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All those people who complain that Hans isn't sticking to more traditional scores forget that at heart, hes a synth man who loves his synthesizers and keyboards. Hans is just as much as a musical artist as Bowie or Paul Mccartney, in the sense that he goes through musical trends and his style adapts or changes. That's just the way it is, enjoy it for what it is. <br><br>Crucify me for comparing a human to David Bowie!Wow! Stephen Barton worked on a lot of the important cues here, huh?I'm with Edmund in that I'd love for Hans to win more Oscars, but not this score. I feel like even Blade Runner 2049 is more deserving of an award than this. Sure, it works great in the film, but that shouldn't be reason enough for an Oscar. I feel like Desplat's nominated score is more deserving than this one. <br><br>"But this one has a unique sound and recording!"<br><br>Okay... a lot of scores have that. A lot of Zimmer's work has that. Doesn't make them all masterpieces.<br><br>"But we have to spite those evil reviewers who hate this score!"<br><br>Why do you let their opinion get in the way of your enjoyment? If you love it enough, the critics' opinions should only make you enjoy it more because you see something in it they don't. <br><br>I agree with George in that Hans needs to go back to a melodic sound. I don't think whether this score wins or not will change Hans' mind on that, but I do want his next Oscar winner to mean something other than, "Oh cool! I won this award because I made weird sounds!" (Which by the way, involves things like programming and a lot of other technical adjustments that have nothing to do with Hans' composing ability)."The thing that I'm proudest about Dunkirk is you can't separate it from the film."<br>- Hans Zimmer, GQI understand, but it does not make sense.<br>You're arguing that the score for a movie released in January this year was produced before of the score of a movie that went to theaters in July. If Balfe started working on "12 strong" a year before the movie release, the same can be said of Dunkirk. It is easy to infer that the Dunkirk's score has been working since the middle of 2016! Or even before, because of the tours that Zimmer has done.<br>The music/sound design, even being simple, was not made and recorded between January and May of last year.
Olive  that is when it was announced !!! Not when he did itBalfe's hiring came out in May, when Dunkirk's production was already at the end. No contest.<br><br><br>filmmusicreporter.  com/ <br> 2017/05/24/lorne-balfe-to-score-horse-soldiers/Hans finished the bulk of the score before he went on tour, you could find an interview where he himself says so. <br>Ben worked solely on Variation 15. <br>Scroll down on this page and you'll find the full cuesheet with the credits. <br>Edmund - how do you think Zimmer wrote Dunkirk when he was on a world tour !!!Congratulations to Ben, Lorne also .Edmund - the release dates do not matter . Check out Balfe’s Facebook page and you will see he was recording 12 Strong early last year .
I've only heard the suite Hybrid made. The only similarity I was aware of is the siren-like sound. <br><br>People don't realize how difficult scoring Dunkirk was. Just because you love Interstellar (I do too - it's my favorite HZ score) but that doesn't mean Dunkirk doesn't deserve to win. <br>Edmund, in all honesty what are the similarities between 12 Strong and Dunkirk? I know both scores and fail to see how they connect.Doesn't deserve an Oscar. Hans Zimmer is my favorite composer but if he didn't win for Interstellar, he shouldn't win for this. <br><br>I can seriously say that I object this score winning based on that principle. This winning over Interstellar just isn't right.Well, the credits say that Supermarine or the oil are pure Zimmer, and also the 3 first track I think. So Balfe helped him to develop some ideas during his tour but the majority of the score is Hans' work.<br>And it does deserve an Oscar. I never heard a score like that.. If you have a problem with the score I think it comes from the script. A classical melodical music wouldn t work for this film i think.Source? I find that hard to believe considering the release dates. Even if it is true, Balfe might have been concurrently working on Dunkirk and brought over some of the ideas. I find it spectacularly improbably that he and Hans just HAPPENED to come up with the same ideas at the same time.
Edmund - gets you facts right please . 12 Strong was written before DunkirkHere's an interesting opinion: I want Hans to win this one so that he DOESN'T continue making music like this. Sure its functional, but if he could reinvent the melodic score again and get back to writing memorable melodies I'd be pretty happy. He won for Lion King and then essentially abandoned that tone of music which transitioned into the Crimson Tide/The Rock sound... so maybe, just maybe, if he wins this year he'll completely reinvent his sound again and give us something both melodically memorable but also be a total game changer in terms of modern scores.I hope it doesn't win if for no other reason than so we don't have to go through 5 years of Dunkirk temp tracks (although if 12 Strong is anything to go by, too late).@Ahmad i only need "The Oil (Film Version)" :D Then i'll be happy :D*That was a thumbs up but it didn't work :D<br><br>^This how I feel lol.
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Harry Gregson-WilliamsTom HoweAlastair KingStephanie Economou
Additional MusicAdditional MusicOrchestratorScore Recordist
Exodus - Gods And Kings
Label: Sony Masterworks
Length: 78'24
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 (4122 votes)
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  1. Opening + War Room (2:39)
    Alberto Iglesias
  2. Leaving Memphis (2:03)
    Alberto Iglesias
  3. Hittite Battle (4:16)
    Harry Gregson-Williams
  4. Returning To Memphis (2:37)
    Alberto Iglesias
  5. Moses In Pythom (1:50)
    Alberto Iglesias
  6. Nun's Story (2:18)
    Alberto Iglesias
  7. The Coronation (2:28)
    Federico Jusid
  8. Ramses Retaliates (0:53)
    Federico Jusid
  9. Arm Chop (1:58)
    Alberto Iglesias
  10. Goodbyes (2:41)
    Alberto Iglesias
  11. Journey To The Village (2:14)
    Alberto Iglesias
  12. The Vows (2:24)
    Harry Gregson-Williams
  13. Alone In The Desert (1:36)
    Alberto Iglesias
  14. Climbing Mount Sinai (2:17)
    Alberto Iglesias
  15. I Need A General (3:22)
    Alberto Iglesias
  16. Exodus (2:52)
    Alberto Iglesias
  17. Ramses' Orders (2:44)
    Federico Jusid
  18. Moses & Nun (1:48)
    Alberto Iglesias
  19. Moses' Camp (2:42)
    Alberto Iglesias, Federico Jusid
  20. Ramses' Insomnia (2:58)
    Alberto Iglesias
  21. Hail (2:01)
    Alberto Iglesias
  22. Animal Deaths (2:39)
    Alberto Iglesias
  23. Looting (1:19)
    Alberto Iglesias, Federico Jusid
  24. Ramses' Own Plague (2:05)
    Alberto Iglesias
  25. Lamb's Blood (1:39)
    Federico Jusid
  26. We Cross The Mountains (2:51)
    Alberto Iglesias
  27. Into The Water (4:00)
    Alberto Iglesias, Federico Jusid
  28. The Chariots (1:52)
    Federico Jusid
  29. The Hebrews (0:58)
    Alberto Iglesias
  30. Tsunami (5:33)
    Harry Gregson-Williams
  31. Sword Into Water (1:12)
    Alberto Iglesias
  32. The Ten Commandments (3:37)
    Alberto Iglesias
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Evan reply Replies: 0 || 2015-05-14 21:24:50
Exodus is a wonderful score. but everytime I listen to it, I feel like the soundtrack is missing a lot of important cues. The main theme for Moses is incredible but for some reason most of the tracks that contained it were omitted from the soundtrack release. So frustrating when a composer does this.when I saw the film the main theme is obvious and is used quite frequently, but when listening to the soundtrack you could easily walk away not hearing a single theme. I guess I'll be waiting around for an "unofficial" release.

JamesT reply Replies: 20 || 2015-01-12 18:06:10
Any word on the score release for Blackhat?


Hybrid Soldier2015-01-12 19:03:57
It won't be released.


Justin Bieber2015-01-12 19:24:39
Why?


Hybrid Soldier2015-01-12 19:33:20
Harry said it wouldn't... I'm not in either Michael Mann's head, HGW's head or Atticus Ross' head... I take the info as it is... lol


JamesT2015-01-12 19:38:15
That's INCREDIBLY disappointing.


Hybrid Soldier2015-01-12 19:40:48
Well the score was a mess HGW wrote 80 min but only partly used...


Medigo2015-01-12 20:03:46
reminds of of James Newton Howards score for Collateral


Hybrid Soldier2015-01-12 20:06:42
And Harry just posted on Facebook :

"Dear all,

I would like it to be known for what it’s worth that the ‘score’ for Blackhat maybe credited to me, but contains almost none of my compositions. I attended the premiere of the movie at the end of last week and discovered, to my horror, music that shocked and surprised me…quasi emotional (synth) string pieces that I’d never heard in my life before. I knew of at least one other composer, a good one at that(!), that had put in months of work on this movie just as I had, but this appeared to me to be in addition to both our contributions. To be honest, I’m not sure, as I’m having a hard time understanding what I heard and why it was there and I can say nothing for certain except that I was not the author of most of what is now in the movie. I feel like I want to point this out for anyone who like me cares about these things, as my name is right there listed as the lead composer and one would expect that credit to mean something, but it doesn’t. And I do care about that.

I therefore reluctantly join the long list of composers who have had their scores either sliced and diced mercilessly or ignored completely by Michael Mann. This is his film and these are his decisions and I do respect that, but see no reason to have people mistake this score for one that I composed, or in any way approved of musically. The 90 minutes of score that I did write and deliver is, as I’ve said, mostly unused.
I would still encourage you to check out his movie, as you may enjoy it.

Harry"


Dudu2015-01-12 20:12:32
AFAIK, this is the first time a composer publicly says that the music heard in the movie is not his...sh** just got real.
Hybrid do you have any other examples??


Hybrid Soldier2015-01-12 20:18:58
Klaus Badelt should, one day, about POTC 1... lol

Hans admits it for stuff like Invincible for instance.

Well no I have no other examples in my head right now...


Ds2015-01-12 20:34:13
I feel sorry for Harry... But more interestingly, he seems to imply he didn't collaborate at all with Atticus Ross. I don't know why a director would ask 2 composers to work on his movie separate from each other. I mean, did they work on picture? Did Mann divide his movie into two parts? Or did he ask them both to compose the whole thing, for him to select the best cues from both? Seems weird to me.


Hybrid Soldier2015-01-12 20:40:32
They both wrote a full score I think...


Well it's Mann... He had JNH replaced by a lot of Pinto & stuff... He had John Murphy replaced with Klaus Badelt... Etc...


Edmund Meinerts2015-01-12 21:30:08
I just came here to post Harry's Facebook comment, not surprised people are already talking about it though. Poor Harry...having to work with both Ridley Scott and Michael Mann in one year, the only person left from the trifecta of miserable directors for composers to work with is Paul Greengrass!


Hybrid Soldier2015-01-12 21:34:37
With all of RCP blocking its doors to Paul Greengrass, I think Harry has a shot there !!! lol


Ds2015-01-12 22:04:19
With the return of Damon & Greengrass to the Bourne franchise, I'm really wondering what they're going to do with the music. I think it's out of question for Powell, from what I heard I doubt Jackman will do it, or anyone from RCP... Well, maybe Hans will once again be too kind and accept the job... It would be hilarious :p

Maybe they'll ask JNH, he's capable of RCP-like writing (even if his electronic scores are often dull).


Edmund Meinerts2015-01-12 22:56:22
JNH's Bourne Legacy was a total snoozer. His Salt was an OK Bourne-like score, though...as long as it's more like the latter than the former, I'd be all right with him on board.


trent easton navarro2015-01-13 14:42:38
@Ds This is basically standard with Michael Mann, he usually goes through several composers on any film. See the examples Hybrid gave. And also on The Insider he used Graeme Revell and Lisa Gerrard.

Seems on this one he first hired Ross, then Harry, after that Ryan Amon and finally Mike Dean, a keyboardist and producer for Kayne West


Lambegue2015-01-13 17:42:21
I really don't understand that some composers replace score by other quite random stuff like that...Don't they have any respect for their composers ?
I don't mind for a score to be totally or partly made of pre-existing material if it is thought to be like this right from the beginning : I can also understand that a director sometimes want to replace a composer by another if he is not happy with the direction taken, but this, hiring guys here and there without letting any of them know what the other did, and taking bits and pieces from each of them (and sometimes from other things too) is very disrespectful, and most of the time not really good for the quality of the score...


Dudu2015-01-14 10:37:19
Harry deleted the post from his page...and at least, Mann isn ´t even hiding his treatment of music!
"I worked with a number of composers on this one because I wanted different things from different people. It’s like casting actors. The film is an adventure of a narrative, and the story changes radically about three times, so there are very different conditions emotionally. That changes the music. So Atticus Ross does one thing, Harry Gregson-Williams does another thing, Ryan Amon does another thing, and then Mike Dean does something else. Mike Dean is Kanye West’s keyboardist and producer—a very talented guy."


Hybrid Soldier2015-01-14 12:23:05
People are misinterpreting Harry's message I think.

He isn't criticizing Mann much or searching for pity, he knows the rules...

He was just pissed to be still credited composer when the film actually has almost none of his music... That's all... lol


JG2015-01-21 05:06:50
Can anyone here comment on a proper chronological order for this album presentation? Just a quick look at the titles, clearly these are out of order! I almost always prefer the proper film order, so curious if anyone has already compiled such a list? Thanks!

Justin Bieber reply Replies: 0 || 2015-01-14 06:22:38
Speaking of unreleased work and over-credit of Harry Gregson-Williams. Another example is Metal Gear Solid V: Ground Zeroes.

Scorefan reply Replies: 0 || 2014-11-25 00:25:02
It's a good score.
Listening some cues from Federico Jusid, and they are really amazing. And the fact is that Federico Jusid was rejected from 300 Sequel. So do you think the score would have been different from Junkie XL.
Harry's work, impressing as always, with the additional music.

Hybrid Soldier reply Replies: 8 || 2014-11-20 19:41:51
Details & extract... :)


Anonymous2014-11-20 20:55:19
Sounds great. I hope the whole score has choir like this :)


Lambegue2014-11-20 22:19:08
Have you heard all of it, Hybrid ? My main fear for this one is a lack of unity between Iglesias' (and Jusid's) cues and Gregson-Williams' ones, as I understood they didn't work together...


Hybrid Soldier2014-11-20 23:01:28
It's a nice score, good moments.

But it's not a GREAT score in any way... :/


Ds2014-11-20 23:05:09
Oh shit... it looks like a huge epic movie, the kind of which deserves a great, memorable and moving score. Ridley needs to re-team up with Hans!


Anonymous2014-11-21 06:28:30
Samples sound wonderful to me.

I am getting a strong HGW vibe from most of it actually (at times a little bit of Mychael Danna's Nativity Story too). Makes me wonder if HGW had more hands on the music than what's made public.


Nonore2014-11-21 19:26:02
Where can we find some other samples of the soundtrack ?


Anonymous2014-11-24 15:45:33
Time to talk about something else than interstellar.

Just listened to the full thing (soundcloud). Harry his tracks are cool


Ds2014-11-24 17:54:46
Listened to the first 3 tracks only, and I love it!! Much better than I expected.

theeaglesfan005 reply Replies: 5 || 2014-11-10 22:22:34
What's the length?


Edmund Meinerts2014-11-11 10:18:37
That's what she said.


Zimson2014-11-13 00:21:31
The CD cover? That would be 4,7 inch. :/


Dr. Sheldon Cooper2014-11-14 04:56:41
By the word "length", (s)he could have meant :--
(a) The diameter of the disc, which is 12 cm;
(b) The diameter of the spindle hole, which is 1.5 cm;
(c) The wavelength of the reader, which is 780 nm;
(d) The length of the thread, which is approximately 700 MB, i.e. 5,898,240,000 little pits on the aluminium foil -- (I know, OMG right?);
(e) The duration of the audio data, which is highly variable depending on amount of memory used, bit depth & sample rate, etc.


Everan2014-11-14 05:31:00
What is the runtime of this album? It's it over 40 minutes, 60 minutes or more?


fx2014-11-21 00:37:37
Hopefully Zimmer won't do them again.

Adam reply Replies: 2 || 2014-11-13 02:07:48
That front cover is downright atrocious!!


NM2014-11-13 02:24:14
Looking forward to hearing Harry's score!


Hybrid Soldier2014-11-13 08:57:52
Harry's part of the score, you mean.


And yes the cover is terrible !

Hybrid Soldier reply Replies: 6 || 2014-11-03 22:08:41
Honestly I'm adding this but I have no idea if the CD will contain any of HGW's material... lol


Scorefan2014-11-03 22:14:40
Maybe, just like Prometheus


Washu2014-11-10 21:17:42
Apparently these three cues on the score is his:

3. Hittite Battle
12. The Wows
30. Tsunami



Hybrid Soldier2014-11-10 22:29:05
How do you know that Washu ? :)


Ds2014-11-10 23:46:13
If this turns out to be true, it means that HGW was absolutely needed to bring some epicness :p

I feel kind of sorry for Alberto Iglesias...


Washu2014-11-11 00:15:06
He wrote it on his Facebook fan page.


Hybrid Soldier2014-11-11 00:16:54
Oh yes indeed I wasn't paying attention ! :)

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Exodus - Gods And Kings soundtrack 2014