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I was wondering about this too. Like all of a sudden, after a couple of Ridley Scott collaborations, he disappeared.Streitenfeld's score for "All I See Is You" isn't added to this site. Does it mean, that Marc left the company?Extremely pleased with the release, remastering, and liner booklet notes.  Nice to finally have all of this music.  Sure, some things could have been done differently, like anything else.  I'll be enjoying a thorough listen this weekend, and may watch the film again, as it's been years.The Thin Red Line >> The New World....Good for you?
I don't like Hans Zimmer, James Horner is my favorite.Uhh, I don't electronic music ain't gonna work on Alita Battle Angel.Jasha just released a neat little piano album!<br>Go check it out: https://itunes.apple .com/no/album/time-lapse-ep/1452867752My only real gripes left with the score is the somewhat uninspired choral writing (and the fact that the choir sounds like samples in a lot of moments) and the reused percussion samples from every JXL action score ever since Mad Max.After repeated listens of the score and seeing the film 3 times, I'd say now that the score is MUCH better than I initially gave it credit for.<br>Alita's theme (the 4 notes first heard at 1:53 in A Discovery) is used many times throughout the score in many instrumental varieties and variations, and used to great effect in emotional scenes<br>(I Don't Even Know My Own Name, What's Your Dream?, In Time You'll Remember, With Me, I'd Give You My Heart, What Did You Do), In the Clouds especially)<br>And do yourself a favor and get I See Church from somewhere, it's the 2nd best action track of the score after Motorball.<br>--------------------<br>In short, I would now give it a 4.5 / 5 from my previous 3 / 5
Hybrid, what's the story with Finale vs. Safe Now? On this page Finale is listed as Jackman and Zimmer. On the OST page, it's Jackman, Zimmer, & Jasha Klebe. The two versions are different too. Finale has a longer intro and a big outro that makes the Time thing even more obvious. So are they two different tracks with different credits, or is Safe Now just Finale clipped short?Oh man, that's a tough question...I haven't listened to Curse of the Black Pearl in a while.... He's credited on almost every track for themes used... "Fog Bound" is the big Klaus Badelt cue from that movie (the real, 5-minute one in the movie is pretty much all Klaus I believe). <br><br>But Hans appears almost everywhere in POTC 1. Sometimes it's arrangements of his themes by the other guys, sometimes it's parts of the tunes that he wrote put directly in like he wrote them... The following scenes are pretty much directly Hans, if I remember right (this is the list I'm referencing ó but as you can see, Zimmer's name is almost everywhere hans-zimmer . com/index.php?rub=disco&id=1128): <br><br>3. Captain Jack Sparrow (Hans wrote the big theme here, as well as the Jack Sparrow stuff at the end)<br>8. Breaking the Chains (more Jack Sparrow theme...) <br>17. Boarding the Dauntless (Jack Sparrow theme...)<br>24. Moonlight Serenade (Zimmer said he wrote this scene like Cinderella walking into a Metallica concert)<br> <br>Aaaaand a lot of the final fighting music is lifted directly out of the suite Zimmer wrote, so it's 90% him. But once again, his themes as arranged by other people appear everywhere. Hybrid can answer way more about all this than I can.<br>Oh wow! Thatís all really interesting. So how much of the OST is really HAnS Zimmer then???Hans was composing The Last Samurai while the first POTC was being made. He had promised Tom Cruise and Edward Zwick (might have even signed a contract) that he would only work on The Last Samurai and no other movies at that time. So while Hans agreed to write the POTC themes for Gore Verbinski, he wasn't allowed to be credited due to his obligations to the Last Samurai. So he wrote a few themes and then handed the score off to Klaus Badelt, who got the "name" credit on the score. But the whole score is really Klaus, Geoff Zanelli, Nick Glennie Smith, Ramin Djawadi, and a few others doing arrangements of the theme that Hans wrote (and Hans writing for a couple scenes incognito, like when Elizabeth first sees the skeleton pirates). Then Klaus did do the dark "Fog Bound/Underwater March" tune, as mentioned.Canít insult me! I am genuinely curious. Whatís this about The Last Samurai???
I'm not saying this to insult David, but it's funny to me that even now, 16 years later, after so many clarifications from HZ and others, people still get confused because of the way POTC 1 got credited. All because Hans had to work on The Last Samurai (which is one of my favorite scores of his, so I guess it was worth the confusion).Saw the film last sunday and loved it. Also loved what Tom Holkenborg did hear. It did not felt nor 300. RoE nor Mad MAx. It's something else and loved it how it worked in context.he is working on the new Terminator movie?! :OCredits for Dua Lipa's single "Swan Song" for the movie:<br>Written by Dua Lipa, Justin Tranter, Kennedi Lykken, Mattias Larsson, Robin Fredriksson & Tom Holkenborg<br>Produced by Mattman & RobinMy definition of a Complete score is somewhat different. My goal is to find and mix everything you hear in the movie. Some things you find, others you don't. That's always an adventure in itself.<br><br>The source cues are not hard to find, sometimes it can be tricky to find the right performance/conductor.<br><br>In the case of TTRL, it's mostly the Beam cues that are difficult to find. Francesco Lupica wrote several pieces of Beam cues specifically for the movie, 5 of them which were used. There's also the 'Concerto for Beam' written by Powell, and there's the 'Sit back & Relax' album that was used. So to me, that's a pretty substantial (and important!) amount of music  that made it into the cut, which hardly anyone ever talks about.<br><br>Anyway, maybe a future project will tackle most of these issues.
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Henry JackmanMatthew MargesonGavin GreenawayStephen Coleman
ComposerAdditional ArrangementsConductorOrchestrator
Kick-Ass (Complete Score)
Label: Unofficial Release
Length: 100'34
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 (2504 votes)
  1. Also Sprach Kick-Ass (1:31)
    Henry Jackman
  2. Stand Up (3:27)
    The Prodigy, Marius De Vries
  3. Leaving The Comic Store (0:46)
    Marius De Vries
  4. Watching (1:08)
    Henry Jackman
  5. Man In The Mirror (1:09)
    Henry Jackman
  6. Shooting Mindy (0:46)
    Marius De Vries
  7. Roof Jump (1:50)
    Marius De Vries, Ilan Eshkeri
  8. Time To Engage (0:31)
    Henry Jackman
  9. Stabbing, Morphine (2:05)
    The Prodigy, Marius De Vries
  10. I'm Kick-Ass (1:18)
    Henry Jackman
  11. Famous (2:25)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  12. Coffee With Katie (0:44)
    Marius De Vries
  13. Walk To Rasul's (1:06)
    Danny Elfman
  14. Rasul's Confrontation (2:46)
    Marius De Vries, Ilan Eshkeri
  15. Big Daddy Shoots (0:12)
    Marius De Vries
  16. Leaving Rasul's (0:50)
    John Murphy
  17. I'm Hit Girl, That's Big Daddy - Kick-Ass Cries - Sal's Phone (2:34)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  18. Giant Cock (0:51)
    John Murphy
  19. Big Daddy Leaves (0:17)
    John Murphy
  20. Marcus Enters (1:09)
    Henry Jackman, John Murphy
  21. A Graphic History (1:38)
    Henry Jackman, John Murphy
  22. Miss You Both (1:52)
    John Murphy, Ilan Eshkeri
  23. Hunting Kick-Ass (1:12)
    Henry Jackman
  24. Killing Kick-Ass (0:51)
    Henry Jackman
  25. Mistmobile (1:42)
    Henry Jackman
  26. Frank & Joe In Car (1:01)
    John Murphy
  27. Frank's Warehouse (2:34)
    John Murphy
  28. In The Warehouse (2:59)
    John Murphy
  29. Pull His Guts Out (0:30)
    Henry Jackman
  30. Warning Big Daddy - Cemetery (1:48)
    Henry Jackman, Marius De Vries
  31. Bedroom Love Theme (2:05)
    Marius De Vries
  32. To Brooklyn Bridge (1:46)
    Marius De Vries
  33. Drive To The Safehouse (2:26)
    Henry Jackman
  34. Safehouse Ambush (1:15)
    John Murphy
  35. Big Daddy Kidnapped (0:59)
    John Murphy
  36. Countdown (1:18)
    John Murphy
  37. Showtime (1:19)
    John Murphy
  38. Interrupted Broadcast (0:23)
    John Murphy
  39. Lights Out (2:12)
    John Murphy
  40. Nightvision (0:52)
    John Murphy
  41. Strobe (1:54)
    John Murphy
  42. Show's Over Motherfuckers (0:34)
    Henry Jackman, John Murphy
  43. Big Daddy Dies (1:37)
    Henry Jackman, John Murphy
  44. Back To Headquarters (1:10)
    John Murphy
  45. Marshmallows (2:51)
    John Murphy, Ilan Eshkeri
  46. Five Minutes (0:41)
    Marius De Vries
  47. Kick-Ass Picks Up Jetpack - Elevator (1:19)
    Henry Jackman
  48. Empty Corridor (0:54)
    John Murphy
  49. Kitchen Stand Off (2:38)
    John Murphy, Ilan Eshkeri
  50. Frank Fight (3:14)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri, Matthew Margeson
  51. Flying (1:51)
    Henry Jackman, John Murphy
  52. Conversation On Roof (1:00)
    Henry Jackman
  53. Leaving The Comic Store (Alternate) (1:05)
    Marius De Vries
  54. Leaving Rasul's (Alternate) (1:18)
    John Murphy
  55. I'm Hit Girl, That's Big Daddy - Kick-Ass Cries - Sal's Phone (Alternate) (2:42)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  56. In The Warehouse (Alternate) (2:52)
    John Murphy
  57. Drive To The Safehouse - Safehouse Ambush (Alternate) (2:47)
    Henry Jackman, John Murphy
  58. Lights Out (Alternate) (2:25)
    John Murphy
  59. Nightvision (Alternate) (1:25)
    John Murphy
  60. Strobe (Alternate) (2:04)
    John Murphy
  61. Back To Headquarters (Alternate) (1:42)
    John Murphy
  62. Marshmallows (Alternate) (1:14)
    John Murphy
  63. Empty Corridor (Alternate) (1:17)
    John Murphy
  64. Kitchen Stand Off (Alternate) (1:21)
    John Murphy, Ilan Eshkeri
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Anonymous reply Replies: 1 || 2017-02-25 08:44:52
Why 4 composer for one score?


Edmund Meinerts2017-02-25 19:12:59
I don't remember the exact circumstances, Hybrid explained it once...basically there was a revolving door of composers on this one, with Jackman I think being the final guy wrapping everything up. But instead of rejecting the previous scores they decided to work what had already been written into the final score. And apparently a lot of previous John Murphy music was on the temp track (28 Days Later etc), and they decided to get Murphy to come in and rework those pieces himself. It was all a bit of a mess and I'm sure Hybrid knows the story better than me.

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Kick-Ass (Complete Score) soundtrack - Henry Jackman 2010