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Not as simply as that.... Training is Ramin's arrangement of a Hans theme, and the core of Mr. Charles when the Fischer theme isn't playing is a Hans idea, too, as far as I know. Take the Zimmer out and those moments wouldn't be the same.I think Balfe working with Nolan would have done a great jobBob,The Training is basically Ramin Djawadi and Mr.Charles is BalfeI hope these two team up again. Zimmer's score is the main driving force for some memorable scenes. Just a few<br>Batman Begins-The Training<br>TDK- Joker crash the party, Gordon's speech and ending<br>Inception - Time, Mr.Charles, <br>TKDR - the climb, imagine the fire and orphan<br>Interstellar-Stay, Docking, coward, mountain<br>Dunkirk - well the entire movieJustin Hurwitz I can see. I enjoyed La La Land and First Man. But Both Hurwitz and Göransson are several notches above Lorne Balfe. <br><br>I think 80/100 directors would rather work with Göransson than Balfe.
I really believe that Nolan has made a mistake as a composer.I think Lorne Balfe, David Julyan or Justin Hurwitz would be much better options than Ludwig Goransson.Interesting news. <br><br>Geoff Zanelli is one of those composers who I’ve loved his additional music over his solo efforts, Pirates 5 excluded. I hope he gets a chance to write some great fantasy music for this, regardless if he reuses JNH’s themes or not.I think I am the only one, who would be glad about David Julyan return.<br><br>I really like his music for early Nolan's films, especially Insomnia, and it's what i can call an "atmospheric experience".<br><br>Don't know how his music fits for espionage timetraveling movie, but, for me, i'st would be something interesting to hear.@mpolonest123: those Pemberton scores are indeed pure gold, very cool on album but insanely good in the movie. My favorite is still his King Arthur, that was a beast of a score that stuck with the movie like glue and really enhanced Guy Ritchie's dark, twisted, trippy vision.*3 things
Sure, but there's two things to consider. <br>1). Pirates has such an iconic sound that it'd be really stupid for them to suddenly abandon it at #5. Especially when we hired the guy who has worked on the previous 4. 2). Maleficent, as successful as it was to warrant a sequel, isn't quite as well known in the score department, despite being well received by those who have heard it. 3). Because Zanelli worked on all Pirates, he had enough familiarity with the sounds and motifs that he knew where to go once he led the ship. In Maleficent's case, he's taking over from a previous composer, and is working with a director who likely only knows his work on POTC5. As such, there's no knowing yet if he might be compelled to continue on from JNH, or if it's decided he just does his own thing.<br><br>I'm happy that Geoff at the very least has a safe career at Disney, considering two of their recent live action successes has had him involved. However, considering I hear his recently work hasn't been his best, JNH likely would've benefited from returning to a world that had some of his best material after he wasn't given the opportunity to do so with Glass. As such, it really is a severely missed opportunity, even if newer blood is getting more opportunities.Just listening to this again. It really is a best of both score. What I think is so great, is that you can hear both of the brothers' own voice but they blend so well together!! Really really great score!<br><br>It's a really remarkable score, the swifts in tone between dramatic and jazz is top-notch. It's higher on favorite list from 2019 already, than I thought it would ever be.<br><br>Give me more Gregson-Williams brothers scores!!!!!!I was hoping for JNH, but we'll see what he does. JNH's themes were amazing zo it would be stupod not to use them. But he used the Pirates themes, so I'm feeling actually quite ok about itTrue, but he didn’t really get credit for The Lone Ranger or any of the Pirates films other than #5... those are billed strictly as HZ scores. I would say Christopher Robin likely was a result of the success of his Pirates score, and Timothy Green wasn’t really a Disney tentpole release. Maleficent isn’t a Marvel or Star Wars level tentpole, but it is still a blockbuster film that I think he’ll do an awesome job with.@Mephariel - you’re right. However Interstellar and Inception, musically speaking, are simple scores. They are moving, beautiful, and masterpieces, but still simple. Which is great! <br><br>But if we are wanting Zimmer to return to a type of music, I’d much rather prefer something along the lines of Pirates, The Rock, The Last Samurai, Crimson Tide, etc. Tonally, of course it would be more modern and new, but melodically a return to those forms would be a dream come true.
Geoff has done several other Disney projects besides Pirates 5.  (All Pirates movies since the first, Lone Ranger, Christopher Robin, Odd Life of Timothy Green). And I have to say that I would rather JNH return for the sequel, as that would allow him to expand on his fantastic score for the first film.@George<br><br>To be fair, Interstellar is a genuine masterpiece score and maybe one my favorite score of all time, but I am not sure when Nolan will allow Zimmer to return to that type of scoring. <br><br>Hell, Time is my favorite cue ever, but again, I am not sure if Nolan is interested in that kind of music anymore.  <br><br>I guess we will see with Tenet. And yes, I absolutely think Göransson can be a future star in the making and if anyone is allow write his or her own "Time" cultural moment, it may as well be him.@mephariel @mpolonest123 - glad I’m not the only one who’s more excited for those compared to cold and dark Nolan/Zimmer scores. I’m kinda over those to be honest.And if I’m completely honest, I’m more excited by WW84, Spongebob, Top Gun, and Dark Phoenix than another potential Nolan collab.@mephariel <br>I can definitely see that, especially with King Arthur and Spiderverse. I do think his music adds a lot to the films he scores (Steve Jobs and Man From Uncle being two great examples) where he consistently switches up styles and tones to keep things fresh. Maybe not the strongest theme writer but I do love his approaches.
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Henry JackmanHalli CautheryPaul MounseyDominic Lewis
ComposerAdditional MusicAdditional MusicAdditional Music
Turbo (Complete Score)
Label: Unofficial Release
Length: 74'03
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 (2572 votes)
  1. Dreamer (1:40)
    Henry Jackman
  2. An Idol's Inspiration (0:48)
    Henry Jackman
  3. It's A Snail's Life (1:39)
    Henry Jackman
  4. Over Ripe (1:23)
    Henry Jackman
  5. Big Brother (0:55)
    Henry Jackman
  6. Shell Crusher (1:01)
    Henry Jackman
  7. Fall Behind Or Push Ahead (2:05)
    Henry Jackman, Dominic Lewis, Paul Mounsey
  8. Snail VS Mower (2:04)
    Henry Jackman, Dominic Lewis, Paul Mounsey
  9. Despondent (2:22)
    Henry Jackman
  10. Snail Transformation (1:50)
    Henry Jackman, Dominic Lewis, Paul Mounsey, Victor Chaga
  11. Alarming Changes (1:11)
    Henry Jackman, Halli Cauthery
  12. As Though Nothing Had Happened (0:43)
    Henry Jackman, Halli Cauthery
  13. Big Wheel Battle (2:12)
    Henry Jackman, Dominic Lewis, Paul Mounsey
  14. Crow Attack (2:04)
    Henry Jackman
  15. Crap Heaven (1:04)
    Henry Jackman, Halli Cauthery
  16. Unfriendly Faces (1:06)
    Henry Jackman
  17. Snail Race (1:40)
    Henry Jackman
  18. You're Amazing (0:33)
    Henry Jackman, Halli Cauthery
  19. Taco Dreamer (0:37)
    Henry Jackman
  20. Snail Introduction (0:55)
    Henry Jackman
  21. Skills To Pay The Bills (1:04)
    Henry Jackman
  22. Today, Everything Changes (0:14)
    Henry Jackman, Halli Cauthery
  23. Bored Denizens (1:39)
    Henry Jackman, Halli Cauthery
  24. Revelation (1:59)
    Henry Jackman, Halli Cauthery
  25. Seeking Venture Capital (1:11)
    Henry Jackman, Halli Cauthery
  26. We've Got Customers (2:23)
    Henry Jackman, Paul Mounsey, Victor Chaga
  27. It's Good Enough (0:50)
    Henry Jackman, Paul Mounsey
  28. Arrival At Indianapolis (2:30)
    Henry Jackman, Paul Mounsey
  29. Attempt At Snail Entry (1:01)
    Henry Jackman, Halli Cauthery
  30. Awkward Grandstanding (0:59)
    Henry Jackman, Halli Cauthery
  31. Going Viral (0:37)
    Henry Jackman, Halli Cauthery
  32. Let Him Race (2:04)
    Henry Jackman, Paul Mounsey
  33. Starlight Tuck-In (0:48)
    Henry Jackman, Halli Cauthery
  34. Gagné Encounter (3:46)
    Henry Jackman
  35. Racing Day (0:29)
    Henry Jackman
  36. Racer Introductions (1:13)
    Henry Jackman, Paul Mounsey
  37. Cock-Off Sting (0:18)
    Henry Jackman
  38. Chet Kidnapped (0:33)
    Henry Jackman, Halli Cauthery
  39. Indy CEO Send-Off (0:26)
    Henry Jackman, Halli Cauthery
  40. Out Of Your Depth (2:42)
    Henry Jackman, Paul Mounsey
  41. Lap 30 (2:11)
    Henry Jackman, Paul Mounsey
  42. Marble Madness (0:46)
    Henry Jackman, Halli Cauthery
  43. Tomato Chase (3:01)
    Henry Jackman
  44. Bit Of A Pile Up (2:22)
    Henry Jackman, Halli Cauthery
  45. Tuck & Roll (4:24)
    Henry Jackman
  46. Mollusk Victory (1:20)
    Henry Jackman, Halli Cautehry
  47. Warm Wrap-Up (1:02)
    Henry Jackman, Halli Cauthery
  48. You Did That, Little Amigo (0:22)
    Henry Jackman, Halli Cauthery
  49. Gastropodal Hardware Upgrade (1:15)
    Henry Jackman
  50. Turbo Suite (2:59)
    Henry Jackman, Dominic Lewis, Victor Chaga
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Scorefan reply Replies: 0 || 2015-11-07 03:00:09
Another nice work from Jackman

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Turbo (Complete Score) soundtrack - Henry Jackman 2013