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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
You 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.
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Hans ZimmerGeoff ZanelliDominic LewisTom Gire
ComposerAdditional MusicAdditional MusicAdditional Music
Rango (Expanded Score)
Label: Unofficial Release
Length: 86'01
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 (5826 votes)
  1. Orchestra Tuning (0:10)
    Hans Zimmer
  2. The Stage Is Set (0:45)
    Hans Zimmer, Geoff Zanelli
  3. Who Am I? (0:28)
    Hans Zimmer
  4. Hola! (0:10)
    Hans Zimmer, Heitor Pereira
  5. In The Desert - Meet Road Kill (0:22)
    Hans Zimmer
  6. The Spirit Of The West, Amigo (0:28)
    Hans Zimmer, Geoff Zanelli
  7. It's A Metaphore - Forkboy (0:45)
    Hans Zimmer, Geoff Zanelli, Lard
  8. You Must First Find Dirt (0:40)
    Hans Zimmer, Geoff Zanelli
  9. Welcome Amigo (1:06)
    Rick Garcia, Kenneth Karman, Gore Verbinski, James Ward Byrkit
  10. Don't Move (0:11)
    Hans Zimmer, Geoff Zanelli
  11. Hawk Chase (2:56)
    Jose Hernandez, Anthony Zuniga, Robert Lopez, Hans Zimmer, Tom Gire, John Sponsler
  12. Rango's Dream (0:58)
    Hans Zimmer, Geoff Zanelli
  13. Rango Meets Beans (0:37)
    Hans Zimmer, Dominic Lewis
  14. Frozen Beans (0:36)
    Hans Zimmer, Geoff Zanelli
  15. Certain Demise (0:27)
    Hans Zimmer, Heitor Pereira, Gore Verbinski
  16. Welcome To Dirt (0:47)
    Hans Zimmer, Geoff Zanelli
  17. Rango Tries To Blend In (0:41)
    Hans Zimmer, Michael A. Levine
  18. Saloon Piano #1 (0:16)
    Hans Zimmer, Tom Gire, John Sponsler
  19. Name's Rango (1:35)
    Hans Zimmer, Dominic Lewis
  20. All Seven Of 'em (0:29)
    Hans Zimmer, Dominic Lewis
  21. Beans In Bank (0:48)
    Hans Zimmer, Geoff Zanelli
  22. That's All That's Left? (1:10)
    Hans Zimmer, Geoff Zanelli
  23. Saloon Piano #2 (0:12)
    Hans Zimmer, Tom Gire, John Sponsler
  24. Meet Bad Bill (0:52)
    Hans Zimmer, Lorne Balfe
  25. Bad Bill Duel - Now That Rango's In Town (2:04)
    Hans Zimmer, Dominic Lewis
  26. Lizard For Lunch (1:28)
    Jose Hernandez, Anthony Zuniga, Robert Lopez, Hans Zimmer, Tom Gire, John Sponsler
  27. It's Time He Met The Mayor (0:14)
    Hans Zimmer, Geoff Zanelli
  28. Stuck In The Guacamole (0:14)
    Hans Zimmer, Heitor Pereira, Gore Verbinski
  29. Water Drop Sting (0:38)
    Hans Zimmer, Geoff Zanelli
  30. They Believe (1:12)
    Hans Zimmer, Geoff Zanelli
  31. Undertaker Sting (0:17)
    Hans Zimmer, Geoff Zanelli
  32. The Clock Strikes Twelve (0:49)
    Hans Zimmer, Adam Peters
  33. The Holy Spigot (1:56)
    Hans Zimmer, Geoff Zanelli
  34. Ain't No One Gonna Tango With The Rango (0:55)
    Hans Zimmer, Dominic Lewis
  35. Bank Choir Sting (0:08)
    Peter Miller
  36. Bank's Been Robbed (0:17)
    Rick Garcia, Kenneth Karman, Gore Verbinski, James Ward Byrkit
  37. Forming A Posse (0:19)
    Hans Zimmer, Geoff Zanelli
  38. We Ride #1 (0:33)
    John Thum, David Thum, Geoff Zanelli, William Malpede, Hans Zimmer
  39. Going Underground - He Was Drowned (5:46)
    Hans Zimmer, Geoff Zanelli
  40. We Ride #2 (0:46)
    John Thum, David Thum, Geoff Zanelli, William Malpede, Hans Zimmer
  41. Flaming Doodles (0:23)
    Hans Zimmer, Dominic Lewis
  42. Prayer To The Spirit Of The West (1:05)
    Hans Zimmer, Geoff Zanelli
  43. Rango & Beans (1:05)
    Hans Zimmer, Dominic Lewis
  44. Frozen Kiss (0:36)
    Hans Zimmer
  45. Spying On The Rodents (0:43)
    Hans Zimmer, Geoff Zanelli
  46. The Stage Is Set #2 (0:26)
    Hans Zimmer, Geoff Zanelli
  47. Rodents Rise (0:24)
    Hans Zimmer, Lorne Balfe
  48. Wild Boar Gataway (0:29)
    Hans Zimmer, Tom Gire, John Sponsler
  49. Bats (4:30)
    Hans Zimmer, John Thum, David Thum, Tom Gire, John Sponsler
  50. Empty Bottle (0:14)
    Peter Miller
  51. La Muerte A Llegado (0:46)
    Rick Garcia, George Del Hoyo, Kenneth Karman, Gore Verbinski, James Ward Byrkit
  52. The Posse Returns To Dirt (0:54)
    Hans Zimmer, Adam Peters
  53. Muddy Boots - Golf Game (2:57)
    Hans Zimmer, Geoff Zanelli
  54. We've Got A Problem (0:27)
    Hans Zimmer, Adam Peters
  55. Believe In me (0:37)
    Hans Zimmer, Adam Peters
  56. Rattlesnake Jake (3:19)
    Hans Zimmer, Geoff Zanelli
  57. They Follow The Water (0:45)
    Hans Zimmer, Geoff Zanelli
  58. Epiphany - Flashback (1:40)
    Hans Zimmer, Lorne Balfe
  59. I'm Going Back (1:21)
    Hans Zimmer, Lorne Balfe
  60. Jake Threatens Beans (1:23)
    Hans Zimmer, Geoff Zanelli
  61. Rango Returns (1:18)
    Hans Zimmer, Dominic Lewis
  62. Luring In Jake (0:30)
    Hans Zimmer, Geoff Zanelli
  63. It's A Miracle! (5:15)
    Hans Zimmer, Geoff Zanelli
  64. El Canelo (0:45)
    Los Lobos, Gore Verbinski
  65. The Sunset Shot (0:54)
    Hans Zimmer
  66. Walk Don't Rango (2:48)
    Los Lobos, Arturo Sandoval, John Thum, David Thum, Michael A. Levine, Hans Zimmer, Gore Verbinski
  67. Rango Theme Song (3:30)
    Los Lobos, John Thum, David Thum, Michael A. Levine, Hans Zimmer, Gore Verbinski
  68. Rango Suite (5:59)
    Hans Zimmer
  69. Going Underground (Alternate) (4:05)
    Hans Zimmer, Geoff Zanelli
  70. We Ride #2 (Alternate) (0:49)
    John Thum, David Thum, Geoff Zanelli, William Malpede, Hans Zimmer
  71. Jake Threatens Beans (Alternate) (1:21)
    Hans Zimmer, Geoff Zanelli
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Ladislav reply Replies: 0 || 2018-01-13 11:13:32
Hello,
how is possible buy this full version?
Thank You very much,
Ladislav

mpolonest123 reply Replies: 3 || 2017-05-11 18:26:50
Wow, this score is such a mess, both in film and out. Even moreso than The Lone Ranger. Between the temp tracks and the straight rip offs (Rango Returns which is basically "Parlay" which itself was inspired by Morricone) there is almost nothing original here. That being said, It's still incredibly fun to listen to. The massive amount of co-composers definitely helps.

Also Hybrid, slightly off-topic but did Zimmer have a bad experience on The Lone Ranger? I remember hearing something about that, but wasn't entirely sure (and I honestly love that score)


Hybrid Soldier2017-05-11 20:42:50
No one wants to talk about TLR, not even Verbinski ! lol


mpolonest123 2017-05-11 20:51:57
Lol! I personally didn't find the film that bad, but I guess the production must've been a different story....


Ds2017-05-11 22:16:27
That's a pity because that movie was far from bad. Much better than most of the recent blockbusters in my opinion. Really nothing to be ashamed of.

Levi reply Replies: 0 || 2014-01-01 02:52:44
Something that kinda confuses me: does Hans actually sit down and write the cues WITH people like Geoff Zanelli, or does he just kinda give a layout of the cue and then the other guy goes off and does it on his own?

Areozz reply Replies: 0 || 2013-10-12 17:01:35
Might anyone be able to track down the slate numbers for this set? I already have some of them from when that set of demos surfaced a while back, but there's still a good amount missing.

Thanks for any help!

Anonymous reply Replies: 2 || 2013-05-31 04:28:22
I'm trying to figure out what other Zimmer work the "Rango Suite" sounds like, but I can't place it. :/


Meta2013-05-31 06:06:25
Broken Arrow, perhaps...Upon listening to Rango it reminded me alt of that score. Particularly the synth banjo/guitar and the harmonica....


MGDrone2013-05-31 18:29:11
As Good As It Gets haha. What do they have in common? Nuthin', but it's still cool to know haha.

Hybrid Soldier reply Replies: 3 || 2013-05-13 23:07:54
Did someone notice Lorne putting a Crysis 2 theme right in the middle of it ? :P


Edmund Meinerts2013-05-13 23:14:26
Not yet. Damnit, too many leaks recently, plus exams, equals not enough time to listen to all these goodies (but apparently enough time to talk about them on the Internet...uhh...)

What cue? :p


Hybrid Soldier2013-05-13 23:18:53
Rodents Rise !


BTW Lorne didn't do many cues on it, but surely "I'm Going Back" is one of my fav' of the entire score... :)


Prott2013-05-30 23:30:15
Haha, at first I was trying to find the Prophet's theme (wondering how the hell did I manage to miss that one). Then I discovered it's actualy the Alien's theme. :-)
It's a great cue (... too bad this theme is missing from both Rango's and Crysis' OSTs).



Hybrid Soldier reply Replies: 0 || 2013-05-30 12:38:00
2 things about this score.

The Elfman temp cue from The Kingdom was kept in the final film cause HZ & Gore couldn't come up with anything better without just being a poor ripoff. Danny's track was perfect, so they decided to keep it.

Atli Φrvarsson & his assistant Dave Fleming have an official "arranger" & "tech advisor" credit, but it's likely they've done nothing on it. Atli started working on it but on his very first cues left the project to do another score. So unless a few arrangements he did were kept, Atli was not involved... But still got credited !

Preacher reply Replies: 6 || 2013-05-13 05:09:45
OK instead of Luring In Jake, I got a track called Here It Comes that runs 5:25. And a track called The Other Side, which isn't on here. What gives? Why do leaked scores never match the tracklists here? How do we know what's what?

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Preacher2013-05-13 05:11:34
And We Ride #2 Alternate is like 50 seconds, not 4 mins... *sigh*


Mike2013-05-13 06:10:25
Remember, Preacher, this is not the complete score. It's expanded. That should tell you immediately that some music will be missing. Remember, too, that even if a score is listed as "complete", it might STILL have music missing (such as The Dark Knight Rises).


Preacher2013-05-13 06:32:21
I understand, but the recent leak has different tracks to this edition. One would think they would be the same.


Hybrid Soldier2013-05-13 09:45:03
The We Ride length was my bad (hey, try typing this whole stuff in a row without making a typo, TRY ! :P) !

The Other Side, if you have any little knowledge or interest in Hans Zimmer, you'd just notice it's a source cue taken from The Weatherman.


Preacher2013-05-13 10:01:06
Thanks for that - I don't know the Weatherman score.
What about Here It Comes/It's A Miracle? Are they the same?


Hybrid Soldier2013-05-13 10:02:12
Yeah I use official cue sheet titles... :)

Anonymous reply Replies: 0 || 2013-05-13 00:41:51
The cues in here are really short...



Mr. JarJar reply Replies: 0 || 2013-05-12 19:29:25
YES!

Bou reply Replies: 2 || 2013-05-12 17:55:35
Oh my Gosh! I hope it leaks soon!


...2013-05-12 17:58:02
It has leaked=)


al bundy2013-05-12 18:01:11
yep, it's out :)

T-Mann036 reply Replies: 0 || 2013-05-12 18:00:10
Happy Mother's Day, eh?

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Rango (Expanded Score) soundtrack - Hans Zimmer 2011