NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback

 SEARCH
 

 FAN COMMENTS
Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004
The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/
Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.
What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Conductor
Hans ZimmerGavin GreenawayHarry Gregson-WilliamsAdam Smalley
ComposerAdditional MusicAdditional MusicScore Producer
The Peacemaker (Limited)
Label: La-La Land Records
Length: 152'13
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 (5426 votes)
CD1
  1. Voice Of God - Vassily's Dilemma (6:49)
  2. Hijack (7:46)
  3. It Wasn't An Accident - Exporting Good Will - Smoke Screen (3:55)
  4. Bombs On The Move - Alexsander Kodoroff - Kodoroff's Alive (5:11)
  5. Good Guys - Bad Guys - Dusan's Village (1:51)
  6. Keep On Truckin' - Head Of Transportation - Hasselhoff - Escape (4:38)
  7. Car Chase (5:51)
  8. Forty-Four E - Dusan's Confession (3:24)
  9. Truck Convoy - License Plate (2:46)
  10. Nocturne In C# Minor (1:15) (Frederic Chopin)
  11. Get Me Authorized (feat. Mamak Khadem) (2:38)
  12. Checkpoint - Helicopter Chase (12:11)
  13. One Unaccounted For - Dusan Gets Bomb - Dusan's speech (5:06)
  14. He's Going To New York - F.B.I. N.Y. - Swiss Flight #1204 (4:37)
  15. Dusan's Flashback (6:18)
CD2
  1. Dusan With Bomb - Dusan In Church (11:18)
  2. Dusan Kills Himself (3:28)
  3. Dr. Kelly Is O.K. - Dr. Kelly Got 10 More (3:28)
    BONUS TRACKS
  4. Trains (Original Album Version) (13:54)
  5. Devoe's Revenge (Original Album Version) (5:16)
  6. Sarajevo (Original Album Version) (8:43)
  7. Chase (Original Album Version) (17:06)
  8. Peacemaker (Original Album Version) (9:45)
  9. Get Me Authorized (Alternate Vocals feat. Lisbeth Scott) (2:42)
  10. The Peacemaker Trailer Music (2:18)
Create Topic

SPECTER reply Replies: 3 || 2018-05-09 05:18:57
Hi guys, is the climax of album version "Peacemaker" with Lisbeth Scott and the male choir featured in the movie somewhere? Saw the film today and didn't hear that awesome singing.


Mike (OTM)2018-05-09 05:51:45
I haven't seen the movie, but "Peacemaker" is a suite. So if you didn't hear it, it's probably not in there. Classic situation with Hans. lol.


SPECTER2018-05-09 23:32:27
kept my ears open the whole time didn't hear it the film. The part in referring to is 8:20 of album version "Peacemaker". Another piece that is in the album but not in the movie is 14:10 of "Chase". It's funny to me because usually some really good film cues are left out of the album but it's the opposite in this case.


Mr Tweedy2018-05-10 10:20:48
As Mike (OTM) mentioned, the track Peacemaker is a theme suite, and isn't used at all in the movie.

As for the "Chase" cue, in my memories it's used in its entirety in the film (but as it is a medley of different tracks, it's popping in several sequences of the film : Helicopter Chase, New York, End Credits). I'm not 100% sure, but I guess the part at 14:10 was used during the NY Chase.

MrFix reply Replies: 10 || 2014-05-31 00:44:44
Wow, the sound on this is hurtful to my ears. the highs and mids are crazily painful and hardly anything at the bottom. very disappointed with LLL


trent easton navarro2014-06-01 13:13:24
Haven't listened to this one with headphones yet but at first listen I don't hear anything wrong with it. But I must admit I'm not a major audiophile, so what do I know.


Hybrid Soldier2014-06-01 13:36:54
Well they didn't kick anyone's ass with the mastering...


The 1997 OST was a lot more violent (and suitable for this kind of score)... They played it weak here (they even made the 1997 OST selection softer here)...


Cloud2014-06-01 19:21:12
The only thing I don't like about this is that some parts are way more silent than I'd like them to be. I find myself adjusting the volume constantly while listening to this.


Hybrid Soldier2014-06-01 19:34:15
Which is exactly the definition of a not great mastering... lol


Edmund Meinerts2014-06-01 22:33:00
I haven't listened to the new release yet but is the sound still better than the boot?


Anonymous2014-06-02 04:22:41
Actually, dynamic range is a good thing, Hybrid.


RealFfingMusic2014-06-02 07:22:36
Dynamic range is definitely a good thing, but only when it enhances the music. But this one has such a high dynamic range that one has to keep a finger on volume control, or risk missing out certain portions. That, m'friend, is BAD remastering.

P.S. I've listened to only 4-5 tracks and I already HATE it.


Hybrid Soldier2014-06-02 07:59:10
It's a good thing for an orchestral score like Kingdom of Heaven...

For Peacemaker, not so much...


MrFix2014-06-02 11:40:39
@hybrid
Exactly!! For the peacemaker, because it's mainly synthetic (not to sure if it is completely) it's like volume was intentionally dropped and peaked during post recording to try and give more of a dynamic sound for on screen purposes. I've noticed a few scores like that too from zimmer, crimson tide for one comes into mind.


Soundtracks942017-09-20 19:32:29
I own the CD and I agree there are times in the score where it's so bombastic it distorts your speakers.

Still, I felt this was a great score from Zimmer. It was peak Russian sounding chorus time for Hans and the action cues were better than other scores of this time like The Rock.

Mike reply Replies: 2 || 2015-03-08 22:14:36
I feel like John Powell's name for "Additional Music" is new here...Have I just been missing it, or has new info come to light?


Edmund Meinerts2015-03-08 22:48:41
Yeah, I never noticed that either. Didn't think HGW was involved with this either outside of the trailer music (or is that all that is meant by "additional music" here?).

We all know Greenaway worked extensively on this and he did Face/Off with Powell the same year, so who knows...


Hybrid Soldier2015-03-08 23:15:01
I found that. Hans couldn't confirm nor deny, he doesn't remember... lol

Anonymous reply Replies: 2 || 2014-08-22 19:30:39
who arranged the trailer track?

  Your name :   

Please enter number: 1225 


Hybrid Soldier2014-08-22 20:14:19
Click "See details..."


Anonymous2014-08-22 23:14:36
thanks

Anonymous reply Replies: 15 || 2014-05-16 15:13:04
anyone got a tracklist? :P


trent easton navarro2014-05-16 16:41:29
not yet, guess we'll have to wait till tuesday


Poe2014-05-20 05:52:06
DISC 1
1. Voice of God / Vassily’s Dilemma 6:49
2. Hijack 7:46
3. It Wasn’t an Accident / Exporting Good Will / Smoke Screen 3:55
4. Bombs on the Move / Alexsander Kodoroff / Kodoroff’s Alive 5:11
5. Good Guys / Bad Guys / Dusan’s Village 1:51
6. Keep On Truckin’ / Head of Transportation / Hasselhoff / Escape 4:38
7. Car Chase 5:51
8. Forty-Four E / Dusan’s Confession 3:24
9. Truck Convoy / License Plate 2:46
10. Nocturne in C# Minor 1:15 (Frederic Chopin)
11. Get Me Authorized (feat. Mamak Khadem) 2:38
12. Checkpoint / Helicopter Chase 12:11
13. One Unaccounted For / Dusan Gets Bomb/ Dusan’s Speech 5:06
14. He’s Going to New York / F.B.I. N.Y. / Swiss Flight #1204 4:37
15. Dusan’s Flashback 6:18
TOTAL DISC TIME: 74:16

DISC 2
1. Dusan With Bomb / Dusan in Church 11:18
2. Dusan Kills Himself 3:28
3. Dr. Kelly Is O.K. / Dr. Kelly Got 10 More 3:28
BONUS TRACKS
4. Trains (original album version) 13:54
5. Devoe’s Revenge (original album version) 5:16
6. Sarajevo (original album version) 8:43
7. Chase (original album version) 17:06
8. Peacemaker (original album version) 9:45
9. Get Me Authorized (alternate vocals feat. Lisbeth Scott) 2:42
10. The Peacemaker Trailer Music 2:18


Edmund Meinerts2014-05-20 12:12:14
Oh La-La Land...I love you, but it seems like your trend of pointlessly combining separate cues into lengthier ones shows no sign of abating. :/


Aggelos2014-05-20 14:24:02
It's great to have all this material remastered, restored and dressed in an official package/disc.

However, I was wondering what happened to the unused cues of Peacemaker?
There is a rumour that some composers block(ed) various scores from receiving an official expanded release. Do you think that something like that happened in this case?
LaLaLand must have known that there was an unofficial release with unused cues.
I was expecting surprises from this (such as previously unreleased material etc), but so far I don't see anything big.
It looks more in the style of Broken Arrow and Speed 2. That is to say, on the one hand they were official expanded releases, but on the other hand there had been more material available (on promo releases, et al) that wasn't include for some reason.





Hybrid Soldier2014-05-20 15:52:57
What are you talking about ? The fake thing floating around for a decade ? lol


Aggelos2014-05-20 17:18:22
Ya dat thing.
Was it phoney??
In any case, where iz da previouzly unrealeazed material??


mark2014-05-20 19:08:38
hey there, just wanted to to clear this up, i remastered a few of the tracks from peacemaker just for fun, and added some extra sounds i created on my synthesizer, i named it the unused cues which is where those tracks came from, hope this helps


Hybrid Soldier2014-05-20 19:14:11
And people were naive enough to believe it, especially 10 years ago...


Poe2014-05-20 19:58:23
What fake thing are we referring to?

And yes, Edmund, my first thought was exactly the same.


Aggelos2014-05-20 22:00:13
Excellent! Not that we have clarified this up, I think we can go on with our lives. Cheers!!!

The thematic material that appears on the events that take place in Sarajevo somehow reminds me ideas by Ippolitov-Ivanov featured in his orchestral suite Caucasian Sketches.
Search on youtube for Ippolitov-Ivanov "In a Village" (the 2nd movement of the suite)
www.youtube.com/watch?v=_pqperR8R4g


Mr Tweedy2014-05-21 00:31:01
10 or 15 years ago, there was a "Peacemaker - unused cues" bootleg album floating around. I think they refer to this. And yes, it was a bunch of bootleg cues edited together with some synth and drums added on top of it. There was no "real" new music from Hans' studio at all.


LP2014-05-21 16:36:01
@Edmund Meinerts

More tracks = more money. So they end up compromising by way of combining the cues together. I hate this, because it's never sounded seamless, but I have to accept it because it's the only way these thing could be released legitimately


Poe2014-05-22 19:23:00
Number of tracks has nothing to do with it. More music=more money, if anything, but having split tracks wouldn't make it more expensive.


Aggelos2014-05-23 13:37:35
Regarding cues such as Dusan's Confession, Dusan's Village, Dusan's speech, the thematic material somehow bears an interesting resemblance to ideas by Mikhail Ippolitov-Ivanov featured in his orchestral suite Caucasian Sketches ("In a Village" the 2nd movement of the suite).
Am I the only one who has noticed this?




Aggelos2014-05-25 16:52:00
In addition, Trains (album version) or Hijack have moments that remind a little bit Sergei Prokofiev's "Tylbat's Death" from Romeo and Juliet.

Hybrid Soldier reply Replies: 5 || 2014-05-22 22:23:28
I added all the booklet credits... :)


thejok3rrules2014-05-22 23:28:50
Did Zimmer actually wrote everything except ''Devoe's Revenge'' and the trailer music?


Edmund Meinerts2014-05-23 12:14:49
That's ironic considering "Devoe's Revenge" is the one cue we know is cowritten by Gavin Greenaway.


thejok3rrules2014-05-23 19:53:17
It's nothing ironic, mate... I checked the booklet, it said ''All Songs Written by Hans Zimmer Except
"Devoe's Revenge" Written by Gavin Greenaway
& "The Peacemaker Trailer Music" Written by Harry Gregson-Williams'', so I asked myself: Is it true? Whatever.


Edmund Meinerts2014-05-23 21:46:10
Oh, sorry! I somehow managed to read your comment the wrong way around. Silly me... :p


thejok3rrules2014-05-24 16:23:20
Don't worry, mate, it's not a problem ;)

marco reply Replies: 0 || 2014-05-20 23:24:19
i hope the remastering on this isn't as harsh on the ears as broken arrow was

MrZimmerFan reply Replies: 7 || 2014-05-04 15:09:05
The best of the best for Hans


Aggelos2014-05-04 19:00:47
This is going to be very interesting, nonetheless!
Hopefully, LaLaLand will release more stuff from the Media Ventures gang of the '90s before long.



trent easton navarro2014-05-04 20:13:16
LaLaLand has already released quite some quality stuff from the 90's (Mancina's Bad Boys, Money Train and Speed scores, Zimmer's Broken Arrow and Days of Thunder). But there are still a few I like so released (Fair Game, Assassins) or expanded (The Fan, The Rock)


Anonymous2014-05-05 18:52:11
Next up please, The Fan, The Fan, The Fan!!!


Edmund Meinerts2014-05-05 19:30:18
I'm really surprised how many, uh, fans The Fan has. I know that apparently the album isn't a good representative of the score, but still - I didn't think what's there is really much good. I'm much more excited about The Peacemaker (even though I've already heard it :p )


Lambegue2014-05-05 19:40:18
I'm really excited about this one too


trent easton navarro2014-05-05 22:42:34
Like I said in an other thread, for me The Fan is the perfect combination between Hans Zimmer and NIN. Considering you don't like Trent Reznor, I'm not surprised you don't really care for The Fan.

As for this one, can't wait to own it! One of my fave Zimmer scores and of his finest action scores.


Aggelos2014-05-13 21:24:27
From LLL's FB page
@"
REISSUE PRODUCED FOR LA-LA LAND RECORDS BY DAN GOLDWASSER
MASTERED BY DOUG SCHWARTZ AT MULHOLLAND MUSIC
LINER NOTES BY TIM GREIVING
ART DIRECTION BY DAN GOLDWASSER

At long last, La-La Land Records, UME and Paramount Pictures (in association with Dreamworks Pictures) present one of Hans Zimmer’s greatest action scores – THE PEACEMAKER. This 1997 crackerjack thriller features one of Mr. Zimmer’s most legendary, jaw-droppingly awesome scores. Jam packed with over 2 &#189; hours of music -- including original album edits, an alternate vocal featuring Lisbeth Scott and music exclusively written for the film’s trailer -- this 2 cd set features in depth liner notes by film music writer Tim Greiving and spectacular art direction by Dan Goldwasser. A must have purchase for any fan of high octane, memorable action music.
"@

 HANS-ZIMMER.com© 2001-2018 OST 
The Peacemaker (Limited) soundtrack - Hans Zimmer 1997