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And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.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 2004The 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 premier
I 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 1
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Hans ZimmerLorne BalfeTom Holkenborg (Junkie XL)Stephen Hilton
ComposerAdditional MusicAdditional MusicAdditional Arrangements
Madagascar 3 - Europe's Most Wanted (Complete Score)
Label: Unofficial Release
Length: 90'53
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 (6904 votes)
  1. Opening (1:12)
    Hans Zimmer, Lorne Balfe
  2. Bad Dream - New York City (2:48)
    Hans Zimmer, Lorne Balfe
  3. I Wish We Could Go Home (0:30)
    Hans Zimmer, Lorne Balfe
  4. Chimp Hotel Source (0:22)
    Junkie XL
  5. Main Title - Clandestine Monte Carlo (1:03)
    Hans Zimmer, Lorne Balfe
  6. Everybody Dance (1:09)
    Danny Jacob, Robert Clivilles, Freedom Williams, Stephen Hilton
  7. I'm Gonna Lead (1:53)
    Hans Zimmer, Lorne Balfe
  8. Casino Escape (1:02)
    Hans Zimmer, Junkie XL
  9. If You Ever Want To Be My Lover (0:08)
    Matthew Rowbottom, Richard Stannard, Stephen Hilton
  10. Meet Dubois - Escape Continues (1:07)
    Hans Zimmer, Junkie XL
  11. Luxury Assault Urban Recreational Vehicle (0:41)
    Hans Zimmer, Junkie XL
  12. Dubois On The Scene (0:55)
    Hans Zimmer, Junkie XL
  13. Monte Carlo Chase (Part 1) (1:17)
    Hans Zimmer, Junkie XL
  14. Monte Carlo Chase (Part 2) (0:52)
    Hans Zimmer, Junkie XL
  15. Julien Is Saved (0:21)
    Hans Zimmer, Junkie XL
  16. Monte Carlo Chase (Part 3) (2:33)
    Hans Zimmer, Junkie XL
  17. We Gotta Get Home (0:43)
    Hans Zimmer, Lorne Balfe, Jasha Klebe
  18. The Fuzz - Meet The Circus - Escape (2:13)
    Peter Asher, Dave Stewart, Hans Zimmer, Lorne Balfe
  19. Knife Sting - We're Going To America (0:48)
    Hans Zimmer, Lorne Balfe
  20. Vitaly (0:40)
    Hans Zimmer, Lorne Balfe
  21. Meet Sonja The Bear (0:52)
    Lorne Balfe
  22. Dubois Tracks The Zoosters (1:12)
    Hans Zimmer, Lorne Balfe
  23. Rome (0:43)
    Jasha Klebe (Giuseppe Verdi)
  24. Backstage Rome (1:08)
    Hans Zimmer
  25. Con Te Partiro (1:23)
    Jasha Klebe (Francesco Sartori, Lucio Quarantotto)
  26. Gia (1:29)
    Peter Asher, Dave Stewart, Lorne Balfe, Jasha Klebe
  27. Dubois - Where There Is Smoke There Is Lion (1:08)
    Hans Zimmer, Lorne Balfe
  28. Saber Dance (1:30)
    Jasha Klebe (Aram Khatchatourian)
  29. Saber Dance Reprise (0:50)
    Junkie XL, Jasha Klebe (Aram Khatchatourian)
  30. Italian Police - Dubois Escapes (1:36)
    Hans Zimmer, Lorne Balfe
  31. Where Did Alex Go? (0:49)
    Hans Zimmer, Lorne Balfe
  32. Circus Zaragoza - Vitaly's Story (3:13)
    Hans Zimmer, Lorne Balfe
  33. Phase 4-7B (0:24)
    Hans Zimmer, Lorne Balfe
  34. Circus Is Here - Pomp & Circumstance (3:00)
    Hans Zimmer, Lorne Balfe, Jasha Klebe (Edward Elgar)
  35. Non Je Ne Regrette Rien Backing Track (1:14)
    Frances McDormand, Charles Dumont, Michel Vaucaire, Jasha Klebe
  36. Cannonball (2:33)
    Hans Zimmer, Lorne Balfe (John Barry)
  37. Training Montage - Alex - Gia (0:39)
    Peter Asher, Dave Stewart, Hans Zimmer, Lorne Balfe
  38. Training Montage Mid (0:55)
    Junkie XL
  39. Training Montage End (1:11)
    Hans Zimmer, Junkie XL
  40. Love Ballad (3:22)
    Peter Asher, Dave Stewart, Jasha Klebe
  41. Circus Train (1:52)
    Hans Zimmer, Lorne Balfe
  42. London (1:10)
    Hans Zimmer, Lorne Balfe (John Stafford Smith)
  43. Alex Encourages Vitaly (2:12)
    Hans Zimmer, Lorne Balfe
  44. Fireworks Sweetener (0:21)
    Jasha Klebe
  45. London Celebration - Dubois On The Hung (2:58)
    Peter Asher, Dave Stewart, Hans Zimmer, Lorne Balfe
  46. Julien & Sonja Break Up (1:09)
    Lorne Balfe (Francesco Sartori, Lucio Quarantotto)
  47. Back To NY (4:43)
    Hans Zimmer, Junkie XL
  48. Back In The Zoo (0:33)
    Hans Zimmer, Lorne Balfe
  49. Dubois & The Venom (2:57)
    Hans Zimmer, Lorne Balfe
  50. Circus To The Rescue (0:30)
    Chris Rock, Julius Fucik, Stephen Hilton
  51. Rescue Stefano (2:20)
    Hans Zimmer, Lorne Balfe
  52. AfroCircus - Move It (2:43)
    Chris Rock, Sacha Baron Cohen, Julius Fucik, Erick Morillo, Hans Zimmer, Stephen Hilton
  53. Everybody Dance (Album Version) (2:19)
    Danny Jacob, Robert Clivilles, Freedom Williams, Stephen Hilton
  54. Wannabe (Album Version) (2:39)
    Danny Jacob, Jessica Weiss, Spice Girls, Matthew Rowbottom, Richard Stannard, Stephen Hilton
  55. Hot In Herre (Album) (2:29)
    Danny Jacob, Jessica Weiss, Cornell Haynes, Pharrell Williams, Charles Brown, Stephen Hilton
  56. AfroCircus - Move It (Album Version) (2:44)
    Chris Rock, Danny Jacob, Julius Fucik, Erick Morillo, Hans Zimmer, Stephen Hilton
  57. Chimp Hotel Source (Alternate) (0:28)
    Junkie XL
  58. Dubois Tracks Zoosters (Alternate) (1:13)
    Hans Zimmer, Lorne Balfe
  59. Saber Dance (Alternate) (1:30)
    Jasha Klebe (Aram Khatchatourian)
  60. Dubois & The Venom (Alternate) (3:00)
    Hans Zimmer, Lorne Balfe
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beenherebefore reply Replies: 0 || 2018-08-28 06:41:50
This score has great themes - Dubois and Vitaly are really fun and catchy - and the classical rearrangements are well-integrated, but something about the score as a whole doesn't work for me.

The action arrangements in particular (except for the Penguin chase) are just boring. I keep hearing the same trumpet patterns, dull violin swirling, and ascending lines again and again. There's no real form or tone to it.

The first score has a lot more feeling to it even with a less "sophisticated" orchestration.

fabu reply Replies: 1 || 2016-05-11 19:36:59
Uhm I don't get why "John Barry" is listed on "Cannonball". Does anyone know?


Anonymous2016-05-11 23:32:08
Source music "Born Free" by J.Barry

Anonymous reply Replies: 0 || 2014-09-13 13:53:01
ugh i really want that background song 'where did Alex go?'. specially that part when Alex climbs the wall of the tunnel and jumps, it plays a very beautiful, dramatic song. where can i get that?

e reply Replies: 5 || 2013-05-31 05:44:56
So out of interest, how much of this did Zimmer actually write? It looks like he did pretty much nothing on this film.

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Please enter number: 1105 


Anonymous2013-05-31 06:59:23
I'm no expert, but he at least did:

--the main theme
--the opening
--supervised the other cues and gave them the go if he liked them

Is that right? :P


Ds2013-05-31 14:29:27
The tracks HZ did with Junkie XL are awesome, especially the entire Monte Carlo chase. Such a fun music :p

Hybrid, if you get that information, i'm curious about the involvment of HZ on a score like this. I mean it's a very good score for one of last year's best animation movies, but it's not as high-profile as TDKR was.


Hybrid Soldier2013-05-31 16:37:02
I won't lie, I'm pretty sure composers have a big freedom on those. HZ is doing the themes of course but I don't think he's as focused as he could be on, say, a Batman.

For the first Madagascar (which was really different cause it only had half an hour of score), he totally left in the middle and Dooley finished, cause he had a little movie called Batman Begins to work on... :P


Mike2013-05-31 20:11:01
He does seem to invest a lot of himself in the Nolan movies.


Lucius2013-06-01 11:23:32
Yeah you can tell the other composers were given freedom here. With TDKR or POTC the cues from other people still sound like Zimmer but here a lot of it doesn't even sound like him.

Anonymous reply Replies: 0 || 2013-06-01 11:12:57
Circus Zaragoza - Vitaly's Story sounds so much like Night at the Museum at the beginning!

MSC reply Replies: 5 || 2013-04-22 07:27:23
Does this list include the end credits?

I'm looking for a short segment just at the end of the end credits, just before the song credits appear at the very end (DVD release between running time 88:20 and 88:46 minutes).

Does anyone know what this is called?


Ds2013-04-22 12:24:26
The end credits are a compilation of tracks previously played in the movie.

The track you speak about is New York City Surprise, it's also on the official soundtrack album!


MSC2013-04-24 23:50:57
Thank you but that doesn't seem to be it. I don't have the DVD on hand at the moment but I believe it's the short section just before "New York City Surprise" begins.


Ds2013-04-25 00:09:03
I used the european dvd. The running time can vary a little according to the system (PAL, ...). The short section just before that is in track 2: "Bad Dream - New York City" (0'59"-1'20") :)


MSC2013-04-25 20:13:56
Wow, quick and helpful responses, thank you! I checked the official soundtrack which unfortunately doesn't list this track. Is there a way to purchase it somewhere?


Ds2013-04-25 20:37:50
No this track is in the unofficial release only, no way to purchase it. For that your only friend is google :)

Lz reply Replies: 0 || 2013-03-26 14:32:32
Hi

Where can i get a copy of the new party party party recording?

TheLnxDrd reply Replies: 1 || 2012-11-01 16:02:49
Thanks! But Where I Can listen these?


Damien, Moderator2012-11-01 20:43:42
As all discs marked 'Unofficial Release', there is no official way to listen them. So you wouldn't get the answer here.

T-Mann036 reply Replies: 0 || 2012-08-23 05:53:53
Frances McDormand's rendition of "Non Je Ne Regrette Rien Backing Track" was a real KICK (Bad Inception pun...)!!!!!

Anonymous reply Replies: 1 || 2012-08-01 18:04:04
This cover is much better than the OST's.


Xando Geddes2012-08-11 12:58:41
Hello There.
How can I get this album. I'm looking everywhere and I couldn't find it.
Cheers!

mittens again reply Replies: 0 || 2012-08-10 22:02:16
and btw isn't Danny Jacobs a voice actor, not a film composer?

inspector mittens reply Replies: 0 || 2012-08-10 21:53:16
Is the track name "19. Knife Sting - We're Going To America" correct, because I have seen some tracklist with word "Africa", not "America" this track's name?

T-Mann036 reply Replies: 5 || 2012-08-03 07:24:43
Out of the 36 tracks of Madagascar 3 complete film score, what is your favorite track?

To me, my favorite is Monte Carlo Chase Part 1. Somewhere in the middle, I can almost hear the alternate tune of "Skorponok".


Hybrid Soldier2012-08-03 12:14:40
Cannonball was great track not on OST...

Love the "Con Te Partiro" arrangements too... xD

And OF COURSE the "Red Octoberian" Vitaly... :)


Still, I prefer Mada 2 over it...

I could give you full credits of who was in charge of which cue... :)


T-Mann0362012-08-03 21:13:05
If you want to do that, Soldier, we don't mind.


MGDrone2012-08-03 22:06:16
I'd really love it if you could give us the credits Hybrid :)


Hybrid Soldier2012-08-03 23:23:20
All added !


T-Mann0362012-08-04 02:06:23
Two and half thumbs up for you, Hybrid. Thanks!

Hybrid Soldier reply Replies: 5 || 2012-07-31 22:39:56
As you wish...


Peter2012-07-31 23:02:55
Thanks, Hybrid
Slate Numbers for the Score :

1m01 Opening
1m03 Bad Dream-New York City
1m04 I Wish We Could Go Home
1m05 Chimp Hotel Source
1m05ALT Chimp Hotel Source
1m06 Main Title-Clandestine Monte Carlo
1m07 Everybody Dance
1m08 I'm Gonna Lead
1m09 Casino Escape
1m10 If You Want To Be My Lover
1m13 Meet Dubois-Escape Continues
1m14 Luxury Assault Urban Recreational Vehicle
1m15 Dubois on the Scene
2m16 Monte Carlo Chase Pt. 1
2m18 Monte Carlo Chase Pt. 2
2m19 Monte Carlo Chase Pt. 3
2m19A Julian is Saved
2m22 We Gotta Get Home
2m23 The Fuzz-Meet the Circus-Escape
2m24-25 Knife Sting-We're Going to Africa
2m26 Vitality
2m29 Meet Sonja the Bear
2m31 Dubois Tracks the Zoosters
2m31ALT Dubois Tracks the Zoosters
2m32 Rome
2m32A Backstage Rome
2m34 Con Te Partiro
3m37 Gia
3m38 Dubois-Where There is Smoke There is Lion
3m40 Saber Dance
3m40ALT Saber Dance
3m41 Saber Dance Reprise
3m41A Italian Police-Dubois Escapes
3m42 Where Did Alex Go
3m43 Circus Zaragoza-Vitaly's Story
3m44 Phase 4-7B
3m45 Circus is in Here-Pomp and Circumstance
3m54A Non, Je Ne Regrette Backing Track
4m46 Cannonball
4m47 Training Montage-Alex and Gia
4m47MID Training Montage Mid
4m47END Training Montage End
4m47A Love Ballad
4m47B Circus Train
4m50 London
4m51 Alex Encourages Vitaly
4m52A-B Fireworks Sweetener #1
4m53 London Celebration-Dubois on the Hunt
4m55 Julian And Sonja Breakup
4m55A Back to NY
5m56 Back in the Zoo
5m57 Dubois and the Venon Ver. 1
5m57 Dubois and the Venon Ver. 2
5m58 Circus to the Rescue
5m58A Rescue Stefano
5m61 Afro Circus-Move It



/////2012-08-01 02:11:16
Not 95 mins?


BallSack Magoo2012-08-01 03:14:48
80 minutes of score... plus 15 minutes of dead silence at the beginning of each track = "95 minutes"


//////2012-08-01 03:25:37
@/////,

Way to copy me. Come up with a better anme to use


T-Mann0362012-08-01 04:14:30
Hybrid Soldier, I salute you!!!!!

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Madagascar 3 - Europe's Most Wanted (Complete Score) soundtrack - Hans Zimmer 2012