tide are inferior. The Armageddon score has it all, breathtaking and epic action cues, powerful dramatic cues, adventurous pieces, comedic cues. It literally covers the entire emotional spectrum. What other score can do that? Think about it and you'll see that I'm right.

Cheers,

B.


JR2017-09-20 14:12:15
mmmh not for me, even The Peacemaker or Deep Blue Sea (both ****) are superior than this one! (I’ll give it a *** 1/2).


Edmund Meinerts2017-09-20 16:25:42
Armageddon is great fun, but I can think of plenty other scores that cover that spectrum of emotions. At World's End certainly does, and then some.


rockhound2017-09-20 17:47:58
i think Armageddon is better in covering of all emotions than Pirates III, because there is one more thing the music has to do in Armageddon....covering bad acting. without the music, all emotional scenes with bruce willis would have been a joke. he acts really bad in these scenes, but the music works wonders.


Armageddon2017-09-21 09:05:39
To rockhound,

With all due respect, sir, that's a stupid statement. Very stupid. Guess you're mad that Rockhound wasn't the main character. How is Willis acting in those scenes bad? He's not overacting, he's not crying-screaming like a little girl. His character is actually very grounded. In the scene with Liv Tyler at the end, he is actually watching a picture of his real daughter. It makes it all the more real. He's very quiet and the performance is realistic. Nothing over-the-top. And people absolutely love that scene. Go to YouTube and read all the comments under the video. So, having said all of that, what exactly is your problem with it? You want him to go all crazy emotional like Nic Cage in Face/Off? Is that it?


Armageddon2017-09-21 09:28:44
To Edmund Meinerts,

I admit I never really got the chance to listen to the entire At World's End score. But now you sir got me interested and I will check it out.

Cheers.


Edmund Meinerts2017-09-21 11:31:24
So rockhound...your argument is that the score is better because the movie is worse? That's a new one, gotta admit... :D

to Armageddon, do it! The complete score, if you can. It's incredible!


Meta2017-09-21 14:15:16
Total video game score, circa 98. This is one of those scores -
my first - that you just didn't get enough of no matter HOW many cds they released of it. Hell, it wasn't until 2000 when I finally got the complete score on 2 cds. Sadly, by that time I burned out on it...


rockhound2017-09-21 18:49:34
@Armageddon

1. i love the movie. 2. rockhound is the most annoying character in the whole movie, but at least he has a cool name. ;) 3. bruce willis is smiling in almost all his emotional scenes and not just in this movie. but you know, in germany the movies are dubbed, so his "german" voice and the music helped alot to make these scenes nontheless convincing. to be honest, the goodbye scene was even more sad than the dying scene of leonardo dicaprio in Titanic. so you see, what impact the music had.

@Edmund

i didnt say the movie is bad, just bruce willis in a couple of scenes. so....the music had alot more to do than in Pirates III. the impact of the music in Armageddon must be way stronger to make these scenes work than in Pirates III. in Pirates III these scenes would have been also convincing without the music, because the acting was strong enough. but nontheless the music in Pirates III adds alot to the scenes and makes them stronger. just my opinion.


Edmund Meinerts2017-09-22 12:39:50
Yeah, but the quality of the acting beneath the score doesn't affect the quality of the music.


rockhound2017-09-22 17:31:37
maybe quality is also not the correct word. its the function of the music. i just think the music of Armageddon is much stronger in its function as a filmscore than Pirates III. i also think the themes are stronger and rabins main theme is used in a wide range. but this also a matter of taste ofc.


Armageddon2017-09-25 09:47:50
To rockhound,

Well sir, apparently you just don't like Bruce Willis. That "smiling" you speak of is part of his charm as an actor. That's just how his face is. I don't have a problem with it, and honestly I've never heard people complaining about it. Until now. But fair enough, you have the right of an opinion. I'm just sharing mine.

Cheers.


rockhound2017-09-25 16:59:47
@Armageddon
i have nothing against bruce willis. he got an Golden Raspberry Award for that role, so im not the only one who think, he did not his best job in that movie. but hey, in the german version it worked for me and the movie is a great ride nontheless. :)


Armageddon2017-09-26 13:45:10
To rockhound,

I knew you would bring up the Razzies. I'm sure you know these awards are meant as a joke. Even the guy who created them said so. I mean Jesus, even Stanley Kubrick was "nominated" for a Razzie. And for his masterpiece The Shining!! So the last thing any person can do is to take these awards seriously. But even if we do take them seriosuly, Willis in Armageddon was nominated for Best Actor for a Blockbuster Entertainment Award. So the awards cancel each other out. And we're again left with our own opinions. Whether he did his best job in Armageddon, you are going to get different answers depending on who you ask. Still, fact of the matter is that this is one of his biggest, most popular movies. Everyone knows Armageddon. And not only the movie. The score and the soundtrack are absolute blockbusters as well. Hugely successful and popular. And that's what matters at the end of the day.

Cheers.


Meta2017-09-26 15:38:34
LOL @ Razzies
Back in 98 you had a choice between TWO comet apocalypse movies: Armageddon or Deep Impact. Armageddon was the popular vote, after the popularity of the Rock...Let's just say I never watched Deep Impact - and their "selling" point to try to one up Armageddon, from what I recall, was Morgan Freeman as the first black President ever seen in a movie....Yawn.

Whatever.

Anyway, great score. The movie wound up boosting Bruce Willis' career even more, and it helped pave the way not only for Trevor Rabin and Harry Gregson Williams careers, but also Zimmer and Bruckheimer...And of course, Ben Affleck, and other cast members, who would go on to shine in other movies.

This film and its score is SO powerful (for me anyway), all I'm gonna say is I'll never watch it again, because I simply CANT...That goes double for the score, which is rousingly awesome.

Then again, this movie serving as both the alpha and omega of a relationship I had at the time probably has something to do with it. This is what happens when you take film scores and use them as your own personal emotional, historical "diary"; you tend to appreciate them as the years go by, but never return to them because of all the energy you put into them.

Armageddon reply Replies: 0 || 2017-09-26 13:44:35
To rockhound,

I knew you would bring up the Razzies. I'm sure you know these awards are meant as a joke. Even the guy who created them said so. I mean Jesus, even Stanley Kubrick was "nominated" for a Razzie. And for his masterpiece The Shining!! So the last thing any person can do is to take these awards seriously. But even if we do take them seriosuly, Willis in Armageddon was nominated for Best Actor for a Blockbuster Entertainment Award. So the awards cancel each other out. And we're again left with our own opinions. Whether he did his best job in Armageddon, you are going to get different answers depending on who you ask. Still, fact of the matter is that this is one of his biggest, most popular movies. Everyone knows Armageddon. And not only the movie. The score and the soundtrack are absolute blockbusters as well. Hugely successful and popular. And that's what matters at the end of the day.

Cheers.

sone reply Replies: 2 || 2012-08-30 20:18:52
does anyone know on which tracks did Hans work on?


Prott2012-08-30 20:46:59
I believe it's "Asteroid Chase - Shuttle Crash" (but none of his music is present in this score).


sone2012-08-31 00:32:51
unfortunately not. But now I took this Asteroid Chase track and compared it to the tracks on this list and my conclusion is that none of them contains music from it (except the main theme muisc which wasn't composed by Hans anyway). SO nothing here :)

Phil reply Replies: 1 || 2012-01-13 11:31:33
Happy Birthday Mr. Rabin!


Trevor2012-01-13 11:42:24
thank you phil, very kind from you :)

Jane reply Replies: 0 || 2011-07-24 21:26:36
Wowza, problem solved like it never hapnpeed.

Phil reply Replies: 0 || 2011-06-23 15:00:58
can't express this masterpiece in words...just amazing and breathtaking

"Launch" the best score I'ver ever heard... everytime I hear it I get goosebumps..:)

kero reply Replies: 0 || 2010-03-06 00:00:00
This music is really awesome

rabbit reply Replies: 0 || 2009-09-09 00:00:00
THis music is really really awesome! and i agree with someone else that tracks 9 and 18 are the best!!

mike reply Replies: 0 || 2009-09-03 00:00:00
The composer is like Beethoven. If Beethoven lived today, he would be a soundtrack composer. Very good music. I believe it is a great cd.

masmek reply Replies: 0 || 2009-05-01 00:00:00
joz

qa reply Replies: 0 || 2009-04-25 00:00:00
qqqqq

guss reply Replies: 0 || 2008-02-21 00:00:00
aaaaaaaaaaaaaa

Mikel Carmona-S.i.W (from Spain) reply Replies: 0 || 2006-12-13 00:00:00
Great score. A pesar de faltar mucha mϊsica, el cd resulta notable y emotivo. Rabin en estado puro.

Uroš reply Replies: 0 || 2006-02-07 00:00:00
Rabin is just great! This score is very good. The tracks 9 and 18 are great. Very powerfull and romatic. Trevor Rabin is one of the best composers ever!

Zilvinas (Lithuania) reply Replies: 0 || 2006-01-27 00:00:00
Hello!I like your music and want have your music more and more...I very like film Armageddon...So I want ask you where i can download your Armageddon soundtracks?For free please :)
(My e-mail ########) Thanks :)

jose maria alcaraz gimenez reply Replies: 0 || 2005-05-02 00:00:00
es la mejor obra maestra que he escuchado nunca.emotiva ,con un poco de accion,melodias que siempre tarareo y que llevo en mi mente.simplemente fantastica

Fernando reply Replies: 0 || 2004-12-09 00:00:00
The best score of the year and the best score of Trevor Rabin. Fantastic!!! Emotive!!! Spectacular!!! Enjoy this version or the complete bootleg version. After you listening this music experience you will be absolutely fan of TREVON RABIN. Go on Rabin!!! A fan from Spain.

 HANS-ZIMMER.com© 2001-2018 OST 
Armageddon soundtrack - Harry Gregson-Williams - Trevor Rabin 1998