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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Don’t even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldn’t change a thing about it), I must admit, it doesn’t have nearly the same effect as a stand-alone listen. It’s literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it “award” worthy? I’m not sure. If based solely on the film, you betcha. If based purely on the music itself, I don’t think so. That’s where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or “actual” music (again, works IN the film). It’s glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... I’ve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did it’s job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Trevor MorrisTJ LindgrenTodd HabermanSteve Davis
ComposerAdditional MusicAdditional MusicTechnical Score Advisor
Immortals
Label: Relativity Music Group
Length: 51'03
HZimmer.com rating:        Not yet rated
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 (4356 votes)
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  1. Immortal And Divine (1:30)
  2. War In The Heavens (2:32)
  3. Hyperion's Siren (3:47)
  4. Witness Hell (1:56)
  5. To Mt. Olympus (2:54)
  6. Enter The Oracles (2:30)
  7. Theseus And Phaedra (1:37)
  8. Poseidon's Leap (1:23)
  9. This Is Your Calling (1:31)
  10. Theseus Fight The Minotaur (2:13)
  11. Theseus Fires The Bow (2:16)
  12. My Own Heart (3:03)
  13. Zeus' Punishment (2:27)
  14. Ride To The Gates (1:00)
  15. In War Fathers Bury Their Sons (1:05)
  16. The Gods Chose Well (1:18)
  17. Fight So Your Name Survives (3:07)
  18. Battle In The Tunnel (2:43)
  19. Immortal Combat (3:34)
  20. Do Not Forsake Mankind (4:33)
  21. Apotheosis (1:44)
  22. Sky Fight - End Credits (2:22)
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Warfighter reply Replies: 0 || 2012-05-16 02:52:57
Has anyone heard Morris' Scorpion King 3 score? any info about this one?

Hale reply Replies: 1 || 2011-11-02 10:41:17
This score seems to be a mix between "Angels and Demons"(Choir style), "King Arthur" (Heavy orchestra with dark percussions) but it lacks GOOD themes. We can feel "Tudors" music style in a few tracks.

I think it's a functionnal score which takes its sense only in the movie.


Richard2012-01-12 06:42:07
Excellently put.

I want to remark that it all comes together rather nicely for immortals, the whole being more than the sum of its parts.

For example I feel the ending sky fight and subsequent staff credits is one of the most memorably powerful moments I've experienced in the theater.

Edmund Meinerts reply Replies: 7 || 2011-11-17 23:53:22
Man, this is a really weak score. I thought Trevor Morris would do better on his first solo assignment but he disappointed me. The reason? TEMP TRACKS!

"Hyperion's Siren" = Inception brass chords

Second half of "To Mt. Olympus" = "The Might of Rome" from Gladiator

"Fight So Your Name Survives" = the Holstesque action rhythms from Gladiator

"Do Not Forsake Mankind" = "Journey to the Line" from The Thin Red Line

But worst of all is "Immortal Combat" and "Sky Fight/End Credits", which sound EXACTLY like "160 BPM" from Angels and Demons! What the hell? Why no creativity?

Rest of the score is dull, uninteresting along the lines of the new Conan score. What a flop.


Bondo2011-11-18 00:35:16
It's hardly a flop, it's killing at the box office. And it's not his first solo assignment.


Edmund Meinerts2011-11-18 22:50:20
The score is a flop, not the movie. And I meant first solo blockbuster assignment.


Bondo2011-11-19 03:13:50
Nah, I'm enjoying it. And it worked VERY well in the film itself.


Zantlwisder2011-11-22 08:36:42
You know what? "Immortal Combat" is 160 beats per minute! Exactly the same as "160 BPM" from Angels & Demons.


Ele2011-11-22 10:29:39
@Zantlwisder Incredible find! Awesome! I didn't see that coming. Nice one, Sherlock


Areozz2011-11-22 21:48:07
What are you talking about? this is the page for Immortals, not Sherlock Holmes...


Zantlwisder2011-11-27 01:21:12
2'20''in"Fight So Your Name Survives", the drum beats are the same in "Kraken"from POC2... but the whole score works well in the movie,really

Bar reply Replies: 0 || 2011-11-09 21:07:26
wow! the "Do Not Forsake Mankind " is my favorite...very emotional!

Agntdman reply Replies: 0 || 2011-11-03 06:09:23
Every time I come to the site and see that interview with the film's director on the main page - Tarsem Singh, I keep thinking it's Muammar Gaddafi lol

Miles reply Replies: 0 || 2011-11-02 06:36:41
Mp3 samples on Amazon now! I don't know if it would be best for me to wait until the movie to hear the score or not.

Miles reply Replies: 3 || 2011-10-17 22:36:14
The official site has some samples up now! Any thoughts, first impressions?


Ds2011-10-18 12:48:32
I hear only one little cue... where do you see more samples? Thanks :)


Miles2011-10-19 16:51:52
You have to click on the tabs for synopsis, cast, downloads, etc., to hear the other cues.


Ds2011-10-19 18:23:39
Ok thanks a lot! ... i hope the full soundtrack will be more epic than these cues... These are ambiant cues, with no theme...

NoName reply Replies: 12 || 2011-10-09 21:36:30
Äh Tyler Bates 300 Part II ??? Its not so different !


NoName2011-10-09 21:38:07
A copy from Tyler Bates 300 !


Miles2011-10-10 16:25:41
Actually, there's a small score excerpt on the official site, and it definitely sounds more "Hans Zimmer" than "Tyler Bates."


NoName2011-10-10 22:47:57
Do you hear the music complete ? Do you M.D. in Music ?


Areozz2011-10-11 02:55:12
Do you M.D. in being a jerk? Mmmmm....hmmmmm, yes. Yes, you do.


Blu2011-10-11 11:28:39
No sarcasm intended but I didn't know the term M.D. can be used for anything other than medicine. Can it?


Areozz2011-10-11 14:25:44
I'm too lazy to look it up, but I'm pretty sure you're right, Blu.

This NoName guy thinks he's a know-it-all and thinks this music sounds like Tyler Bates, possibly because Tyler Bates did the music for 300 and because this movie appears to be similar to 300. It is not clear whether he has actually heard the music.

All composers have a unique style and if you've listened to the composers involved in this conversation, you could provide a statement like Miles did. NoName appears to have not a wide range of musical tastes....

*Waits for response from NoName*


Areozz2011-10-11 15:50:34
Ah, I overcame my laziness and looked it up. M.D. does indeed stand for Doctor of Medicine which makes absolutely no sense in the context that NoName used it in. Perhaps a better choice would have been "do you major in music?" to which the response could have been, "you don't have to be a music major to state when one composer's work sounds like another's."


Papapalpatine772011-10-11 18:27:12
Actually, if it sounds anything like 300, it really sounds like Elliot Gildenthal's score to Titus. Bates copied much of the themes from it and there was even a lawsuit. Now on the back of the latest Blu-ray (the digibook), there is an asterisk next to Bates' name. At the bottom it says *based on preexisting compositions not authored by Tyler Bates.


NoName2011-10-11 21:23:38
Sory iam not from America or England, Iam from Germany ind Iam a friend of Ramin Djawadi and Michael Levine. I know many composers RCP, because of my position in Germany. Doctor in German "Doktor" in Duisburg. I can not so good English but i can music and that is not English.

I hear often music before it is published. My specialist areas is Fimmusic, there i teach in munich (Bavaria). Ramin is an old fiend from Duisburg , i visit him often ! Therefor i have hear the new music.

And its really the same.

(Please no questions, idont send everybody the music)

Sorry for my bad english, i have it learn by myself.


Luc2011-10-14 16:34:23
That already was a copy of Elliot Goldenthal's Titus...


Anon2011-10-16 13:56:13
NoName, keep throwing your job title around, honestly no one cares. You can make yourself feel big by saying that meaningless garbage if you like however :) Just know that no one here actually cares. At all.


NoName2011-10-19 17:31:43
Ok !

Ele reply Replies: 0 || 2011-10-13 09:27:28
This will be awesome! We know Trevor can write good epic score (Tudors, Pillars, King Arthur)

Ds reply Replies: 0 || 2011-10-10 22:23:00
Interview with Trevor Morris about "Immortals":

http : // scorenotes .com/interviews . html

Kusi81 reply Replies: 0 || 2011-10-10 15:33:10
great!!! :) When's the start of Preordering that? :)

NoName reply Replies: 0 || 2011-10-09 21:39:31
Todd and Michel it is not related to you!

Hybrid Soldier reply Replies: 3 || 2011-10-09 12:15:54
I. Can't. Wait.


Blu2011-10-09 16:07:31
Awesome! I hope it is loud and epic!


Bondo2011-10-09 18:28:39
Wow, Trevor is doing this?? :D


NoName2011-10-09 21:37:16
I have hear it ! Its so .....

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Immortals soundtrack - Trevor Morris 2011