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"Not to mention the huge chunks of silence at the beginning and end (and sometimes middle) of tracks"<br><br>Edmund Meinerts, Sessions without chunks of silence at the beginning and end was released on rutracker site about month agoGreat. 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.
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<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
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<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.
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<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.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004
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Mark MancinaDave MetzgerDon HarperDaniel Pinder
ComposerAdditional MusicConductorMusic Editor
Moana
Label: Walt Disney Records
Length: 120'06
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 (4325 votes)
CD1
  1. Tulou Tagaloa - Olivia Foa'i (0:52)
  2. An Innocent Warrior - Vai Mahina, Sulata Foai-Amiatu, Matthew Ineleo (1:38)
  3. Where You Are - Christopher Jackson, Rachel House, Nicole Scherzinger, Auli'i Cravalho, Louise Bush (3:31)
  4. How Far I'll Go - Auli'i Cravalho (2:44)
  5. We Know The Way - Lin-Manuel Miranda, Opetaia Foa'i (2:22)
  6. How Far I'll Go (Reprise) - Auli'i Cravalho (1:28)
  7. You're Welcome - Dwayne Johnson (2:44)
  8. Shiny - Jemaine Clement (3:06)
  9. Logo Te Pate - Olivia Foa'i, Opetaia Foa'i, Talaga Steve Sale (2:11)
  10. I Am Moana (Song Of The Ancestors) - Rachel House, Auli'i Cravalho (2:43)
  11. Know Who You Are - Auli'i Cravalho, Vai Mahina, Olivia Foa'i, Opetaia Foa'i, Matthew Ineleo (1:13)
  12. We Know The Way (Finale) - Lin-Manuel Miranda, Opetaia Foa'i (1:10)
  13. How Far I'll Go (Alessia Cara Version) - Alessia Cara (2:56)
  14. You're Welcome (Jordan Fisher/Lin-Manuel Miranda Version) - Jordan Fisher, Lin-Manuel Miranda (2:18)
  15. Prologue (2:26)
  16. He Was You (0:51)
  17. Village Crazy Lady (0:46)
  18. Cavern (2:06)
  19. The Ocean Chose You (1:18)
  20. The Hook (1:10)
  21. Tala's Deathbed (2:01)
  22. Battle Of Wills (3:11)
  23. Kakamora (4:34)
  24. Wayfinding (1:53)
  25. Climbing (0:55)
  26. Tamatoa's Lair (2:46)
  27. Great Escape (1:00)
  28. If I Were The Ocean (3:02)
  29. Te Ka Attacks (1:42)
  30. Maui Leaves (2:06)
  31. Heartache (0:40)
  32. Tala Returns (1:02)
  33. Sails To Te Fiti (5:47)
  34. Shiny Heart (0:37)
  35. Te Fiti Restored (1:04)
  36. Hand Of A God (0:31)
  37. Voyager Tagaloa (0:58)
  38. Toe Feiloa'i (1:26)
  39. Navigating Home (0:48)
  40. The Return To Voyaging (1:02)
CD2
  1. Unstoppable (Outtake) - Lin-Manuel Miranda (4:00)
  2. More (Outtake) - Marcy Harriell (3:17)
  3. More (Reprise) (Outtake) - Marcy Harriell (2:39)
  4. Warrior Face (Outtake) - Lin-Manuel Miranda (2:17)
  5. Where You Are (Demo) - Lin-Manuel Miranda (3:02)
  6. You're Welcome (Demo) - Lin-Manuel Miranda (2:38)
  7. Shiny (Demo) - Lin-Manuel Miranda (3:05)
  8. Prologue (Score Demo) (2:27)
  9. Village Crazy Lady (Score Demo) (0:45)
  10. Cavern (Score Demo) (2:06)
  11. Kakamora (Score Demo) (3:59)
  12. It's Called Wayfinding (Score Demo) (0:54)
  13. Maui Leaves (Score Demo) (2:05)
  14. Sails To Te Fiti (Score Demo) (1:38)
  15. Maui Battles (Score Demo) (1:58)
  16. Sea Monsters (Score Demo) (0:46)
  17. Tala Returns (Score Demo) (1:16)
  18. How Far I'll Go (Instrumental Karaoke) (2:45)
  19. You're Welcome (Instrumental Karaoke) (2:44)
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Knight reply Replies: 0 || 2019-03-07 18:30:06
Looks like one of Mark's ye olde scores is getting a release.
https://itunes.apple.com/no/album/lost-platoon-original-moti on-picture-soundtrack-feat/1454814026

Bob Smith reply Replies: 2 || 2016-12-12 08:44:47
Is this a complete score Hybrid?


Hybrid Soldier2016-12-12 16:40:12
Nope, far from it, lots of short cues missing here & there, not that much significant material though...


Bob Smith2016-12-13 07:33:47
Thanks a lot man. It's really cool to have someone who knows what goes on behind the scenes.

0-^-0 reply Replies: 4 || 2016-11-26 18:22:02
Would welcome any attempt at putting the tracks in chronological order for this one.


Carly2016-11-28 03:12:20
After seeing the movie, this is how I would order CD 1 chronologically:

Tulou Tagaloa
Prologue
An Innocent Warrior
Where You Are
How Far I'll Go
He Was You
Village Crazy Lady
Cavern
We Know the Way
The Ocean Chose You
The Hook
Tala's Deathbed
How Far I'll Go (Reprise)
You're Welcome
Battle of Wills [this one might go before "You're Welcome"]
Kakamora
Wayfinding
Climbing
Tamatoa's Lair
Shiny
Great Escape
Logo Te Pate
If I Were the Ocean
Te Ka Attacks
Maui Leaves
Heartache
Tala Returns
I Am Moana (Song of the Ancestors)
Sails to Te Fiti
Shiny Heart
Know Who You Are
Te Fiti Restored
Hand of a God
Voyager Tagaloa
Toe Feiloa'i
Navigating Home
The Return to Voyaging
We Know the Way (Reprise)

I'm not positive, though. Someone correct me if I'm wrong!


Carly2016-11-28 03:37:08
Actually, I think "He Was You" comes before "How Far I'll Go."


Hybrid Soldier2016-12-03 17:51:40
I confirm your correct order Carly, with a couple of corrections ! :)

Tulou Tagaloa
Prologue
An Innocent Warrior
Where You Are
He Was You
How Far I'll Go
Village Crazy Lady
Cavern
We Know the Way
The Ocean Chose You
The Hook
Tala's Deathbed (after 1:15 seems unused)
How Far I'll Go (Reprise)
You're Welcome
Battle of Wills
Kakamora
Wayfinding
Climbing
Tamatoa's Lair
Shiny
Great Escape
If I Were the Ocean (first 2:07)
Logo Te Pate
If I Were the Ocean (after 2:07)
Te Ka Attacks
Maui Leaves
Heartache
Tala Returns
I Am Moana (Song of the Ancestors)
Sails to Te Fiti
Shiny Heart
Know Who You Are
Te Fiti Restored
Hand of a God
Voyager Tagaloa
Toe Feiloa'i
Navigating Home
The Return to Voyaging
We Know the Way (Reprise)


0-^-02016-12-04 18:23:46
Thank You all for your contributions!

Edmund Meinerts reply Replies: 2 || 2016-11-21 11:57:38
I just had a listen to this (the score portion at least), and while it's nice and the Hawaiian elements (a beautiful flute and chanting choir) are worked in pretty well, I can't help but be a little disappointed. The many short tracks make it feel very fragmented and there's hardly any thematic material to hold it together. Definitely the best tracks are the long action cues "Kakamora" and "Sails to Te Fiti", but even they change rhythm every ten seconds and are a little frustrating. You can definitely tell that the score is composed to fit in between a lot of songs because it seems to lack a narrative of its own.

It's still worth listening to, but don't expect anything on the level of Planes.


rockhound2016-11-21 14:29:34
with the songs it is the same. mancina did co-write the music for a couple of them and produced almost all of them and you can hear that. all the songs have melodies, but none of them shines out as a theme song like for example in Tarzan or The Lion King. none of the songs has a very strong melody, but they capture the hawaiian feeling perfectly as the score does. if you listen to the album as a whole, the concept works.


Arose2016-11-29 07:12:15
Just FYI, not everything Polynesian is Hawaiian. There are like numerous other cultures (much older, approx 3000yrs old) than the Hawaiian culture (which is only about 900-1300yrs old). So the story and the music of Moana is actually based and from those older cultures (I.e Tulou Tagaloa is entirely Samoan).

JB reply Replies: 0 || 2016-11-17 18:51:44
The album structure is very similar to the Frozen soundtrack. Fisrts disc original songs followed by the original score. Second disc outtakes, demos and instrumentals from the original songs and the score.

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Macejko reply Replies: 1 || 2016-10-19 10:18:01
Mark needs to properly return to the scoring game. Seriously, it's long overdue. I feel like I've been waiting for Moana for centuries and I'm really excited.


Peter2016-11-04 21:36:36
totally agree, why he is scoring so rarely?

Mr Tweedy reply Replies: 0 || 2016-10-18 14:11:58
2CD !!! :D

Hybrid Soldier reply Replies: 1 || 2016-10-18 12:07:53
New Mancina to come !


isildur2016-10-18 12:49:08
Really excited about this. Mark writes some beautiful melodies. Just like Atli, he doesn't get as much as he deserves.

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Moana soundtrack - Mark Mancina 2016