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Wondring how much influence Tom Howe wille have on this score. Professor Marston was such a lovely score.All those people who complain that Hans isn't sticking to more traditional scores forget that at heart, hes a synth man who loves his synthesizers and keyboards. Hans is just as much as a musical artist as Bowie or Paul Mccartney, in the sense that he goes through musical trends and his style adapts or changes. That's just the way it is, enjoy it for what it is. <br><br>Crucify me for comparing a human to David Bowie!Wow! Stephen Barton worked on a lot of the important cues here, huh?I'm with Edmund in that I'd love for Hans to win more Oscars, but not this score. I feel like even Blade Runner 2049 is more deserving of an award than this. Sure, it works great in the film, but that shouldn't be reason enough for an Oscar. I feel like Desplat's nominated score is more deserving than this one. <br><br>"But this one has a unique sound and recording!"<br><br>Okay... a lot of scores have that. A lot of Zimmer's work has that. Doesn't make them all masterpieces.<br><br>"But we have to spite those evil reviewers who hate this score!"<br><br>Why do you let their opinion get in the way of your enjoyment? If you love it enough, the critics' opinions should only make you enjoy it more because you see something in it they don't. <br><br>I agree with George in that Hans needs to go back to a melodic sound. I don't think whether this score wins or not will change Hans' mind on that, but I do want his next Oscar winner to mean something other than, "Oh cool! I won this award because I made weird sounds!" (Which by the way, involves things like programming and a lot of other technical adjustments that have nothing to do with Hans' composing ability)."The thing that I'm proudest about Dunkirk is you can't separate it from the film."<br>- Hans Zimmer, GQ
I understand, but it does not make sense.<br>You're arguing that the score for a movie released in January this year was produced before of the score of a movie that went to theaters in July. If Balfe started working on "12 strong" a year before the movie release, the same can be said of Dunkirk. It is easy to infer that the Dunkirk's score has been working since the middle of 2016! Or even before, because of the tours that Zimmer has done.<br>The music/sound design, even being simple, was not made and recorded between January and May of last year.Olive  that is when it was announced !!! Not when he did itBalfe's hiring came out in May, when Dunkirk's production was already at the end. No contest.<br><br><br>filmmusicreporter.  com/ <br> 2017/05/24/lorne-balfe-to-score-horse-soldiers/Hans finished the bulk of the score before he went on tour, you could find an interview where he himself says so. <br>Ben worked solely on Variation 15. <br>Scroll down on this page and you'll find the full cuesheet with the credits. <br>Edmund - how do you think Zimmer wrote Dunkirk when he was on a world tour !!!Congratulations to Ben, Lorne also .
Edmund - the release dates do not matter . Check out Balfe’s Facebook page and you will see he was recording 12 Strong early last year .I've only heard the suite Hybrid made. The only similarity I was aware of is the siren-like sound. <br><br>People don't realize how difficult scoring Dunkirk was. Just because you love Interstellar (I do too - it's my favorite HZ score) but that doesn't mean Dunkirk doesn't deserve to win. <br>Edmund, in all honesty what are the similarities between 12 Strong and Dunkirk? I know both scores and fail to see how they connect.Doesn't deserve an Oscar. Hans Zimmer is my favorite composer but if he didn't win for Interstellar, he shouldn't win for this. <br><br>I can seriously say that I object this score winning based on that principle. This winning over Interstellar just isn't right.Well, the credits say that Supermarine or the oil are pure Zimmer, and also the 3 first track I think. So Balfe helped him to develop some ideas during his tour but the majority of the score is Hans' work.<br>And it does deserve an Oscar. I never heard a score like that.. If you have a problem with the score I think it comes from the script. A classical melodical music wouldn t work for this film i think.
Source? I find that hard to believe considering the release dates. Even if it is true, Balfe might have been concurrently working on Dunkirk and brought over some of the ideas. I find it spectacularly improbably that he and Hans just HAPPENED to come up with the same ideas at the same time.Edmund - gets you facts right please . 12 Strong was written before DunkirkHere's an interesting opinion: I want Hans to win this one so that he DOESN'T continue making music like this. Sure its functional, but if he could reinvent the melodic score again and get back to writing memorable melodies I'd be pretty happy. He won for Lion King and then essentially abandoned that tone of music which transitioned into the Crimson Tide/The Rock sound... so maybe, just maybe, if he wins this year he'll completely reinvent his sound again and give us something both melodically memorable but also be a total game changer in terms of modern scores.I hope it doesn't win if for no other reason than so we don't have to go through 5 years of Dunkirk temp tracks (although if 12 Strong is anything to go by, too late).@Ahmad i only need "The Oil (Film Version)" :D Then i'll be happy :D
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Matthew Margeson
Co-Composer
Transformers - Prime (TV Series)
Label: Lakeshore Records
Length: 72'26
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 (4089 votes)
  1. Transformers Prime (3:22)
  2. Optimus Prime Returns (2:07)
  3. One Shall Rise (2:43)
  4. Dreadwing (1:41)
  5. In Defense Of Humanity (2:26)
  6. We Have Returned (4:42)
  7. Relentless Pursuit (4:36)
  8. This Is Your Home Now (5:02)
  9. Autobot Stratagum (2:38)
  10. Battle In The Energon Mine (3:12)
  11. Proximity Sensors (2:17)
  12. Cutting It A Bit Close (1:28)
  13. The Cons Are Back (4:46)
  14. RC On The Move (2:02)
  15. Always Welcome (2:11)
  16. Arachnid (4:10)
  17. The Space Bridge (1:29)
  18. Dogfight (4:52)
  19. Bumblebee (1:37)
  20. Next Day After School (1:12)
  21. Cybertron (1:31)
  22. Megatron On The Move (2:44)
  23. The Construct (2:16)
  24. Prime Finale (4:16)
  25. Transformers Prime End Title (3:05)
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Edmund Meinerts reply Replies: 6 || 2013-11-02 17:19:11
Just wondering out of curiosity if the credits for these Tyler scores that use additional guys from RCP will ever be known. Like Margeson on this one and Battle: LA, or Todd Haberman on Rambo. Any clues, Hybrid?


Hybrid Soldier2013-11-02 18:32:02
No because Tyler rarely gives royalties...

A couple cues from Rambo (The Compound if my memory doesn't suck) are credited Haberman.

Matt did a LOT of the action stuff on Battle LA & Expendables 1.


Edmund Meinerts2013-11-02 18:37:33
He doesn't give royalties? Is that even legal? It would certainly explain how he's able to do so many scores in a year...sheesh.

Not surprised to hear about Margeson; Skyline sounds so much like a Tyler score it isn't even funny. :p


Hybrid Soldier2013-11-02 19:07:23
Of course it's legal...

I mean, all the credits I get are basically royalties sheets (cuesheet).

The thing is around RCP it's common to have detailed things, but they are not "forced" to do so. It's just the local culture. And it's not shared all around the non RCP guys.

I just checked Tyler's Iron Man 3 cuesheet and of course he's solo credited there. No money for Halli Cauthery, Stu Thomas, Tony Morales, Sarah Schachner or R. Lydecker... Of course they get paid (contract) when they work with him, but they won't get any other money in the future. That's the way it is...


Frank2013-11-03 02:13:44
Speaking of Tyler, am I the only one who found that the main theme of Thor The Dark Word is pretty similar to the opening title of Contender?


Mike2014-05-02 19:08:30
I did as well, Frank. That was my first thought upon hearing it.


Edmund Meinerts2014-05-02 19:15:55
The theme from Thor 2 is so derivative it's not even funny. Besides The Contender it also reminds me of Tyler's own Children of Dune...and it's based on a four-chord progression that he has used in practically every score he's ever done.

. reply Replies: 1 || 2012-03-31 21:22:25
matthew margeson is a additional composer! no co-composer! boa what a bad site.

all hate remote control


Warfighter2012-05-16 03:11:24
Very constructive post...
Maybe "All hail Megatron" for you? :D

Adam Krysinski (Soundtracks.pl) reply Replies: 3 || 2012-03-07 09:43:14
music performed by: The Slovak National Symphony Orchestra
music recorded at: Slovak Radio Concert Hall & Brian Tyler Studios
additional music: Matthew Margeson
music conducted by: Allan Wilson
music orchestrated by: Robert Elhai, Dana Niu, Pakk Hui & Brad Warnaar
scoring mixer: Jeff Biggers
musical score arrangements: Bob Lydecker
music preparation: Eric Stonerook
recording engineer: Peter Fuchs
music contractor: Paul Talkington
score coordinators: Bob Lydecker & Matthew Llewellyn


Hybrid Soldier2012-03-07 13:51:27
Actually Brian scored the first 5 episodes with help by Matt, and Matt scored the last 5 on his own... :)


Mr. Charles2012-03-07 19:12:19
So then are there credits available for who did each track Hybrid? Or is it too early?


Mr. Fate2012-03-07 21:18:47
Remember, you can find the credits just as easily as Hybrid. He gets them from ASCAP or some other site that has a similar function...At least, that's what I remember him saying elsewhere. I wouldn't think Hybrid has access to much more of that sort of info than any one of us does.

T-Mann036 reply Replies: 0 || 2012-03-07 01:18:23
It's about freakin' time!!!!

Mr. Charles reply Replies: 0 || 2012-03-03 22:44:38
FINALLY!!!!

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Transformers - Prime (TV Series) soundtrack 2010