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I'll try to explain myself more with the scores I wasn't a big fan of. I really like a lot of Gears of War 3. It has a lot of faster paced, melodic action cues, and the cues from Gears of War 2 are improved. Its main problem is it's not very memorable, which Jablonsky is usually able to produce. <br><br>Ender's Game I found to be a bit of a slog. There was a lot of ambient/sound design cues which I found incredibly dull. However, it's possible I was expecting too much, or maybe I was too harsh on it. I'll try to have another listen to that one. <br><br>Gangster Squad was one where I just looked at the comments to see what people thought about it, and the consensus was "it copied every recent Hollywood score", so I just skipped that one. <br><br>TF3 had a lot of good thematic material, and the finale's action music was a lot of fun, but it lacks the memorability and excitement of the first 2, or the subtlety of 5, making it fall in the middle for me. Plus the Inception sound was pretty annoying. <br><br>Gears of War 2 falls into mediocre for me. The main theme is solid, but the action is repetitive and doesn't have much variation. Plus it also wasn't very memorable. It's basically a worse version of Gears 3 to me. <br><br>Transformers 1 and 2 don't really count to me because those were more an RCP effort than a Jablonsky one. Just to clarify, I don't hate that Jablonsky went down this route. I first learned of his existence through the Transformers scores for god's sake. It's just that listening to Steamboy, it makes me sad there wasn't more of this side of Jablonsky. Oh, and honorable mention to TMNT: Out of the Shadows, that was a great superhero score!Gangster Squad was Ok, but i prefer Ender's Game, actually the sound design in that i find it certain interesting.<br><br>In Battleship, yeah, it's nothing original, but for me, is a guilty pleasure, i love the percussion (i'm a big fan of the taiko sound)<br><br>Enderís Game isnít bad at all, there are some cool power anthems and orchestral moments in it. As for Battleship, while I find most of it generic, I genuinely do like the alien ďMRIĒ sound design he incorporated.<br><br>And one of Jablonskyís most underrated scores imo is Gangster Squad. If you want a fun Jablonsky score that strays away (mostly) from the Zimmer sound thatís it. Any score using Antz as a temp track is fine by me!I will disagree with TF3, Ender's Game, Gears of War 2 and 3, there are good scores, altough i'm a massive fan of that guilty pleasure is Battleship ;D<br><br>And A Nightmare on Elm Street was cool.John Powell to receive Henry Mancini Award. <br><br>Look it up at filmmusicreporter.<br><br>Congrats John
Edmund's right. It's really just sad that Jablonsky could have been one of the greatest composers ever, one with more notoriety and respect from the music community, but instead settled for being... a decent composer.<br><br>TF5 was a step in the right direction, D-War was a great monster movie score, Your Highness came close to Steamboy levels, and IDEA felt like Jablonsky's symphony in a lot of ways. But on the other end you have Ender's Game, Transformers 3 and 4, Battleship, Gears of War 2, Gears of War: Judgement, and a few others that range from ok, to flat out awful. Occasionally though you get some decent ones like Gears of War 3, and A Nightmare on Elm Street.<br><br>My point is, we get a composer overridden with bland projects, and musically inept directors, when he had the potential for being Oscar level.This just occurred to me. 1:44-2:10ish in Remember Who You Are kind of sounds like part of Mozartís Ave Verum Corpus...and we know Hans is a fan of that piece...@mpolonest: I'm the opposite side: BvS grown each time i listened.<br><br>Not the same for MoS ;D@DS<br><br>You are absolutely right, and it was something that I did think about while I was writing the post, I just never clarified it. <br><br>But that also has the opposite effect as well. I've had plenty of scores/songs which originally I liked that I gradually grew to dislike or simply lose interest. One of the most recent ones is BvS, which I enjoyed when it came out but looking back is probably one of my least favorite Zimmer scores.@Edmund @Ds totally agree! This days the only composer that convince me is Steven Price.
Is there a Balfe score that is not very temped? Every single Balfe score I listened to is basically giving an old score a fresh set of paint.mpolonest123: it's difficult to compare scores that are 10 years old and that you had plenty of time to digest, with brand new scores you've only heard a couple of times.<br><br>You said it yourself, when Clash of the Titans came out you thought it was generic and forgettable. It's only later that you noticed all these themes and all the work Djawadi put into it.<br><br>And actually it works like that with any new album released by any major artist. Fans are always like "it sucks, I prefer their previous albums". And yet 5 years later they love all these songs and know them by heart. :-pEdmund: I see your point, and if everyone could become 100% objective it would be actually true. But in practice, our personal tastes play a heavy role in deciding whether a score is interesting or fun or creative or intelligent or enjoyable. Some people like very classical, orchestral music more than anything else; even if JXL was creating the craziest soundtrack ever, his sound palette and synthetic approach alone would be enough to make these people dislike the score and say it's rubbish. The level of detail he put in Tomb Raider is astonishing, but sadly it'll only be noticed by people who are not upset by this style of brutal and synthetic environment. Of course it also works the other way, dry orchestral scores like Giacchino frequently writes do nothing to me, I don't particularly like this kind of sound, so I never spent a lot of time listening to them. As a consequence, I never was able to dissect them to discover all their (I guess) richness, subtleties, etc. So from my point of view, almost all Giacchino scores sound the same way and are not interesting, and I don't understand how and why he keeps getting all those major assignments. That's to say, our personal preferences will always interfere with our judgment, even if we honestly try to be fair.I feel like I see/have this kind of conversation on film music boards all the time. The approach isn't the problem, it's the execution. For example, when Man of Steel came out:<br><br>me: "I'm a bit disappointed by Man of Steel, it has its moments but I don't think it's a very good score overall"<br>fanboys: "JOHN WILLIAMS WAS YESTERDAY, ZIMMER IS TODAY, THIS IS A DIFFERENT SUPERMAN BLAH BLAH BLAH GET OVER IT"<br>me: "...did I mention Williams?"<br><br>or else Mad Max: Fury Road<br><br>me: "Mad Max is a decent score but I feel like the film deserved much more"<br>fanboys: "THERE'S LITERALLY A DUDE ON A DRUM CAR WITH A FLAMETHROWER GUITAR WHAT DID YOU EXPECT"<br>me: "...a composer who does more interesting things with those drums and that guitar?"<br><br>All over the place. It was really aggravating. This is a similar situation A talented film composer can write interesting, engaging music in all sorts of styles, for all sorts of films and under all sorts of directorial conditions. My issue with Tomb Raider isn't that it's not a traditional Jerry Goldsmith adventure score. I never expected that from this film, and certainly not from this composer. It's just not a very interesting or intelligent or enjoyable version of what it's trying to be, and that's the bottom line.@mrzimmerfan <br><br>I completely agree with you. Tomb Raider definitely didnít need a traditional score at all. And I love all the scores youíve mentioned. I even donít have a problem with the approach he took.<br><br>But I just donít like the score as is. We just have to agree to disagree, no harm done. :-)
I don't think he means that, just that it would have been interesting if Jablonsky had gone more into animated movies like Powell did, rather than mostly Michael Bay. I think maybe we got a hint of what that could have been like with Your Highness a few years ago, a score I'll always defend, but yeah...the lack of follow-up to Steamboy is a great tragedy in Jablonsky's career.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.I don't think Jablonsky is going to be a new John Powell ;)<br><br>But this one of his most notable efforts, i will said that.This is feels like a very temped soundtrack, only that explains why the score is so generic. I wonder which movies music scenes producer-director used to make lorne do this. <br><br>Track 8 - is Tron legacy (dont know maybe he worked on it, powell was involved maybe he was too)

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Hans ZimmerAndrew KawczynskiBob BadamiSteven Kofsky
ComposerAdditional MusicMusic SupervisorMusic Production Services
Woman In Gold
Label: Sony Classical
Length: 40'47 (Score: 36'19) 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 (4998 votes)


  1. O Mary Don't You Weep - Deron Johnson (3:16)
  2. Hotel Jazz (1:10)
    W. A. Mozart, Martin Phipps
  3. Deh, Vieni Alla Finestra - Dawid Kimberg (1:12)
  4. Restless (2:10)
    Hans Zimmer
  5. Maria Altman (3:09)
    Martin Phipps
  6. The Belvedere (2:40)
    Martin Phipps
  7. Vienna (1:15)
    Hans Zimmer, Martin Phipps, Andrew Kawczynski
  8. Randy Schoenberg (1:27)
    Martin Phipps
  9. Open The Door (2:09)
    Hans Zimmer, Martin Phipps
  10. Apotheke (1:26)
    Martin Phipps
  11. Fleeing Vienna (4:15)
    Hans Zimmer, Andrew Kawczynski
  12. Flight 12 To Cologne (3:26)
    Hans Zimmer, Andrew Kawczynski
  13. First Hurdle Down (2:01)
    Martin Phipps
  14. Art Theft (2:43)
    Hans Zimmer, Andrew Kawczynski
  15. Statues (1:08)
    Martin Phipps
  16. Final Testimony (2:13)
    Martin Phipps
  17. The Language Of Our Future (3:18)
    Martin Phipps, Natalie Holt
  18. I Lived Here (1:49)
    Martin Phipps
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mpolonest123 reply Replies: 0 || 2018-01-03 22:32:28
While Iím not crazy about the film, Iím surprised no one really talks about this score. Both Zimmer and Phippís sections are equally strong, with the Zimmer parts being so much darker in tone.

ďFleeing ViennaĒ is such an intense cue, especially in context.

... reply Replies: 3 || 2015-08-08 14:39:21
I have seen the movie and the score works very well. I also figured out how the two composers approached this. The movie primarily plays in 1999, but it has flashbacks to the time of WW2. Phipps primarily composed the music for 1999 and Hans did the music for the WW2 period scenes. Hans stands for the darker cues.

Hybrid Soldier2015-08-08 15:03:16
Absolutely ! I noticed that as well ! :)

garavel2015-08-08 18:08:38
what is that WW2 ?

Mike2015-08-08 18:12:30
"World War 2"

lio reply Replies: 1 || 2015-06-30 09:50:02
funny that hans's part is the weakest part of the score

Anonymous2015-07-01 04:12:13
Incorrect. And if you don't hear his influence in Track #5, you are really missing something.

... reply Replies: 6 || 2015-05-31 10:49:57
Has anyone listened to this yet?

I just finished the album and honestly, it's a strange one. Have to relisten to make a final opinion.

Ds2015-05-31 14:31:02
Listened to it yesterday, didn't really like it. It sounds like a minor work from Hans. It's not bad but not the kind of soundtrack I like to listen out of context. And overall I think Phipps' tracks are better than Hans'.

...2015-05-31 14:38:35
Maria Altman and Fleeing Vienna are the best cues on the album in my opinion.

Anonymous2015-06-01 04:18:58
OMG Ds!!! How dare you say you don't like a Hans Zimmer soundtrck on this website. Don't you realize the amount of Zimmer worshiping drone-trolls that frequent this site? Prepare to be tortured, persecuted and kicked in the gut (figuratively of course). That's what happened to me when I dared to say I didn't care for Interstellar. Just saying.

Edmund Meinerts2015-06-01 08:56:01
Oh my good God, Anonymous, let that go already.

Ds2015-06-01 18:22:09
Anonymous, actually I felt a bit ashamed of writing that. It's the first time in my life I don't feel anything when listening to a Zimmer score. Usually I'm moved or entertained or blown away, but here I felt nothing. I'll go see a doctor ;-)

...2015-06-01 21:11:30
Hybrid, do you know if zimmer helped write the maria altman track? I saw on some website that he was credited for that track but I must say I doubt it as most sites say he didn't.

A girl from Persia reply Replies: 0 || 2015-06-01 12:13:37
Why is it so simple? But still enjoyable. Maybe because I love his music.

Mark reply Replies: 3 || 2015-05-29 04:41:37
When will this be released in the States?

...2015-05-29 08:20:28
It's out in Europť.

Mark2015-05-29 17:31:11
Oh thats good to hear. Hopefully it will get released in the US soon too. I hope its good.

...2015-05-29 18:04:10
The samples sound promising!

Hal reply Replies: 2 || 2015-05-26 14:09:25
Please, someone leak this!!! Hybrid do you have a track you could add here?

Hybrid Soldier2015-05-26 14:38:33
Nope !

Wait & see !

Hal2015-05-27 18:52:44
Well 2 more days to go. We can wait that long!

Hybrid Soldier reply Replies: 3 || 2015-05-02 16:02:23
Tracklist !

Mark2015-05-02 17:16:00
Thanks, Hybrid. Can't wait to listen. :)

Hybrid Soldier2015-05-15 19:35:29
Lenghts added !

Mike2015-05-17 19:14:20
I assume these credits are not complete just yet, but are instead simply breaking down which one worked on each track?

Anonymous reply Replies: 1 || 2015-05-06 15:36:08
So where did this collaboration come from? Are Zimmer and Phipps friends, did the director think, "Gee, we really want Hans' style for *insert scenes here*," or was Zimmer originally attached to this project and then he wanted Phipps to come on board? Or did Phipps request Zimmer?

It just seems out of the ordinary. :P

Hybrid Soldier2015-05-06 15:44:08
The film was produced in the UK, they needed a London based composer to work with. Phipps had worked for those producers before.

Both composers came in pretty late to score it, after october (score recorded in January), and Hans was in the middle of Chappie (and in LA for the most part).

Leo reply Replies: 4 || 2015-04-22 06:51:40
Is this a real piece from the score?

https: //

Hybrid Soldier2015-04-22 08:23:14
Yes it is.

Frank2015-04-22 08:42:54
It's the end credits

Mike2015-04-25 16:25:21
I like it. Hybrid, you said this wasn't a "normal" collaboration or something like that...what did you mean?

Anonymous2015-04-25 19:18:44
which composer is this by? or both? I love it!

Hybrid Soldier reply Replies: 3 || 2015-04-21 13:41:04
So it'll be released in a month ! :)

Dimitris Krommidas2015-04-21 13:50:52

JamesT2015-04-21 18:39:53
Great news!!!

Frank2015-04-21 23:11:34
Yes!!!© 2001-2017 OST 
Woman In Gold soundtrack - Hans Zimmer 2015