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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
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.
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Hans ZimmerBryce JacobsJasha KlebeLorne Balfe
ComposerAdditional MusicAdditional MusicAdditional Music
Rush
Label: WaterTower Music
Length: 64'31 (Score: 46'38)
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 (11972 votes)
  1. 1976 (3:00)
    Hans Zimmer, Bryce Jacobs, Jasha Klebe, Mel Wesson, Martin Tillman
  2. I Could Show You If You'd Like (0:44)
    Hans Zimmer, Stephen Lipson
  3. I Hear You Knocking - Dave Edmunds (2:46)
  4. Stopwatch (1:29)
    Hans Zimmer, Jasha Klebe, Bryce Jacobs, Michael Brook, Jack Dolman
  5. Into The Red (3:15)
    Hans Zimmer, Lorne Balfe
  6. Budgie (1:28)
    Hans Zimmer, Jasha Klebe, Bryce Jacobs, Mel Wesson, Martin Tillman
  7. Scuderia (0:53)
    Hans Zimmer, Bryce Jacobs, Martin Tillman
  8. Gimme Some Lovin' - Steve Winwood (2:52)
  9. Oysters In The Pits (1:05)
    Hans Zimmer, Stephen Lipson, Martin Tillman
  10. 20% (1:01)
    Hans Zimmer, Bryce Jacobs, Stephen Lipson, Jack Dolman
  11. Dyna-Mite - Mud (2:55)
  12. Watkins Glen (1:49)
    Hans Zimmer, Bryce Jacobs, Martin Tillman
  13. Loose Cannon (0:35)
    Hans Zimmer, Bryce Jacobs
  14. The Rocker - Thin Lizzy (5:08)
  15. Car Trouble (2:37)
    Hans Zimmer, Bryce Jacobs, Martin Tillman
  16. Glück (1:14)
    Hans Zimmer, Bryce Jacobs
  17. Nürburgring (5:33)
    Hans Zimmer, Lorne Balfe, Mel Wesson, Martin Tillman
  18. Inferno (3:30)
    Hans Zimmer, Bryce Jacobs, Mel Wesson
  19. Mount Fuji (3:44)
    Hans Zimmer, Bryce Jacobs, Martin Tillman
  20. For Love (2:48)
    Hans Zimmer, Lorne Balfe, Martin Tillman
  21. Reign (3:05)
    Hans Zimmer, Lorne Balfe, Mel Wesson, Martin Tillman
  22. Fame - David Bowie (4:11)
  23. Lost But Won (6:16)
    Hans Zimmer, Jasha Klebe, Bryce Jacobs, Michael Brook, Martin Tillman
  24. My Best Enemy (2:33)
    Hans Zimmer, Jasha Klebe, Martin Tillman
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Luca Piga Productions reply Replies: 1 || 2018-11-12 12:12:01
Hi, I want to add some seconds of 8 track for the background of my small documentary about races, my first one, is it possibile to ask for copyright? Should I write to some email addresses?


Bill Koufo2018-11-14 16:34:00
I'm not sure, but I think this site is not the right place to ask for copyright, since it is "almost official". But, here you can find the label of every officially released album you want, so you can ask the company labeled.

david reply Replies: 0 || 2018-07-25 19:56:44
i really need another masterpiece from hans like lost but won. it is both epic and emotionall and it moved me .

Max Potcats reply Replies: 14 || 2018-04-17 19:24:23
I don't want to make a witch hunt / temp track hunt but.. I re-watched Rush and I found some similarities with the Game of Throne OST, Season 2 (april to june 2012, and Rush was released in septembre 2013...)
there is a video comparaison on yt: https://www.youtube.com/watch?v=ZBpMb-YpEyU&ab_channel=Pende rghast

it's seems like Hans was inspired by the got soundtrack, or is there a way that he get the theme from Rush first if is he was working on the movie soon enough, before Djawadi started the S2?


Backbiter2018-04-17 20:28:46
This one was really obvious. I'm surprised that nobody made a comment on this back in the day.


Macejko2018-04-17 20:48:26
I did. I also made that video.


Joshua2018-04-17 21:15:18
I agree about the temp love for Rush. But GoT isn't the score I would say was the culprit. To me Rush's "1976" sounds more like the track "Bumblebee" from Jablonsky's Transformers score. Common denominator there (Rush, Transformers)....Balfe.


Bakcbiter2018-04-17 21:17:38
I imagined that you would, Macejko.
Since you are here and you love GoT as much as I do, did you noticed the similarities between Light of the Seven and Freedom Fighter (Assassin's Creed 3)?


Joshua2018-04-17 21:18:14
I mean I hear it a little in the GoT cue. But if anything, it's like Transformers and Got had a baby named Rush.


Backbiter2018-04-17 21:21:02
"I mean I hear it a little in the GoT cue. But if anything, it's like Transformers and Got had a baby named Rush."

More like Transformers, GoT and The Dark Knight.





Anonymous2018-04-18 00:48:35
King Arthur > Transformers :p

All is rip off.


Olive2018-04-18 00:49:15
^^^
Comment by me


David Stobelman2018-04-18 10:51:47
I was at a test screening for RUSH (sitting directly behind Ron Howard and Hans himself!) - and the entire film was heavily temped with Transformers. Specifically "Bumblebee", which opened and closed the film in a very powerful way. There was a lot more transformers throughout.



Max Potcats2018-04-18 12:13:39
Thank you :D
indeed, Bumblebee has the same vibe with the orchestral and guitar sound, and I guess GoT was temp too


Mephariel2018-04-18 17:22:26
Some of Transformers was temped from King Arthur.


Backbiter2018-04-18 20:02:33
Yeah, specially the "Prime" track from Transformers 2


superultramegaa2018-04-18 21:05:00
Well "Prime" for TF2 is part of the main theme "Knights March" from King Arthur which Jablonsky co-composed so I really don't have a problem with a lot of the temps from King Arthur in Transformers. Specifically because Jablonsky did a lot of the main tracks for that score.


Olive2018-04-19 02:07:06
Yes and no.

If we take into account that King Arthur is reminiscent of Crimson Tide, The Rock, The Peacemaker and Backdraft his contributions also pale because it is fair to say that King Arthur were based with the music of these films.

mpolonest123 reply Replies: 3 || 2015-03-24 23:24:47
Hey Hybrid,
What is the correct order of the ASCAP cues? I'm wondering how many unreleased tracks from the film there actually are.


Octane 932015-04-22 14:34:48
I have ripped an alternate version of 'Stopwatch' that plays in the credits. The stock score lacks the emotion of this version which is an alternate version to the one played when Niki is working with BRM at Paul Ricard.


mpolonest1232015-04-23 01:32:26
Really? I haven't taken a listen to the end credits but I'm curious. I'm still just wandering where the Just Married cue surfaced from


Octane 932015-04-23 21:52:22
Yeah. Sometimes you have to be a little creative to get the tracks you want from the film or the version you want. That's why I always head to the credits to see if they will play the tracks missing from the score. I'm trying to remember the 'Just married cue', but many times if the cue is very short it wont be included on the ST. ### EDITED ###

Felix reply Replies: 4 || 2014-10-23 00:38:20
ASCAP Cue List:

1976 EARLY SEASON MONTAGE
DANGER AT NURBURGRING
PRACTICE
HEAVY RAIN AT FUJI PT 1
HEAVY RAIN AT FUJI PT 2
HELMET ON
HUNT DRUNKEN WEIRDNESS
HUNT GOES TO HOSPITAL
I FEEL RESPONSIBLE
INFERNO AT NURBURGRING
JAMES AT MCLAREN
JAMES GETS HIS GROOVE BACK
JAMES MARRIES SUZY
JAPANESE GRAND PRIX 1976 PT 1
JAPANESE GRAND PRIX 1976 PT 2
JAPANESE GRAND PRIX 1976 PT 3
JAPANESE GRAND PRIX 1976 PT 4
LUNG DRAINING
MARITAL STRIFE
MONACO MENTAL EXERCISES
MONZA 1976
NEED YOU BUSTING MY BALLS
NIKI BUILDS HIS DRIVE
NIKI DRIVES FERRARI
NIKI DRIVES IN ITALY
NIKI MARRIES MARLENE
NURBURGRING 1976
NURBURGRING OPENING
ONE MINUTE FIFTY
PAPARAZZI PT 1
PAPARAZZI PT 2
POST-PUKE HAZE
RUSH END CREDITS
RUSH MAIN ON END
SEXY NURSEY
SUZY LEAVES JAMES
TEAM HESKETH ARRIVES AT F1
TEMPTING STEWARDESS
THE MONZA GRID
TOUGH ACT TO FOLLOW - HESKETH'S SURPRISE
TRAGEDY AT QUALIFYING
U.S. GRAND PRIX 1973
VIENNA
WHERE'S YOUR WIFE?


RealFfingMusic2014-10-23 12:35:15
Alphabetical cuelist. Elementary.


Hybrid Soldier2014-10-23 12:37:29
I have it in correct order with all the composers detailed ! lol


hopeful2014-11-09 20:49:07
Will those cues be released? 1181


hopeful2014-11-09 20:49:15
Will those cues be released?

thejok3rrules reply Replies: 3 || 2014-02-10 03:14:50
Hybrid (Or anyone lse who can answer me), is the official release complete? I've seen the movie only once (And I believe the Academy Awards are assholes for not nominating it for Best Film and Best Supporting Actor, but I don't remember if there's anything missing... It's a great score, one of the best Zimmer since a loooonng while.


Ds2014-02-10 09:16:36
I saw it again yesterday and I'd say there's not much missing. The missing cues I noticed were small variations of the end of "Stopwatch", and a variation of the guitar riff of "Car Trouble". But the vast majority of what we hear in the movie can be found on the album.


Saurabh2014-02-16 08:17:07
There's one cue missing which appears when Lauda returns and wins after his accident. But apart from that, as Edmund said, there's nothing much missing. Just some minor variations (alternates?) of the tracks on the regular release.


Robert2014-03-18 02:54:27
As Saurabh mentions, there's the cue when Niki returns to race (as-well as during the race when he places 4th). There's also the music when Niki recovers (as he has his lungs vacuumed) and when he asks Marlene to promise "you won't say a word" as he painfully struggles to put on his helmet (I want that track so badly). There's another that follows Niki asking Hunt, "So where is she, this mysterious wife?" and it lasts up until Hunt arrives to confront Lord Alexander. Those are a few moments I can think off the top of my head, but I'm sure there are more. I know they're just alterations of album tracks, but I'd still love to have them... It's a beautiful, powerful, and emotional score to a great movie. I'm crossing my fingers for an extended release.. some day!

Lukullus reply Replies: 1 || 2014-02-15 19:55:06
Hello!
I would like to know if there will ever be a "Complete Recordings" edition of RUSH?
There seem to be quite many movies where Hans composed the music and then a "Complete Recordings Edition" was released.

Any news if Hans has planned on doing the same thing for RUSH?
I would LOVE to hear more of his awesome work on one of the best movies in 2013!!!

Thanks! Lukullus


Edmund Meinerts2014-02-15 23:37:46
Even if a complete score of Rush were to emerge, I doubt we'd hear much more than there is on the regular album. I don't think there's more than an hour or so of music in the film...

isildur reply Replies: 25 || 2014-01-04 18:01:49
Did you see, You-Know-Who gave 3 stars to this and 4stars to Thor 2. And once again bashes Hans and RCP just for the heck of it. LOL. I have no idea why he even reviews RCP scores.


Hybrid Soldier2014-01-04 18:15:42
Because it gives him more clicks than any other reviews... RCP is saving his site ! ;)


Leo2014-01-05 03:51:27
You guys are saying that Clemmensen bashed Zimmer in Rush, yet he called it "nostalgic", which is a good thing, and "pleasing at the same time, ending on a blissfully positive note." It is indeed a very good listening experience on album, and I agree with the review.


trent easton navarro2014-01-05 03:51:38
Thor 2 is also a better score than Rush and most of Clemmensen's criticism of recent RCP is also correct. Captain Philips is a horrible score and Ender's Game is boring and generic. But you fanboys wouldn't understand. On that account you aren't very different from religious fanatics :)


Zimson2014-01-05 05:10:19
Clemmensen is just being a prick. His ratings are not based on the actual value of the music but on if he likes the composer or not. Read the reviews through, he starts not liking Zimmer after PotC 1 and then hating him after The Dark Knight. The community is just worse. It's like critics bashed Wagner in the old days for being different.


Leo2014-01-05 05:42:50
>hating him after The Dark Knight
>favorable review for Sherlock Holmes, Frost/Nixon and Angels & Demons both earning 4 stars, complimenting both immensely
>favorable reviews for both Rush and Lone Ranger

Clemmensen is not being a prick, he's just being honest. And Thor 2 is, indeed, slightly better than Rush.


Frank2014-01-05 06:25:15
Those who thought Thor 2 is better than Rush can listen the main theme Zimmer composed for a TV show named The Contender,and tell me the difference between them


Zimson2014-01-05 06:25:15
"Being Honest". No, it is still an opinion. His reviews are full of personal hostility against RCP composers. He calls them "Zimmer clones" or "minions". Although he gave at least some favorable reviews for Zimmer in recent years, he had a hard time doing it. "Angels & Demons" sounds not really like a positive review despite the 4-star rating. The real reasons why he is a prick to me are his reviews of PotC 3 (2 stars), TDK (2 stars), Inception (2 stars), TDKR (2 stars) and MoS (1 star). Although several critics would agree on the last one, he gives the worst ratings of all critics to Zimmer. And I'm pretty sure the reason is a personal thing.


Rcp2014-01-05 06:41:49
How can you all say one score is "better" than the other. What matters is how it accompanies a film, so, that being said and since you bring up Thor 2, I disagree and say Rush is better than Thor 2. Now here's the best bit, the reason for me preferring Rush is not necessarily the musical content, but how it left me feeling when leaving the theater. And with rush I felt more emotionally engaged than I did with Thor 2, can't explain why cause both scores are great, this is purely my opinion. And I feel I felt I heard the Thor 2 theme somewhere else.


Leo2014-01-05 08:02:19
Most scores by Brian Tyler over the past few years have similar themes so it really isn't a surprise :P they're still very pleasing and entertaining though.

And while I agree that PoTC 3 review was harsh, unfair even, he complimented Ramin Djawadi for Pacific Rim, both Zimmer and Lorne Balfe for Megamind, John Powell (the best from RCP, fact), even David Buckley for The Forbidden Kingdom. And let's be honest, Zimmer is being in his comfort zone these days. The man can do much better.


isildur2014-01-05 11:14:53
It's not about what he said in the Rush review. If you see Thor2 review, rather than reviewing the score itself he moans about how it is better than what Hans and his "offshoots" and "ghost writers" are coming up with. He mentions Zimmer/RCP at least 3 times in the 3 paragraphs.

If one wants to play comparison game then I will compare every score with Jurassic Park and say that all of them are beneath it. Would that count as a review too?

Funny thing is I think he secretly follows Hans and RCP guys in some sort of disguise and that's why he so sure of "ghost writers" of Hans :D


0-cool2014-01-05 11:50:39
Tyler uses uncredited ghostwriters ;)


trent easton navarro2014-01-05 12:44:29
You are totally missing Clemmensen's point Isildur. He compares Tyler to Zimmer because they write in the same style, only Tyler manages to use the RCP sound in a more creative way and achieves the same sound without the cheap synth overlays. So your comment about comparing every score to JP complety misses the mark. Now if someone where to write a score in Williams' style (like for instance early David Arnold scores) then it would make sense to compare it to a Williams score.

Looking at filmtracks ratings of all Zimmer scores, it's clear Clemmensen is not the Zimmer hater you all make him out to be. Not sure, but I believe Zimmer has a better average rating than say Jerry Goldsmith


trent easton navarro2014-01-05 12:47:23
And one does not need to follow Hans secretly to know he uses ghostwriters, nor does it matter that Tyler uses them as well


Hybrid Soldier2014-01-05 13:06:21
"They write in the same style" Are you kidding me ?

Rush is the best film of 2013 (I've seen 94 in theater), by far... The score is emotionally the most well written to any picture (there's one big unreleased action cue, when Lauda gets back to racing, it kicks nearly everything written in 2013).

Thor was a lame sequel in the tradition of the recent lame Marvel productions, and while I can still sing Pat Doyle's theme, I only remember from it that it was just a rehash of basically every Tyler score in the past 5 years...


isildur2014-01-05 13:23:31
What I am saying is why should we even compare? When you are reviewing a score you should talk about how it holds or doesn't solely on the merit of itself, and how well it serves (or doesn't) the film and not how it is compared to some other. Doesn't matter if they use similar style or not.

And why drag Zimmer/RCP into everything. Didn't you notice his little "tease" about his so called Best of 2013 thread. Why single him out? And if it doesn't matter if Tyler uses "ghost writers" too, then why so much love for only Hans' "ghost writers"?


NM2014-01-05 13:44:21
"Clemmensen is just being a prick. His ratings are not based on the actual value of the music but on if he likes the composer or not."

Tbh I find Clemmensen a fair and honest reviewer, even when I disagree with him.

"It's like critics bashed Wagner in the old days for being different."

Their whole point is that the 'RCP'/Zimmer sound *isn't* 'different'.


D A R T H2014-01-05 14:24:59
it's a commercial fail...


Ds2014-01-05 15:42:07
Hybrid is just so right. "Rush" is emotionnally engaging and gives some substance, accompanying perfectly the mood of the movie: nostalgic and really moving. I loved that score before seeing the movie, loved it even more in the movie and even more now.

And "Thor 2" sums up EVERYTHING wrong with the latest Marvel productions, including the music. No identity, no continuity, no emotion. It's inoffensive in the movie but has absolutely no impact on the viewer. If you say Zimmer is in his comfort zone these days, i wonder what could be said about Tyler...

But I wonder why we even speak about Clemmensen. All of his credibility was suddenly lost the day he gave "At World's End" (i.e. the best RCP score of all time) TWO stars. 2/5!! This isn't even a matter of taste, it's blind, mean injustice.


MrZimmerFan2014-01-05 17:02:49
Clemmensen gave two stars to At World's End?, for god sake, that guy is awful


MacArthur2014-01-05 17:10:04
What i don't get is why he gave Ender's Game a Bad review

I Thought it was Fantastic. & I also Agree with Hybrid. Brian Tyler and Hans Don't sound similar (I'm not saying that they don't write similar Hans just Doesn't sound as synthy to me as Tyler. (Mw3 & Battle LA)


Zimson2014-01-05 17:44:42
- "It's like critics bashed Wagner in the old days for being different."

- "Their whole point is that the 'RCP'/Zimmer sound *isn't* 'different'."

That's how he mocks RCP. In fact there's nothing out there comparable to Inception or The Dark Knight, it's unique. Clemmensen believes everything should sound like Williams and that film music is going in a completely wrong direction. He even gave a widely unrecognized score a 5 star rating for being a traditional score that is "rare today".
Btw the track "Origins" of Thor 2 sounds like a Dark Knight tribute. I had to check twice if the player didn't jump into the TDK playlist.


MacArthur2014-01-05 17:56:16
Zimmer Created this Modern film score genre and I love It. the way film scores are now IMO are the best that they have ever been, save the older Williams scores (Star Wars, Indiana Jones, Midway. etc.)


Zimson2014-01-05 18:15:38
Hans is ranked 42 out of 51 composers! *Have sign, will protest!"


MacArthur2014-01-05 18:33:22
Who's Behind him from 43 to 51


Zimson2014-01-05 18:57:08
Here's the link: filmtracks()com/composers/

Russel reply Replies: 1 || 2014-01-05 17:50:18
Of course taken from ASCAP, but in case you did not see the list; well here it is! :)

1976 EARLY SEASON MONTAGE DANGER AT NURBURGRING PRACTICE HEAVY RAIN AT FUJI PT 1 HEAVY RAIN AT FUJI PT 2 HELMET ON HUNT DRUNKEN WEIRDNESS HUNT GOES TO HOSPITAL I FEEL RESPONSIBLE INFERNO AT NURBURGRING JAMES AT MCLAREN JAMES GETS HIS GROOVE BACK JAMES MARRIES SUZY JAPANESE GRAND PRIX 1976 PT 1 JAPANESE GRAND PRIX 1976 PT 2 JAPANESE GRAND PRIX 1976 PT 3 JAPANESE GRAND PRIX 1976 PT 4 LUNG DRAINING MARITAL STRIFE MONACO MENTAL EXERCISES MONZA 1976 NEED YOU BUSTING MY BALLS NIKI BUILDS HIS DRIVE NIKI DRIVES FERRARI NIKI DRIVES IN ITALY NIKI MARRIES MARLENE NURBURGRING 1976 NURBURGRING OPENING ONE MINUTE FIFTY PAPARAZZI PT 1 PAPARAZZI PT 2 POST-PUKE HAZE RUSH END CREDITS RUSH MAIN ON END SEXY NURSEY SUZY LEAVES JAMES TEAM HESKETH ARRIVES AT F1 TEMPTING STEWARDESS THE MONZA GRID TOUGH ACT TO FOLLOW - HESKETH'S SURPRISE TRAGEDY AT QUALIFYING U.S. GRAND PRIX 1973 VIENNA WHERE'S YOUR WIFE?


...2014-01-05 17:54:42
Thanks but would you mind reposting this in a more readable way?:P

marco reply Replies: 1 || 2014-01-05 16:58:24
i agree. Rush was a welcome return to zimmers early style. it is in my top 5 of this year, even more so than man of steel. But I'm a I'm in a balance of that and gravity for my top score this year. A lot of people will probably disagree but i find gravity to be one of the most engaging scores of the year. only because it had play a vital part of the movie, but rush sure has the excitement and emotional actor


marco2014-01-05 16:59:55
the bad things of typing on an iPhone. the last word is 'factor'

Poe reply Replies: 5 || 2013-12-28 06:03:07
Is a film order possible to create with this album?


Hybrid Soldier2013-12-28 18:05:57
With all the crossfades it's hard, but here is a chronological order :

01 - 1976
02 - I Could Show You If You'd Like
03 - Budgie
04 - Stopwatch
05 - Oysters In The Pits
06 - Scuderia
07 - 20%
08 - Watkins Glen
09 - Loose Cannon
10 - Into The Red
11 - Car Trouble
12 - Glück
13 - Nürburgring
14 - Inferno
15 - Mount Fuji
16 - Lost But Won
17 - For Love
18 - Reign
19 - My Best Enemy

:)


Poe2013-12-29 02:55:51
Thank you Hybrid Soldier.


Anonymous2014-01-04 02:25:24
Is the Itunes release crossfaded?


marco2014-01-04 12:22:55
I have the iTunes version and it is indeed crossfaded


D A R T H2014-01-05 13:13:32
Done...

Radik reply Replies: 9 || 2013-10-06 17:42:24
Awesome movie and epic music :)))


Radik2013-10-06 18:58:59
and main theme remind me Bane's theme


Edmund Meinerts2013-10-06 22:07:49
Yeah...Whenever I hear the Rush main theme I can't help but sing "deshi bashara" along with it...

...not. :p


Mike2013-10-06 23:31:56
lol, good one, Meinerts.


Radik2013-10-07 16:53:53
I meant instrumental theme not chant.. listen the first seconds of Lost But Won.. you can hear that one


MacArthur2013-10-07 16:57:35
I wasn't thinking that at all I was thinking it sounded more like transformers and Lone Ranger


Mortifer V.2013-10-20 19:55:21
Radik, dude, no...


JD2013-11-14 04:05:37
Best score of the year so far for me. Loved it!


Zimson2013-11-19 22:20:14
Just awesome! I love Oysters in the Pits, Into the Red and Watkins Glen. Thx to Hans!


Radik2013-12-28 19:59:17
Any problem Mortifer?? thats my opinion :P

Frank reply Replies: 6 || 2013-12-27 20:24:24
I'm really surprised that Hans won't score Ron Howard's next movie In the Heart of the Sea. Its IMDb shows that the composer is some guy named Roque Banos


SanAntonioSpurs2013-12-27 21:43:59
True, indeed a very sad news... :(


Hybrid Soldier2013-12-27 22:18:28
Hans wanted to, Ron as well, but it was just not possible. Hans recommanded Ba&#241;os...


0-cool2013-12-27 22:28:33
maybe it's because of Interstellar.
Hans stated that he wanted to take his time for that score when asked if he will score the new Guy Ritchie movie


Hybrid Soldier2013-12-27 22:39:45
I'm thinking more of a studio issue & movies partly shot in Spain that requires to have spanish composers to pay less taxes... Yeah said like this it sounds cold like hell... Why do you think so many spanish guys got big scores in the past couple of years... A sudden Hollywood love for them ? LOL

Anyway if that's the case we'll never have any sort of confirmation ... It's just sad... :)


Edmund Meinerts2013-12-27 23:59:46
That Spanish tax law might be a stupid idea but it's led to some pretty good composers getting good breaks...Lucas Vidal, for example (yeah, his F&F 6 wasn't great, but Cold Light of Day was pretty cool) or Fernando Velazquez. Banos is a great composer and it's good to see him following suit. I'm guessing that's why Federico Jusid was initially attached to 300: Rise of an Empire (and it's a shame he isn't anymore...I'm sure it would have been more interesting than anything by Junkie bleeding XL).

But my main point is, those Spanish composers are super talented for the most part, and I don't think it's sad at all!


isildur2013-12-28 11:58:04
Is Hans going to be nominated for this or just 12 Years A Slave? Why not? It's his best work this year, much much better than 12YAS.

isildur reply Replies: 1 || 2013-11-18 19:52:02
People who saw the movie, is there any more music other than what is in in the album?


  Your name :   

Please enter number: 1181 


Mortifer V.2013-11-18 22:20:53
yes, but mainly rearrangements/remixes etc.

MacArthur reply Replies: 0 || 2013-11-08 16:16:39
Didn't Hans C0-Produce this score?

MacArthur reply Replies: 11 || 2013-09-13 06:43:55
Interestingly enough "Car Trouble" contains a Zimmer Theme from the movie yet he is not credited. Why is that.


Hybrid Soldier2013-09-13 11:09:26
That cue contains nothing of Hans.

The first half of the Formula 1 cue that was released in February is not on the OST (Car Trouble is a variation of it). It's actually a portion of a theme suite that was written by Bryce.


Macejko2013-09-13 12:32:36
I would say "Formula 1" made it to the OST. "Into The Red" sounds almost exactly the same.


Hybrid Soldier2013-09-13 12:48:48
The second half of Formula 1 made it to the OST, Into the Red indeed. The first half did not. :)


Guitwo2013-09-13 15:55:25
Hybrid: do you know if we can expect a suite in the futur?


MacArthur2013-09-13 17:12:14
So should I list Bryce Jacobs as a co-composer or not?


MacArthur2013-09-13 18:42:37
Huh it sure sounded like Zimmer. at least the the Opening of that track that was heard in "1976" and I also thought that the cue about 1:00 in sounds like a variation of the main theme just on electric Guitar. just some of the things I noticed. correct me if I'm wrong. Cause it sure sounded like Zimmer.


MacArthur2013-09-13 21:41:41
And also were Harald Kloser & Thomas J. Wander RCP guys too


Hybrid Soldier2013-09-13 22:00:50
Do a 5 minutes research on Google and you'll have your answer...


MacArthur2013-09-13 23:18:50
For which Question? The Harald Kloser & Thomas J. Wander or the Zimmer one about Rush


Mortifer V.2013-10-14 01:25:32
Actually, Hybrid, there are 3 tracks from the official release that have taken parts from "Formula 1": "Budgie" (it's a very mixed variation of the beginning of the F1 suite, "Car Trouble" and "Into the Red" (as you already mentioned).


MacArthur2013-10-14 01:44:31
Now Car trouble Has Hans on it I guess some of the stuff I heard has Hans to it.

ei18 reply Replies: 1 || 2013-10-07 04:08:06
still no news on 12 years a slave release?


0-cool2013-10-07 10:38:46
Hybrid needs to confirm this but it seems that there isn't much score in the movie. If it were at least 40 mins+ there would have surely already been an announcement

Edmund Meinerts reply Replies: 11 || 2013-09-29 00:48:54
Huh. So now the cues like "Car Trouble" and "I Could Show You if You Like" that used to not have Zimmer's name on them do? I wonder what the story is here...

A bit late to the party, but I just finished my first listen to this score. A bit of bleedthrough from Transformers in the theme and Inception in some of the action cues (mainly those with Balfe involved, which I'm sure is no coincidence), but overall I definitely like it. Especially the last few cues; "Lost But Won" is fantastic. The rock feel fits the story perfectly, I think, even if some of the "pure" rock tracks aren't ones I'll listen to much in the future. If it wasn't for The Lone Ranger I'd say this is my favorite Zimmer score since Inception - and since The Lone Ranger is probably just my new favorite Geoff Zanelli score I'll still say it. ;)


MacArthur2013-09-29 02:02:08
Ed you do know that the Lone Ranger is a Zimmer Score Right? lol.

And Maybe....and Hybrid can confirm this. It is because the tracks from Rush. Like "Car Trouble" Contain a Zimmer Theme.


Zimson2013-09-29 10:02:02
Yeah, Zanelli only did Finale as far as I know.


Edmund Meinerts2013-09-29 12:07:15
Considering Finale is by far the best cue in the score, that alone is saying something. But we don't know to what extent he was involved in the rest of the score, and from what hints Hybrid has dropped, it seems like quite a bit. I'm not saying Zimmer wasn't involved at all, but it seems like Zanelli had at least as much influence on Lone Ranger as Balfe had on Inception, if not more.


MacArthur2013-09-29 17:25:52
Even the Finale had a Zimmer Touch to it. Now a lot of people would disagree with me but I thought that the 2 best cues were "For God and Country" and "Railroad Waits for no man" Then "Ride" and Probably "Absurdity" comes next THen It would be "Finale"


Mike2013-09-29 20:09:17
MacArthur, I'm not asking this to sound like a jerk, but I'm just curious. Being honest with yourself, if you had heard that Zimmer alone did Finale, and that there was no additional composer involvement for that cue, would "Finale" still be at the bottom of your list?


Mike2013-09-29 20:12:20
And Zimson, if Zanelli's involvement in The Lone Ranger was at all like his involvement in Gore Verbinski/Zimmer's previous works (POTC and Rango), then I can assure you that Geoff Zanelli did much more than Finale.


MacArthur2013-09-29 22:00:49
Yes, I didn't think it was the best cue on the score (Even if Zimmer did it)


MacArthur2013-09-30 06:21:11
Oh I also forgot the track "Home" I like that one better than the "Finale" as well. Just a thought. Not cause I don't like finale Just I like these better.


Mike2013-09-30 17:33:57
Home was a good track. Even the Filmtracks review appreciated it.


Edmund Meinerts2013-09-30 18:40:56
Home is nice enough, but it didn't leave that much of an impression on me. The Finale on the other hand is just sheer brilliance from beginning to end; the way the old Rossini piece is interwoven with the Zimmer/Zanelli themes and action motifs is just seamless. I'd never heard anything quite like it before. It elevates an otherwise pretty good score to being one of my favorites of the year. :D


MacArthur2013-09-30 19:32:13
Cool!

Spence reply Replies: 4 || 2013-09-20 01:22:55
(Because I don't know where else to put this)
h t t p://www.latimes.com/entertainment/envelope/moviesnow/la-et-m n-five-reasons-to-see-12-years-a-slave-20130831,0,2500595.st ory

Article says Zimmer's score is one of the 5 main reasons to see the film and rumour has told us he won't release it!?!?!?!??!?!

Hybrid, you seem to know what goes down on this end of earth. Please help enlighten us :)


Edmund Meinerts2013-09-20 08:47:39
The Variety quote about Inception foghorn blasts makes me very, very worried. :/


0-cool2013-09-20 15:24:06
check out the dp30 interview. Hans says something about that


MacArthur2013-09-20 17:45:39
You never know it actually might be good and fit the movie very well. (I'm talking about the foghorn blasts


Frank2013-09-25 21:59:08
Did you guys check for its lates featurette: A Portrait of Solomon Northup? The cello sounds like Zimmer's original score, www-youtube-com/watch?v=VQzynqLSIhc

Jeremy reply Replies: 0 || 2013-09-21 02:07:34
Wow, Like, this score is awesome. give me the chills man.

Ds reply Replies: 4 || 2013-09-21 00:19:34
God i just LOVE "Lost But Won", especially the mid-part (3'20''-4'20''). I'm happy this track is used in a prominent scene in the movie, and is very audible throughout. For once great music isn't completely buried under sfx! It's also the end credits music.


Mike2013-09-21 00:24:11
Would you agree, Ds, that Man of Steel had that problem? Goodbye My Son, DNA, and Terraforming were especially problematic to me.


Mike2013-09-21 00:24:42
Being buried under sound effects, I mean.


Ds2013-09-21 00:47:38
Yeah this is precisely my only issue with the music in Man of Steel. Zimmer did an outstanding job with those drums but the result is barely audible in the movie, which i think is a shame. You're right about those 3 tracks. The epic mid-part of Terraforming for example sounded just so tiny in the movie...

That's why i'd love to get the isolated score on the Bluray (like Oblivion), to fully enjoy Zimmer's sophisticated sound. But i'm just dreaming :(


MacArthur2013-09-21 02:02:28
Agreed! lost but won is an awesome track. one of my all time Zimmer Favorite's

MacArthur reply Replies: 0 || 2013-09-20 06:21:07
Please tell me 12 years a slave will get a release.

Brent reply Replies: 6 || 2013-09-17 01:38:18
Interesting interview with Zimmer posted today. I thought this quote was pretty hilarious: "I believe there was a little 'Lone Ranger' overlap as well, but we don't talk about that movie because apparently that movie doesn't exist. I think they send you straight to composer jail if you even mention it." (You have to read the article to understand the context).

huffingtonpost.com/2013/09/16/hans-zimmer-rush_n_3922996.htm l?utm_hp_ref=entertainment


Mike2013-09-17 01:41:00
Maybe this, Hybrid, explains his lack of interview material on the score--not that he simply "doesn't care about it". But then, you know better than I.


0-cool2013-09-19 14:46:36
I don't get what he means by that


Ds2013-09-19 15:50:38
The Lone Ranger has been slayed by critics and a huge box office failure. The movie's considered "unpopular" and that's why the medias don't want to speak about it. When interviewing Zimmer about his 2013 works, they didn't even mention The Lone Ranger!


Edmund Meinerts2013-09-19 21:44:41
Which is sad because I thought The Lone Ranger (film and score) was a lot of fun...okay, the movie was a bit too long and far from perfect, but an enjoyable ride. Whereas Man of Steel (film and score) was loud, obnoxious and generic.

It's sad, it kind of feels a few early critics decided to unanimously gang up on The Lone Ranger and the rest of them just decided "okay, this has to be a flop, so everyone review it negatively now". It's especially sad because it just confirms how unwilling Hollywood currently is to move beyond a narrow set of genres for its summer blockbusters: superheroes and sci-fi. Maybe the odd fantasy thing or two, but always modern/urban fantasy these days, never high. Absolutely no room for, say, westerns or adventure these days, and so something like John Carter or The Lone Ranger or Jack the Giant Slayer gets thrashed. Not that any of those movies are great, but none of them deserved to flop the way they did, and I thought all of them were a refreshing change of pace. Plus, all of them have very good scores!


MacArthur2013-09-19 22:28:10
Agree about Lone Ranger. Disagree About Man of Steel.

Also I like The Comic book Hero's films. but Agreed on the Sci-Fi Thing it's getting old nothing measures up to Star Wars or Star Trek So I just wonder why people bother.

Make some sort of War film (ever watch the Longest Day) classic war film.
Or even Action adventure film or something. I'm sur eit would do well if Hollywood reporters stay out if it.


Ds2013-09-19 23:29:38
Edmund, i think your analysis is spot-on. Critics are trashing the films they are supposed, as film lovers, to support. They now seem to prefer generic sci-fi/superhero movies (Marvel movies, Star Trek Into Darkness to name a few) over daring, refreshing filmmaking.

Ds reply Replies: 0 || 2013-09-19 12:10:54
Really impatient to see how this great music sounds in the movie!

... reply Replies: 3 || 2013-09-16 21:25:33
12 Years A Slave probably won't have a soundtrack release...

we'll have to hope for a FYC or the complete score...


anon2013-09-16 21:50:10
I seriously hope this news is false. :(


MacArthur2013-09-16 23:37:06
Yeah me too, was totally looking forward too that score. I sure hope that if it is true that he changes his mind.


ei182013-09-17 01:08:08
where did you hear this?

John Flanagan reply Replies: 4 || 2013-09-15 21:03:07
I don't know, did Ramin Djawadi worked with Zimmer on any of the tracks, because a lot of songs seems like the themes from Game Of Thrones and Pacific Rim also, both are Djawadi works, I'm confused, it's this just in my head or did anyone else noticed, listen guys, play Pacific Rim track 01 and the track Reign from Rush, you will see, or better, hear what I'm saying


MacArthur2013-09-16 00:15:05
I don't think there was any thing in terms of copying I think it probably sounds similar because Zimmer trained these guys


Macejko2013-09-16 10:56:20
John: Thank you, I was under impression I was the only one to notice the obvious.


Frank2013-09-16 11:16:28
Actually I think the track Reign is more like TDKR


MacArthur2013-09-16 17:45:31
The only thing that I caught on this was the the theme was similar, now notice similar to Transformers theme of "All the Spark" but not the same. and I'm ok with that.

Because it's a different variation on the same chord progression.....Make sense.

GilvaneCezar reply Replies: 0 || 2013-09-15 18:22:57
What is the guitar music that plays in the trailer 3? It is very good, but not on the album!

MacArthur reply Replies: 11 || 2013-09-14 05:01:10
Wil 12 Years A slave get a release


MacArthur2013-09-14 05:02:20
For which Question? The Harald Kloser & Thomas J. Wander or the Zimmer one about Rush and my bad for keep posting. THink I'll crash the website XD.


Macejko2013-09-14 09:58:20
Will you shut up already?


JackieStewart2013-09-14 10:20:42
This MacArthur guy is getting VERY annoying.


Hybrid Soldier2013-09-14 13:21:56
I reported it since he's basically killing every conversation, but hey, I do a lot of stuff around here, but dealing with comments is not part of my job description... :P


MacArthur2013-09-14 16:56:31
Fine Then, I'll Leave I' just trying to get info on the scores because I love Zimmer's Music but if that's the way you want it. I'll leave.


JackieStewart2013-09-14 17:51:27
Yes please, leave.


Jeremy 2013-09-14 18:50:15
Man, That's Kinda Harsh


Joshua2013-09-14 19:07:19
Why do i feel like Jeremy is actually MacArthur to lol


isildur2013-09-14 19:39:58
@MacArthur No one is asking you to leave. It's just everyone would appreciate if you tone down your enthusiasm a bit.


MacArthur2013-09-14 23:08:32
Ok Just say that then.


Jeremy 2013-09-15 03:38:27
Where The heck did you get that notion.

Jeremy reply Replies: 0 || 2013-09-14 18:57:45
What cues or tracks on this did Balfe do it's totally awesome. does anyone know what parts of the songs he did on this score.

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