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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.
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Ramin DjawadiStephen ColemanBrandon CampbellCatherine Wilson
ComposerOrchestratorTechnical Score AdvisorTechnical Score Advisor
Game Of Thrones (TV Series - Season 2)
Label: Varese Sarabande
Length: 56'22
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 (5240 votes)
  1. Main Title (1:46)
  2. The Throne Is Mine (3:15)
  3. What Is Dead May Never Die (2:06)
  4. Warrior Of Light (3:03)
  5. Valar Morghulis (2:59)
  6. Winterfell (2:42)
  7. Qarth (2:11)
  8. Wildfire (3:39)
  9. I Am Hers, She Is Mine (2:17)
  10. Pyat Pree (2:12)
  11. Don’t Die With A Clean Sword (3:22)
  12. We Are The Watchers On The Wall (2:37)
  13. Pay The Iron Price (2:32)
  14. One More Drink Before The War (2:05)
  15. House Of The Undying (5:02)
  16. Stand And Fight (2:04)
  17. The Old Gods And The New (2:38)
  18. Mother Of Dragons (2:34)
  19. I Will Keep You Safe (2:17)
  20. The Rains Of Castamere - The National (2:23)
  21. Three Blasts (2:40)
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ia reply Replies: 0 || 2019-03-11 20:16:23
Episode 1
Warrior Of Light
The Throne Is Mine

Episode 2
What Is Dead May Never Die
We Are The Watchers On The Wall

Episode 3
-

Episode 4
Qarth

Episode 5
Valar Morghulis

Episode 6
Pyat Pree
Pay The Iron Price
The Old Gods And The New

Episode 7
-

Episode 8
I Am Hers, She Is Mine
Winterfell

Episode 9
Wildfire
Don't Die With A Clean Sword
One More Drink Before The War
Stand And Fight
I Will Keep You Safe
The Rains Of Castamere

Episode 10
House Of The Undying
Mother Of Dragons
Three Blasts

Boromir reply Replies: 0 || 2017-10-06 12:25:14
Stannis The Mannis' theme is terrific

Macejko reply Replies: 7 || 2013-04-16 23:25:35
Will the soundtrack for the third season be released?


Hybrid Soldier2013-05-07 23:52:39
As Ramin pointed on Facebook, the soundtracks for GOT Season 3 & Pacific Rim are in the works.

GOT should be release this summer (Var&#232;se, probably :)).

Pacific Rim will be released on July the 8th by WaterTower.


Macejko2013-05-08 16:12:46
That's good news, but after 6 episodes I don't think there even is much of new music to release...


Hybrid Soldier2013-05-08 16:15:33
Oh the ending of the episode 6 had quite some great moments ! :)


Macejko2013-05-08 16:42:01
Yeah, that melody was quite nice, but as much as love Ramin's music, I think that particular scene could have been handled better, musically speaking.
What I really liked was the rendition of Theon's theme during the scene of him being chased.
Also I'm not sure what to think about the rendition of Daenerys' theme playing at the end of episode 4. I think I understand what was Ramin going for, but it sounded somehow forced and inappropriate.
And again, I really liked the melody playing during Catelyn's confession about Jon Snow.
Overall, I'm indecisive about Season 3 music so far. It heavily relies on music from last two seasons (using Theon's theme at the execution of Rickard Karstark was a huge let down - it didn't make any sense to use that music there other than it was another execution), and when there is new music, it's usually a rendition of an older theme or it's something not really memorable. And I say this as a person who absolutely adores Ramin's work basically on everything.


Edmund Meinerts2013-05-08 22:19:14
Glad you brought up the Karstark thing, Macejko. Biggest musical facepalm since the Nazgul theme popped up in The Hobbit.


Macejko2013-05-08 22:41:06
Edmund: Yes, but concerning The Hobbit, it is known that the music used in the film itself is different from the music on the soundtrack CD. For example - there is no Nazgul/Mordor theme on the CD. Also, the main theme, which can be heard during almost every action sequence in the movie, is present only twice on the soundtrack. I'm not sure whose decision that was, but there are many differences between those two.
As for GoT, it's not hard to imagine that Ramin would indeed composed something new for that execution scene, but the creators (or the producers, or music supervisor) simply wanted to use the old stuff, just because it worked perfectly in similar scene. But of course, it doesn't make it any less disappointing.
I would love to find out that Ramin indeed composed new music and it was just replaced with the old stuff, but I don't think it's happening.


Macejko2013-05-22 21:29:02
Ramin posted on his Facebook that the release date for the Season 3 soundtrack is June 4th (digital version, physical release to follow).

Macejko reply Replies: 0 || 2012-12-27 16:42:27
A really nice interview with Ramin, mostly about his phenomenal work on Game of Thrones.

Lombok reply Replies: 0 || 2012-08-06 11:22:37
I really like Game of Thrones but the opnnieg credits are the worst thing, in my opinion. It's not the music: that's great and powerful. It's the visuals that are completely unfit. For one, it's computer graphics that you can't mistake for anything else, even if it's hi-res. And then it speaks of clockwork, mechanisms and machinery, which are the things that are farthest from what this series is about. Perhaps the authors' intention was to depict the scheming, but that is far-fetched and still makes it feel completely out of place.

Anonymous reply Replies: 0 || 2012-05-30 21:34:25
The Rains of CastAmere is incredible!!

Macejko reply Replies: 0 || 2012-05-30 17:46:39
The day will come, when every single hater will finally recognize genius of Ramin Djawadi.

Macejko reply Replies: 0 || 2012-05-30 17:45:50
Incredible soundtrack.

Tick Tock reply Replies: 0 || 2012-05-25 19:42:32
Game Of Thrones - TV Series - Season 2

1. Main Title (1:46)
2. The Throne Is Mine (3:15)
3. What Is Dead May Never Die (2:06)
4. Warrior Of Light (3:03)
5. Valar Morghulis (2:59)
6. Winterfell (2:42)
7. Qarth (2:11)
8. Wildfire (3:39)
9. I Am Hers, She Is Mine (2:17)
10. Pyat Pree (2:12)
11. Don’t Die With A Clean Sword (3:22)
12. We Are The Watchers On The Wall (2:37)
13. Pay The Iron Price (2:32)
14. One More Drink Before The War (2:05)
15. House Of The Undying (5:02)
16. Stand And Fight (2:04)
17. The Old Gods And The New (2:38)
18. Mother Of Dragons (2:34)
19. I Will Keep You Safe (2:17)
20. The Rains Of CastAmere† Performed by The National (2:23)
21. Three Blasts (2:40)

Hybrid Soldier reply Replies: 0 || 2012-04-13 10:50:32
Coming soon ! (careful with identity theft, people...)

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Game Of Thrones (TV Series - Season 2) soundtrack - Ramin Djawadi 2012