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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.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.
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Hans ZimmerSteve MazzaroAndrew KawczynskiTom Holkenborg (Junkie XL)
ComposerAdditional MusicAdditional MusicAdditional Music
Batman V Superman - Dawn Of Justice
Label: WaterTower Music
Length: 90'26
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 (32543 votes)
CD1
  1. Beautiful Lie (3:47)
    Hans Zimmer
  2. Their War Here (4:34)
    Hans Zimmer, Tom Holkenborg, Steve Mazzaro
  3. The Red Capes Are Coming (Lex Luthor Theme) (3:31)
    Hans Zimmer, Benjamin Wallfisch
  4. Day Of The Dead (4:01)
    Hans Zimmer, Steve Mazzaro
  5. Must There Be A Superman? (3:58)
    Hans Zimmer, Andrew Kawczynski
  6. New Rules (4:02)
    Hans Zimmer, Tom Holkenborg, Steve Mazzaro, Andrew Kawczynski
  7. Do You Bleed? (4:36)
    Hans Zimmer, Tom Holkenborg, Andrew Kawczynski
  8. Problems Up Here (4:25)
    Hans Zimmer, Benjamin Wallfisch
  9. Black And Blue (8:30)
    Hans Zimmer, Tom Holkenborg, Steve Mazzaro
  10. Tuesday (4:00)
    Hans Zimmer
  11. Is She With You? (Wonder Woman Theme) (5:46)
    Hans Zimmer, Steve Mazzaro
  12. This Is My World (6:23)
    Hans Zimmer, Steve Mazzaro
  13. Men Are Still Good (The Batman Suite) (14:03)
    Hans Zimmer, Tom Holkenborg, Andrew Kawczynski, Steve Mazzaro
CD2
  1. Blood Of My Blood (4:25)
    Hans Zimmer, Andrew Kawczynski
  2. Vigilante (3:53)
    Hans Zimmer, Tom Holkenborg, Andrew Kawczynski, Benjamin Wallfisch
  3. May I Help You, Mr. Wayne? (3:27)
    Hans Zimmer, Steve Mazzaro, Benjamin Wallfisch
  4. They Were Hunters (2:45)
    Hans Zimmer, Steve Mazzaro
  5. Fight Night (4:20)
    Hans Zimmer, Tom Holkenborg, Andrew Kawczynski
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Ds reply Replies: 13 || 2016-06-11 11:24:11
They've changed some track names in the iTunes release:

Track 3 becomes "The Red Capes Are Coming (Lex Luthor's Theme)"

Track 11 becomes "Is She With You? (Wonder Woman's Theme)"

Wondering WHO the hell is being paid to make such decisions :-p


Hybrid Soldier2016-06-12 19:40:47
Yeah interesting...

Doesn't change the fact that all this film's themes are Hans anyway... :P


Mike2016-06-12 22:42:22
"Doesn't change the fact that all this film's themes are Hans anyway... :P"

I'm still a little surprised that Hans did end up writing all the main themes in this score (granted, with Junkie contributing on Batman, too). But I really felt before it's release and from Hans' "tone" about it earlier on that he'd be passing most of the work onto Junkie. Thankfully, that didn't happen! He even seemed pretty enthusiastic about it in the interviews, despite his comments that finding a new angle for writing was difficult.

Also, unrelated: Hybrid, do you have the cue sheet for this? I'm just curious what the original track names are (don't like the OST titles, for some reason. lol).


Hybrid Soldier2016-06-12 22:54:30
Some of it appeared yes. I'll post it when all of it is available. This time everyone is credited when it's due, unlike MOS which was empty. Some indications of what's available :

BEAUTIFUL LIE (from 0:15 to the end) => Zimmer

THEIR WAR HERE (from 1:00 to the end) => Zimmer, JXL

BLOOD OF MY BLOOD => Zimmer, JXL

VIGILANTE (from beginning to 1:00) => Zimmer, Kawczynski, Wallfisch

VIGILANTE (from 1:00 to the end) => Zimmer, JXL, Kawczynski

MUST THERE BE A SUPERMAN? => Zimmer, Kawczynski

DO YOU BLEED? => Zimmer, JXL, Kawczynski

BLACK AND BLUE => Zimmer, JXL

FIGHT NIGHT => Zimmer, JXL, Kawczynski

MEN ARE STILL GOOD (from beginning to 4:32) => HZ, JXL, Kawczynski


Hybrid Soldier2016-06-12 22:55:41
Oups I screwed up, Blood of my Blood is HZ & Kawczynski, not JXL... :P


Mike2016-06-12 23:09:46
Cool, thanks! So I guess "Their War Here" is really two cues then, the first part in the Bat Cave and then the rest?


Hybrid Soldier2016-06-12 23:11:07
The first part is the Main Title pt 2, don't have the credit for that yet.


Russel2016-06-12 23:22:37
Really Hybrid? :P

(Woman Woman Theme) (5:46)


mpolonest123 2016-06-13 02:05:24
@hybrid Do you know if any other suites were written?

And do you have the complete cue list at all?


Mike2016-06-13 02:13:35
@mpolonest: I'm pretty sure more suites were indeed written... As I said below, Hans specifically mentioned a bunch of suites they wrote as being potential "filler" for the extended version of the film.

@Hybrid: I take it that what's been made available so far has been all the tracks with Andrew Kawcynski credits? Cause he appears on several of those cues, and this would mean we still need Mazzaro...


Anonymous2016-06-13 02:21:14
interesting that there's no junkie xl credit on "must there be a superman..." also i suppose the "bahm bahm bahm bahm BAHHHHM BAHHHHM" of the batman theme is a zimmer creation, cause it's in beautiful lie (much more subtly) with no junkie credit.


mpolonest1232016-06-13 06:08:17
@mike That's interesting, where did he say that? Perhaps the suites might round out the score a bit better.


Hybrid Soldier2016-06-13 08:42:40
Most of Batman's theme is HZ.


Mike2016-06-13 16:20:43
Check the interview Hans and Junkie did with Collider... The interviewer asked whether Snyder had enlisted them to write more music for the extended edition, and Hans' response was something like, "Well, we always begin by writing all these different suites, and there was enough extra material here that Zack could easily use that to fill out the new scenes."

The Pale King reply Replies: 1 || 2016-06-02 23:39:29
Any chance of getting any additional officially released soundtrack material with the extended cut?


Mike2016-06-10 16:58:45
Zimmer did say they wrote a few suites for this score and that there would be no shortage of extra material for them to put into the extended cut to fill the removed scenes. But I don't know if that music will be released or not.

asaa reply Replies: 1 || 2016-05-27 21:44:42
rgtry 67yurfth e


Edmund Meinerts2016-05-28 06:39:45
I couldn't have put it better myself.

MrZimmerFan reply Replies: 0 || 2016-05-16 21:41:19
Legend of Tarzan is going to be released by Watertower Music

Russel reply Replies: 0 || 2016-04-27 03:43:29
Love this score so much. The last few minutes of The Batman Suite always has me in tears.

Anonymous reply Replies: 0 || 2016-04-27 01:37:40
so the credits posted a bit ago weren't official i guess

Megalith reply Replies: 7 || 2016-04-11 01:50:27
I stand by my theory that Junkie XL ruined the soundtrack. The man does not make music; he makes noise. The annoying Batman motif at the beginning of Beautiful Lie sounds like exactly something he would do, though there seems to be some suggestion that Zimmer came up with that.

I am going to be so disappointed if he ends up scoring Justice League.


Brent2016-04-11 02:22:49
I only half agree with you. Junkie can write some amazing highlights (think Run All Night or Many Mothers from Mad Max). However, he does make an incessant amount of "filler." He can write great tunes when he wants to. It's just, most of the time, it gets convoluted under all the heavy synth brass and rediculous over-the-top percussion. If he can learn nuance, then I think he can churn out an A+ score.

And, Batman V Superman, at least in my opinion, is by far not his worst.


Mortifer V.2016-04-11 21:56:49
That Batman motif is fucking awesome.


Mortifer V.2016-04-11 21:58:22
But adding it right in the beginning of the album and that particular track was a mistake in my opinion.


Edmund Meinerts2016-04-11 22:46:42
I don't agree. It sounds like a parody of post-Inception RC scores. It makes Zimmer's two-note motif from Begins look like a subtle, complex character portrait.


Medigo2016-04-12 12:38:42
well it starts out the movie so no wonder it also starts out the soundtrack


Mortifer V.2016-04-13 19:24:41
It doesn't start out the movie, @Medigo, the movie starts with the haunting piano notes that come right after the bombastic Batman motif in Beautiful Lie. The main Batman motif comes at the end of the Metropolis scene.


Madagascar 32016-04-16 13:01:35
Madagascar 3 is better example of Junkie/hans talents in my opinion. So lively and fun compared to this. Awesome catchy character themes and dynamic orchestration. I hope they do more scores in that vein.

Jim Hults reply Replies: 2 || 2016-04-14 15:54:59
I think Hans Zimmer is a masterpiece man he was, But John Williams score Man Of Steel instead of Hans Zimmer. Please get John Williams the next Superman film.


Anonymous2016-04-14 16:25:35
"Plese get John Williams the next Zack Snyder's Superman film" Well, lol for that!


Kalvin Koskela2016-04-14 22:55:20
I'd rather Danny Elfman get a shot at scoring a Superman film in the future. I wanna know what he'd bring to the table for the Son of Krypton.

El Baradei reply Replies: 8 || 2016-04-08 10:52:18
Which part of tears of the sun is beautiful lie?


Edmund Meinerts2016-04-08 11:33:13
Try "Cameroon Border Post" at about 3:28.


El Baradei2016-04-08 11:51:52
Okay, thank you. I think it's not very similar. But there's a part of davinci code in problems up here. That's obvious. But tears of the sun? meh.


Hero2016-04-08 13:15:22
meh? seriously?

if you want the theme fast, then listen to:
The Jablonsky Variations On A Theme By HZ - Cameroon Border Post

if you want the theme slower, then listen to:
Yekeleni Part II - Carnage at 01:55

it's completely the same. but i don't bother. glad he used it, as it's the masterpiece of BvS...


Edmund Meinerts2016-04-08 15:41:50
Not very similar? Sure, the atmosphere and arrangement is quite different, but the melody itself is pretty much note for note. That's not a matter of debate - it's a fact.


El Baradei2016-04-08 15:44:32
I see what you mean.

Its also not the first time hans zimmer used the same theme again. true romance is in broken arrow - exactly the same.


Edmund Meinerts2016-04-08 19:27:03
Yeah, and there's a three-minute cue from King Arthur in PotC: Dead Man's Chest! :P

It's certainly nothing new, for Hans or many other composers...


Radik2016-04-09 16:27:28
and "Vigilante" sounds like The Thing from Marco Beltrami


mpolonest1232016-04-09 16:40:14
"Vigilante" sounds so much like The Winter Soldier theme.

Edmund Meinerts reply Replies: 6 || 2016-04-05 16:57:39
A bit late to the party, but what the hell, my thoughts:

THINGS I LIKED

-Wonder Woman's theme/"Is She With You?". Maybe it's just because of the meh-ness of the surrounding material, but it feels like that theme comes out of nowhere like a flying brick and smashes you in the face with personality. Very cool, energetic riff (and that cue even has a Man of Steel quote at 1:59 - you guys, COUNTERPOINT! THEMATIC INTERPLAY! SEE? IT IS POSSIBLE!). I do have my doubts about its ability to carry an entire character/film, but we'll see how that pans out when it does.

-The Bruce Wayne theme/"Beautiful Lie". It's no great melody and it's straight out of Tears of the Sun, but again, it's so much more lyrical and emotional than anything else in the score it immediately makes a positive impression whenever it appears, especially at the end of a sludgy action cue like "Black and Blue".

-The quite powerful reprise/variation of the theme from "If You Love These People", one of my favorite parts of Man of Steel, in "This is My World". Track takes too long ending, but as a fan of James Horner, I can look past that. :p

-At least some parts of "Men Are Still Good" (I had to cut it into seven (!!!) parts to extract the good bits). Especially the fiddle bit and the part with the rising and falling string lines from 4:30 to about 7:30 that actually kind of reminds me of Gollum's theme from Lord of the Rings, weirdly enough. And, the loud part with the chanting choir at the end is one of the rare portions of this score that actually hits my guilty pleasure buttons.

-The large amount of themes/motifs in general at least keeps the score from becoming too monotonous, even if they never mingle convincingly.

-The fact that this score is making me reappreciate Man of Steel.

THINGS I DISLIKED - well, everything else, but standouts.

-Batman's six-note motif. BAAAAM BAM-BAM-BAM-BAAAAM BAAAM. I thought Hans had resolved to leave that sort of brutish fake-brass horn-of-doom simplicity behind him after Interstellar and Spidey 2...but to hear it in the very opening seconds, no less, was extremely unpleasant and immediately soured me towards the entire score. It just sounds so much like cheap, derivative trailer music. You can practically see irritating cut-to-blacks with every pounded note. I do like it a bit more when it's used subtly and softly, just a low piano or timpani or bass drum.

-Lexmark Luthorberg's theme. It honestly feels like Zimmer had no real concept or inspiration for him and, with no time left to come up with anything, decided to fall back on his overused bag of "quirky" tricks from Pirates/Sherlock Holmes/Rango/Lone Ranger, except without the catchy hooks and themes that make those scores fun. At least it lifts the score out of its gloomy murk, though.

-Pretty much all the action music, generic Junkie Drums(TM), obligatory This Is Important Dammit Choir (at least it's real and not the hilarious AEIOUs this time) and all. Convincing thematic interplay is particularly missed in cues like "Do You Bleed?" or "Black and Blue", which feel like noise for noise's sake.

-On the note of those themes, the almost total lack of any narrative to the music. Everything is so compartmentalized. You're either listening to Batman music, Superman music, Lex music, Wonder Woman music, action music, sound-design music...these elements practically never combine or suggest a story. What's the point of coming up with all those ideas and then never following through in the meat of the score itself? I realize this is partially a consequence of Zimmer's suites/concepts/ideas approach, but that approach has led to scores with great narrative, like Spidey 2 or Pirates 3 in the past...

-The sound design cues, dear GOD. As many have pointed out, "Must There Be a Superman" is particularly dreadful; some of it sounds like someone forced the descending-strings "madness ostinato" from Mad Max: Fury Road through a blender of synthetic distortion, and it would be hilarious if it wasn't so bloody unlistenable.

-Everything on the "deluxe edition". Redundant, unlistenable or (in the case of "Vigilante") both. What a waste of space.

-Just the overall gloomy self-seriousness of it all. I blame Snyder (and the whole grimdark fad in many movies at the moment - I actually thought it had been dying out a little, but this film seems to be bringing it back in force) as much as I do Hans and JXL for that, but still. Is it too much to ask for a bit of FUN and MELODY? Damn near everything in here is so crushingly heavy! As a consequence, the music doesn't really work for me on either an entertainment or an intellectual level, for me. I'd give it a ** 1/2 - it's not without its redeeming features, but it's a step down from Man of Steel (I'm surprised that some of the major "old school" reviewers like Clemmensen and Jon Broxton actually seem to like it a bit better), and honestly just feels like Zimmer wasn't really all that interested or invested in the project. For that reason, I welcome his alleged decision to put superheroes aside and pursue other genres (be it drama, animation, straight action, adventure, whatever) that I've always felt are better-suited to his talents anyways.


Mike2016-04-05 20:23:25
I can agree with pretty much all of that, really. I'd give this one a 3 star rating overall after having heard the music in context, maybe even a 3.5-4 in the film itself, cause it does carry the film pretty well, IMO. It's one of the few Zimmer scores in recent years where my initial reaction was one of disinterest after the first couple listens. I wouldn't call myself a fanboy necessarily, but usually I consistently find the man's scores entertaining, if not always great. But my first reaction here was, "Is that the best they could do?"


Ds2016-04-05 20:29:15
I would consider myself as a fanboy, but I agree 100% with you nonetheless Mike :-p


Mortifer V.2016-04-05 21:08:48
'Blood of my Blood', 'Fight Night' and 'May I Help You, Mr. Wayne?' are fine tracks. 'Vigilante is by far the worst, especially since we already have its ending in 'New Rules'.

I can agree that more melody and less ambient/sound design cues would be great, but I enjoy 'Must There Be A Superman?' especially since I've seen the scene it's made for.

I don't understand how the score is not 'fun'. It's a very fun listening experience for me, just like the film was. 'Do You Bleed?' is amazing. 'Black and Blue' could be better though, I must admit.

I love the Batman theme, but I think for a 9min suite there could be much more interesting material.

Oh, and I also really like Lex's theme and the character himself.


Mike2016-04-05 21:15:20
One thing I appreciated about this score from the beginning, though, is the near-total absence of temp tracks. There's "Launch" for the credits and the Krypton cue near the opening of the movie, but otherwise, everything is either new music or freshly arranged versions of pre-existing material. This score really does sound different and new compared to Man of Steel, and Hans, Junkie, and co. really deserve credit for that much. THIS is how to work a sequel score!

And when I say the score worked in film, I do mean that, too: cues like "Must There Be a Superman?" are still awful, but they "make sense" on screen.


mpolonest1232016-04-05 21:35:05
I think the score would have worked better on album if the deluxe edition had been used effectively. There is plenty of space available for a good hour of additional music. Especially for some of the stronger unreleased stuff. Leaving out the Kryptonian material is pointlessly well, since some of the film variations of it are fairly different that it's use in MOS.

Instead we get 20 minutes of lame rehashes. What a missed opportunity for more development on Superman's/Batman's/Wonder Woman's thematic material you hear in the film.

Man of Steel's album may have missed some big action cues, but at least you got development and suites which added to the music. I don't know who is responsible for assembling Zimmer's albums (at least this one) but they should honestly reconsider how they think people want to hear the music outside of the film. I've never seen a bigger discordance between music on album v. Music in film.


Mike2016-04-08 00:11:14
I was also surprised this score got 2 whole stars for the "in film" side of it at Filmtracks, while TASM 2 got one star and one star only, no differentiations. But you'd think a guy like Clemmensen would appreciate the tone, and even some of the themes, from TASM 2 way more than a score like this one. Oh well. I guess the comments about his methods never do accomplish any good here. :P Still, I could see where he was coming from for a lot of his BvS review and I'm not gonna pick apart what he wrote. He liked the music less than I did, but in the end I think we all have variations on the same reaction to it, and I think we all welcome Zimmer's desire to do something new.

Johnny reply Replies: 0 || 2016-04-05 08:27:11
Problems Up Here 1:25 has tunes of The DaVinci Code. Kind of funny because in that scene Lex is talking to Lois about god. Did anyone else recognize it or feels remembered of TDVC while watching?

Meta reply Replies: 2 || 2016-04-04 16:36:21
so...I heard this movie isn't doing so well at ALL, after this last weekend....

makes me wonder if it's going to be as big a disaster as Lone Ranger...I can't see WB coming out on top with such a sharp decline in ticket sales in its second weekend only.

Anywho, The only two memorable pieces of missing score that I heard are as follows:

They are just extensions of Is She With You?:

The scene where Bruce sees the file on Wonder Woman
The scene where Wonder Woman discovers the Justice League files.


Ds2016-04-04 17:35:30
Well I think there's a general negativity surrounding that movie, on the internet at least. Anything seems good to criticize it.

Maybe it's not doing so well, but it's following the same pattern as Harry Potter 7 Part 2, which I don't think was considered as a commercial failure back then.


NotSoAnonymous2016-04-05 01:45:53
I think the actual standout missing from the score is the cue when the Nuke is launched!

Megalith reply Replies: 1 || 2016-04-04 23:08:37
Zimmer may want to retire, but he's going to be coaxed into another one. Superheroes movies have simply gotten too big for anyone to ignore. I can already hear the interview now.

"I wanted to retire, but so and so said this to me and something in my head clicked..."


Mike2016-04-04 23:11:12
Haha, yeah, I'm with you on that. I, for one, would welcome Zimmer moving on to other genres, cause I think he's feeling burnt out with superheroes at the moment, and his best scores are the ones where he really feels refreshed doing them. But who knows whether this initial "resolution" will continue to hold.

GR7 reply Replies: 0 || 2016-04-04 14:11:07
Hi. I saw the movie twice and overall its good.
The music is very enjoyable, though muddled in the action cues sometimes, and the listening experience is much more immersive after the viewing.
I arranged a 15 minutes suite with the batman material used through the score.
https://you tu.be/smllYYAt9Bg

disappointed reply Replies: 0 || 2016-04-04 13:22:33
Really dull film and dull score to match. Seems the last few scores have just been him writing ever thinner sketches and getting his collaborators to flesh them out.

From kung fu panda 3 where he wrote 2 minutes of piano sketches before leaving and handing off to Balfe, to the incredibly thin batman smashing riff in BvS he pushed onto XL, just doesn't seem like he's coming up with those big creative ideas the last year. The interview basically confirms the same.

Disappointed.

Mike reply Replies: 2 || 2016-04-03 00:34:03
Saw and LOVED the movie (wasn't expecting to after all the negative reactions!). I also have a new appreciation for the score, and even can now forgive cues like "Must There Be a Superman?" The score worked very well overall, and while I still wish the Superman theme was used more, it worked when it was used, and I will admit - begrudgingly - that Hans and co. knew what they were doing.

I caught the Krypton motif from MoS about 4 times:

--immediately following Their War Here when the Kryptonite was discovered under water
--when Luthor examined the Kryptonite following the Batmobile scene
--when Luthor used Zod's corpse in the ship wreckage
--when Lois tried to get rid of the Kryptonite spear.

These moments should have been on the album instead of some of the lesser tracks. It would have rounded things out a little better and given a bit more of MoS' mood to this album.

Also, the end credits should be this:

Launch from MoS, with a brief bit of the buildup from the Sketchbook suite
Do You Bleed? (along with the intro section of "Their War Here")
Some of the Lex Luthor theme
Beautiful Lie


Gabriel2016-04-03 00:57:20
I agree with you, is a great movie, maybe can be better but is saw it again, and I love it a lot. Zimmer, please don´t quit!!!!


mpolonest1232016-04-03 06:14:28
Agreed.

There were also two uses of the "Flight" (Love) theme that were left off the album. It's funny how well rounded the score is in the film, but how badly the album presentation makes the score sound.

I wonder if the end titles cue was a re-recording or was just a temp of Launch?

ei18 reply Replies: 6 || 2016-03-30 18:41:10
Lots of articles going around today saying that Hans is retiring from comic book movies, but the quote doesn't actually say that. What do you guys think he will do?


Hybrid Soldier2016-03-30 21:10:01
I'll ask him tomorrow... Yeah lots of drama for not much...


ei182016-03-30 21:57:06
Well I just found this and he does say he is sort of officially retiring https://www.youtube. com/watch?v=e_z5Z8rqEtI


Marco Rea2016-03-31 02:40:26
Watched the interview on tv. That bbc interviewer was annoying! He interrupted hans several times when he was about to say something potentially interesting. And for him to mention pay cheque, very unprofessional. But with the bbcs experience doesn't surprise me at all.


smitty2016-03-31 11:24:14
actually that would make me happy. enough of this blast stuff. back to the "normal" movies with much more emotions. i can't wait to hear yet a non-superhero action movie score from hans :)


meta2016-03-31 16:50:12
actually it looks like Hans has been doing this anyway. if you look at his track record he's been collaborating more often than not...and certainly not crediting himself alone on most these types of scores....

So his "retirement" isn't really news to me....Basically he's saying he's not inspired enough to do it anymore and is going to hand it over to his cronies from now on...


Ei182016-04-02 23:23:29
Hybrid, did you ever speak to Hans about this?

falkart reply Replies: 2 || 2016-04-01 12:02:39
Apologies if this has already been asked but does anybody know the music that plays in BvS post credits? After the ground on Supermans coffin rises?


Radik2016-04-01 12:37:01
"Man of Steel suite" from MoS around 5:43, that cue plays alson in MoS End Credits


Meta2016-04-01 14:28:46
Launch" from Man of steel

isildur reply Replies: 0 || 2016-04-01 09:40:15
So, Hans is hanging the cape for superhero movies. I for one am not disappointed. He can do much more creative work for other movies than these stupid ass films like BvS.

http: //www.empireonline.com/movies/news/batman-v-superman-han-zim mer-retires-superhero-scores/

Blueberry reply Replies: 4 || 2016-03-25 11:06:02
Can anyone tell me what classical score was played in the second scene between Wonder Woman and Batman? The one where they are at a gala of some sort, looking at an ancient sword and she telling him she returned what she had stolen from him? I really can't put my finger on it, but it is obviously not an original soundtrack...

  Your name :   

Please enter number: 1432 


Ds2016-03-25 13:48:27
Shostakovich: Waltz II (Jazz Suite No. 2)


__mrfractal__2016-03-27 17:15:04
and also the classical piece during supermans funeral..
(the one with violin)


TAG2016-03-29 02:46:49
OMG I was looking for that piece as well!! THANK YOU!!


kyo2016-04-01 05:03:26
"Amazing Grace" is the song played in the funeral

djd711 reply Replies: 2 || 2016-04-01 01:32:20
Apologies if this has already been asked but does anybody know the music that plays when superman dies and they are stood over him? It features what I think is a female soloist. It was my favorite piece from the film but I can't find it :(


Mortifer V.2016-04-01 02:59:58
"This Is My World"


djd7112016-04-01 03:55:58
Thank you!

work work work reply Replies: 12 || 2016-03-29 16:29:34
Beautiful Lie: Junkie XL - Hans Zimmer

Their War Here: Junkie XL - Hans Zimmer

The Red Capes Are Coming: Hans Zimmer

Day Of The Dead: Hans Zimmer - Steve Mazzaro

Must There Be A Superman?: Junkie XL - Andrew Kawczynski

New Rules: Junkie XL - Benjamin Wallfisch - Andrew
Kawczynski

Do You Bleed?: Junkie XL - Hans Zimmer - Steve Mazzaro - Andrew Kawczynski

Problems Up Here: Hans Zimmer - Steve Mazzaro

Black and Blue: Junkie XL - Hans Zimmer - Andrew Kawczynski - Steve Mazzaro

Is She With You?(Wonder Woman Theme):Hans Zimmer - Junkie XL - Andrew Kawczynski - Steve Mazzaro - Idea: Tina Guo, Hans Zimmer

This Is My World: Hans Zimmer - Steve Mazzaro

Blood Of My Blood: Hans Zimmer - Andrew Kawczynski - Steve Mazzaro

Vigilante: Junkie XL

May I Help You, Mr Wayne?: Junkie XL - Hans Zimmer

They Were Hunters: Hans Zimmer - Steve Mazzaro

Fight Night: Junkie XL - Hans Zimmer - Andrew Kawczynski - Steve Mazzaro


Leaked.



Mike2016-03-29 16:39:09
Leaked, eh? Hybrid? ;)


Ds2016-03-29 21:50:18
If these credits are true, this confirms what I already thought with Chappie: Mazzaro contributed to the most interesting material! I guess here he was in charge of incorporating music from Man of Steel.


Mike2016-03-29 23:30:04
Where's the credit for "Tuesday"?


work work work2016-03-29 23:50:58
Just wait Hybrid for ''Tuesday'' composer detail.


Anonymous2016-03-30 01:50:34
I love how this guy just shows up and says who did what. Like he knows it for fact. And you all eat it up lol.


Evenstar2016-03-30 02:42:57
The moment when you realise, Steve Mazzaro did almost as much as Junkie XL ... lol


Edmund Meinerts2016-03-30 09:56:46
And why exactly should we be taking this seriously?


Macejko2016-03-30 10:01:45
True or not, Mazzaro is the next big thing, I can feel it ;)


Macejko2016-03-30 10:04:50
(alongside Dom Lewis, I might add)


work work work2016-03-30 12:42:35
Day Of The Dead: Hans Zimmer

Just Hans, i wrong write.


Edmund Meinerts2016-03-30 13:29:47
And now that we're all commenting about how much Mazzaro there is on here, he CONVENIENTLY removes his credit from a cue. Sure...


Mike2016-03-30 17:38:51
I don't doubt these are real, honestly. They look real and make sense with what we know so far. Even the Day of the Dead correction doesn't phase me. It sounds 100% Zimmer to me anyways. It may be incorrect, but I'll stick with this until we learn otherwise. It's probably close.

Micah reply Replies: 3 || 2016-03-30 14:43:57
It's official. Hans Zimmer has retired from the superhero genre.

http s:// youtu.be/e_z5Z8rqEtI


Gabriel2016-03-30 14:51:27
Incredible, Williams never left Star Wars. Hi show than his spirit is poor.

I´m a big fan and now a big critic.


Edmund Meinerts2016-03-30 17:19:56
Hah, didn't he say the same thing after The Dark Knight? I've long since learned not to trust a single thing Zimmer says in interviews. :p


Mike2016-03-30 17:34:39
We'll see what happens. If Snyder is still attached to Justice League after the mediocre reviews to Man of Steel and the bad reviews to Batman v. Superman... he may try to get Hans and Junkie back on board.

Anonymous reply Replies: 0 || 2016-03-30 16:24:43
Glad to see that almost all action material is included in the score. Must be Junkie his influence. Cause Hans is terrible in that department compared to all other composers

Radik reply Replies: 0 || 2016-03-29 21:02:21
Hans, you're fu*king genius, you did it again! Beatuful score and I appreciate you contribution for new batman theme its awesome as same like the rest of score. I cried a lot in cinema when superman sacrifice himself. thx to Tom as well :)

Joshua reply Replies: 0 || 2016-03-29 20:18:49
So apparently Junkie is going to be scoring the Lego Batman film as well. Should be interesting.

mpolonest123 reply Replies: 0 || 2016-03-29 16:45:13
Just noticed something, although I could be wrong. Is "Tuesday" (Doomsday's Theme) a slowed down and warped version of the 'Kryptonian' motif?

Leo reply Replies: 3 || 2016-03-24 21:37:15
So the theme in A Beautiful Lie is actually Superman's Theme? o:


Ds2016-03-24 23:09:38
No, this is Bruce Wayne's theme. Especially young Bruce Wayne.


Radik2016-03-29 14:01:53
It's Martha theme so in some way Clark and Bruce theme


Mortifer V.2016-03-29 14:51:23
It's Bats and Supes bromance theme.

Dimitri reply Replies: 2 || 2016-03-28 11:37:28
A real question around, i really don't want to start any criticsm or bash or anything at all. but i'm hearing always descriptions or talks about a new composed batman theme. heard and heard and heard every cue, especially men ar still good, as it's called also the batman suite. but i just can't figure it out what exactly IS the batman theme? i'm only hearing ambient music, but no melody to be called batman theme. so any advice from others where i should hear the so called batman theme?

thank you :)


Mortifer V.2016-03-28 13:59:55
Listen to 4:44-7:11, 10:12-14:04 from 'Men Are Still Good'; those parts are the best representations of the Batman theme imo, especially 11:38-14:04. Also, 'Do You Bleed?' is pretty much the 'Batman in action' theme.


Dimitri2016-03-28 14:50:32
thank you very much :) now i can hear it

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