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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>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<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>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 ZimmerAndrew KawczynskiTom Holkenborg (Junkie XL)Steve Mazzaro
The Amazing Spider-Man 2 (Expanded Score)
Label: Unofficial Release
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  1. The Logos (0:43)
    Hans Zimmer, Steve Mazzaro, Johnny Marr, Andy Page
  2. The Opening (3:25)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson, Andy Page
  3. Parents On Plane (3:22)
    Hans Zimmer, Steve Mazzaro, Johnny Marr, Mike Einziger, Ann Marie Simpson
  4. Spidey Logo - Flying (0:57)
    Hans Zimmer
  5. Truck Chase (3:35)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Czarina Russell
  6. Peter Hallucinates (Part 1) (0:23)
    Hans Zimmer, Steve Mazzaro
  7. Graduation (1:53)
    Hans Zimmer, Steve Mazzaro
  8. Peter Hallucinates (Part 2) (1:21)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  9. I Can't Lose You Too (1:45)
    Hans Zimmer, Steve Mazzaro, Pharrel Williams, Johnny Marr, Mike Einziger
  10. Flying Montage (2:25)
    Hans Zimmer, Johnny Marr
  11. Peter Remembers (0:37)
    Hans Zimmer, Andrew Kawczynski
  12. Max (1:24)
    Hans Zimmer, Andrew Kawczynski, Pharrell Williams, Ann Marie Simpson
  13. Max Goes To Work (1:20)
    Hans Zimmer, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Mike Einziger, Ann Marie Simpson, Andy Page
  14. Harry Comes Home (1:03)
    Hans Zimmer, Steve Mazzaro, Ann Marie Simpson
  15. Farewell (1:34)
    Hans Zimmer, Steve Mazzaro
  16. Max Electrocuted (3:25)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Johnny Marr, Andy Page
  17. Peter Visits Harry (3:24)
    Hans Zimmer, Johnny Marr, Adam Peters
  18. Oscorp Surveillance - Conspiracy (0:52)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson
  19. Electro Is Born (1:10)
    Hans Zimmer, Junkie XL, Andrew Kawczynski, Pharrell Williams
  20. Electro Wanders (0:51)
    Hans Zimmer, Junkie XL, Andrew Kawczynski
  21. Oxford (1:40)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  22. Times Square (Part 1) (5:57)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  23. Times Square (Part 2) (2:35)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Pharrell Williams, Johnny Marr
  24. Peter's Room (1:51)
    Hans Zimmer, Steve Mazzaro
  25. Harry Finds Secret Files (1:28)
    Hans Zimmer, Steve Mazzaro, Johnny Marr, Mike Einziger, Ann Marie Simpson, Andy Page
  26. Harry Wants Spidey's Blood (4:10)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson, Andy Page
  27. Peter Distracts Oscorp Security (0:41)
    Hans Zimmer, Steve Mazzaro
  28. Harry Meets Gwen (1:19)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson
  29. Dr. Kafka Experiments (2:07)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams
  30. You're My Boy (3:05)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson
  31. I'm Moving To England (1:23)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  32. I Can't Give You My Blood - Peter Finds Clue (4:17)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson
  33. Special Projects (3:21)
    Hans Zimmer, Steve Mazzaro, Johnny Marr, Mike Einziger, Ann Marie Simpson, Andy Page
  34. Roosevelt Station (5:17)
    Hans Zimmer, Andrew Kawczynski, Johnny Marr, Dave Stewart
  35. Electro Released (3:29)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  36. Gwen's Voicemail (0:59)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  37. Harry & Electro Return To Oscorp (1:56)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Johnny Marr
  38. Lobby (0:30)
    Hans Zimmer, Steve Mazzaro
  39. Harry Transformation (2:36)
    Hans Zimmer, Steve Mazzaro
  40. I Love You (2:21)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  41. Power Station (2:46)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr
  42. Electro Showdown (Part 1)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  43. Electrocuting Spidey - Itsy Bitsy Spider Theme (1:03)
    Hans Zimmer, Junkie XL, Andrew Kawczynski
  44. Electro Shodown (Part 2) - Electro's Death (3:05)
    Hans Zimmer, Junkie XL, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  45. Planes - Power Grid Restored (1:25)
    Hans Zimmer, Steve Mazzaro, Johnny Marr, Mike Einziger, Ann Marie Simpson
  46. Goblin Showdown (3:49)
    Hans Zimmer, Steve Mazzaro
  47. Gwen (0:35)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  48. Funeral (2:32)
    Hans Zimmer, Andrew Kawczynski, Pharrell Williams, Johnny Marr, Mike Einziger
  49. Exterior Osborn (2:06)
    Hans Zimmer, Steve Mazzaro, Andy Page
  50. Rhino Returns (6:56)
    Hans Zimmer, Steve Mazzaro
  51. It's On Again (3:50)
    Alicia Keys, Kendrick Lamar, Hans Zimmer, Pharrell Williams
  52. Here (4:39)
    Pharrell Williams, Hans Zimmer, Johnny Marr, Steve Mazzaro, Stephen Lipson
  53. Within The Web (First Day Jam) (4:31)
    Czarina Russell, Hans Zimmer, Junkie XL, Pharrell Williams, Johnny Marr, Mike Einziger, Ann Marie Simpson, Stephen Lipson
  54. Spidey Theme (1:03)
    Hans Zimmer
  55. The Electro Suite (12:36)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  56. Harry's Suite (10:08)
    Hans Zimmer, Steve Mazzaro
  57. Desperation Suite (3:56)
    Hans Zimmer, Andrew Kawczynski
  58. The Opening (Alternate) (3:20)
    Hans Zimmer, Steve Mazzaro, Mike Einziger, Ann Marie Simpson, Andy Page
  59. Spidey Logo - Flying (Alternate) (0:57)
    Hans Zimmer
  60. Flying Montage (Alternate I) (2:36)
    Hans Zimmer, Johnny Marr
  61. Flying Montage (Alternate II) (2:26)
    Hans Zimmer, Johnny Marr
  62. Max (Alternate I) (1:07)
    Hans Zimmer, Andrew Kawczynski, Pharrell Williams, Ann Marie Simpson
  63. Max (Alternate II) (1:23)
    Hans Zimmer, Andrew Kawczynski, Pharrell Williams, Ann Marie Simpson
  64. Harry Comes Home (Alternate) (0:42)
    Hans Zimmer, Steve Mazzaro, Ann Marie Simpson
  65. Max Electrocuted (Alternate) (0:45)
    Hans Zimmer, Junkie XL, Andrew Kawczynski, Pharrell Williams
  66. Times Square (Part 2) (Alternate) (2:35)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Pharrell Williams, Johnny Marr
  67. Peter's Room (Alternate) (1:56)
    Hans Zimmer, Steve Mazzaro
  68. I Can't Give You My Blood (Alternate) (2:50)
    Hans Zimmer, Steve Mazzaro
  69. I'm Moving To England (Alternate) (1:09)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  70. Roosevelt Station (Alternate I) (5:40)
    Hans Zimmer, Andrew Kawczynski, Johnny Marr, Dave Stewart
  71. Roosevelt Station (Alternate II) (5:18)
    Hans Zimmer, Andrew Kawczynski, Johnny Marr, Dave Stewart
  72. Harry Transformation (Alternate) (3:00)
    Hans Zimmer, Steve Mazzaro
  73. Electro Showdown (Part 1) (Alternate) (2:56)
    Hans Zimmer, Junkie XL, Steve Mazzaro, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  74. Electro Showdown (Part 2) - Electro's Death (Alternate) (3:01)
    Hans Zimmer, Junkie XL, Andrew Kawczynski, Pharrell Williams, Johnny Marr
  75. Planes - Power Grid Restored (Alternate) (1:37)
    Hans Zimmer, Steve Mazzaro, Johnny Marr, Mike Einziger, Ann Marie Simpson
  76. Gwen (Alternate) (0:36)
    Hans Zimmer, Steve Mazzaro, Pharrell Williams, Johnny Marr, Mike Einziger
  77. Funeral (Alternate I) (2:33)
    Hans Zimmer, Andrew Kawczynski, Pharrell Williams, Johnny Marr, Mike Einziger
  78. Funeral (Alternate II) (2:38)
    Hans Zimmer, Andrew Kawczynski, Pharrell Williams, Johnny Marr, Mike Einziger
  79. Rhino Returns (Alternate) (5:56)
    Hans Zimmer, Steve Mazzaro
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Jacob reply Replies: 3 || 2019-11-08 17:28:04
I've looked for a while now and can't find a track specifically titled "Farewell" that matches the one listed here. Also, both of the alternate versions of the "Electro Showdown" are evading my search. Do they actually exist?

Jacob2019-11-08 17:34:56
Edit: The track "Farewell" is actually the track titled "Unused Source".

HunterTech2019-11-11 03:01:55
Before any of the expanded leaks came about, there was this 10 track set that apparently came from promotional materials for the film. While a good chunk of cues are from the final score, 3 seem to be demos that were much harsher in sound. Two of them being the Electro Showdown tracks listed here, which weren't added to the largest set currently out there (that has 2 other tracks from the 10 tk set).

Of course, there is the website that is forbidden to mention that you can find it on, but I'm sure it's reached other outlets as well if you know where to look. Was going to write about this earlier when the previous set of posts asking similiar questions were made, but I got sidetracked.

HunterTech2019-11-11 03:48:07
Also where I think the "Spidey Theme" listed here is from, since what's on there is basically a slightly expanded "Spidey Logo - Flying" that doesn't quite fit in with length of the scene in the movie.

T-Mann036 reply Replies: 7 || 2017-12-26 02:05:55
Itsy Bitsy Time was ultimately one of my favorite scenes in the picture. Now that this track from the "complete" film score is discovered, I'm gonna listen to it again until my freaking ears bleed. LOL I kid, folks. Once again, best Christmas present ever!

T-Mann0362017-12-26 03:19:14
Itsy Bitsy Spider Theme * (typo error)

DT-20172017-12-26 10:54:02
I always thought the "Itsy Bitsy Spider" theme was part of the sound effects and not the score. Not that I'm complaining, of course :) I wonder if they just dropped that out for the version that appears on the album in the track "I'm Electro".

T-Mann0362017-12-30 06:59:13
I personally believe that it's not in the original soundtrack.

Everan2017-12-30 20:33:41
I think some bits are in I'm Electro, mostly the intro, before the Itsy Bitsy theme. But that track was probably made only for the album, it's not exactly the same in this complete version.

DT-20172017-12-30 23:56:03
It's not exactly difficult to recreate "I'm Electro" from the cues on the leak.

RafaFast2019-10-16 01:34:35
Everan, this doesn't make any sense, actually, "I'm Electro" is the film version of "Itsy Bitsy Spider Theme", if you watch the scene in the movie again, you will notice that the film version has the little fragment at the 0:13 seconds mark of "I'm Electro", while the unreleased "Itsy Bitsy Spider" listed here doesn't have it, better saying, "I'm Electro" is actually the true film version of "Itsy Bitsy Spider", while the version we know is just a Alternate.

Zimmer2019-10-16 15:43:57
Thats not as annoying a difference as the choral elements for Electro's Death being so muted in the sessions.

CedParker reply Replies: 1 || 2018-01-25 07:53:30
Where I can listen to the alternate ones?

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Please enter number: 1610 

Mandarin2018-01-25 16:08:47
Unfourtunately, seems they were not released

superultramegaa reply Replies: 4 || 2017-12-24 19:08:00
I have yet to see a leak with the alternate tracks and suites. Anyone got any leads where to get this version?

DT-20172017-12-24 19:43:36
It would be easy to make that as it's built from the full score leak, the ten-track leak that also contains a few demos, and tracks from the OST. There is no leak with everything - it's up to listeners to assemble that themselves.

superultramegaa2017-12-24 20:42:37
But in the complete score leak there are still missing cues. Like the version of Roosevelt Station is not the film version, and there is no released version of the film edit. The OST is the closest but it's still not the right one. And there are many other cues just like that. Where you can't assemble it into the album because a copy of that track does not exist.

HunterTech2017-12-24 21:25:46
Whenever Hybrid posts an expanded score on here, it'll be an amalgamation of everything that is out there when the post is made. The complete leak is the primary basis, but the OST and the 10 track promo are additions. Yet, it is true that there are alternates here that come from sources we haven't seen yet. I'm guessing he's basing those of what's in the film, but even that doesn't quite work.

superultramegaa2017-12-24 22:25:20
Don't get me wrong. I love this complete score, the in-film cues it does feature, and a lot of the alternate cues in this edition are really interesting. It'd just be nice to have scores that didn't require a week full of sorting through alternate cues, and audio editing to find the correct version of every track.

Darkknight reply Replies: 1 || 2018-01-03 00:36:24
I can't find the harry transformation film version. I found one but that's 3:09 long &#128533;

RafaFast2019-10-16 00:59:56
You can find it easily on Youtube today, by the way, I can't find the alternate of Electro Showdown Part 1.

HunterTech reply Replies: 4 || 2018-03-07 04:14:36
Well, now I can officially say that everything here is out now!

T-Mann0362018-03-07 07:00:33
In the words of Alicia Keys... "It's on again!"

Medigo2018-03-07 11:17:18
Sweet Christmas

mpolonest1232018-03-07 15:31:28
Thank you so much for this!The Opening and Times Square Alts. are incredible!

And it's interesting that the unused source cue (which is basically a piano variation on Harry's Theme) isn't listed here, yet the film version of Norman's death isn't included.

RafaFast2019-10-16 00:57:31
mpolonest123, actually "unused source" is listed here, it's just with a different name "Farewell", I guess it was meant to be used between "Sins of The Fathers" and "Max Electrocuted", also, you've mentioned a film version of Norman's death song (Which is "Sins of The Fathers"), and If I'm not wrong, that track has just one version...

Lincoln Clay reply Replies: 2 || 2018-03-29 02:05:27
Where is, when Logo finish, music?

Anonymous2018-09-23 02:42:26
Could you repeat that, but in legible English this time?

RafaFast2019-10-16 00:51:14
Anonymous, I think he's referring to the film version of "Spidey Logo", the one in the official album release

Hybrid Soldier reply Replies: 7 || 2017-12-24 09:27:19
OK have fun lol...

HunterTech2017-12-24 10:01:29
Where are all the alternates from?

Medigo2017-12-24 10:08:21
I am assuming some are from the OST and those ten demos we got two years ago

Medigo2017-12-24 10:45:06
allthough the leak didnt have Harry's Transformation music from the film

James (Callahan)2017-12-24 11:43:09
Now, this is a team work. Haha

T-Mann0362017-12-24 20:22:42
Merry Christmas, Soldier!

DT-20172017-12-24 20:37:48
Unless I'm much mistaken, I seem to remember the Harry Transformation in the film being a cobbling together of the original Harry Transformation cue and another cue.

RafaFast2019-10-16 00:46:53
DT-2017, The film version of "Harry's Transformation" mixes "Sum Total" with the part between 2:04 and 2:58 from "Special Projects", but with less instruments and a additional electric guitar. I actually like both versions, if you hear the film version, it actually sounds like it was just edited in last hour to fit in the scene, while the version in the album, I'm almost sure it was meant to be used in the full scene, you know, the uncut scene, with the parts as Harry's teeth growing, his column being fused (or whatever is that thing), he looking at the screen, and more...but then they deleted the fragments, and for Zimmer the last hour plan was just throw the intense part of "Special Projects" into the song, and for me, that worked well, I would like to hear the Intense parts of the two alternates of "Harry's Transformation" isolated.

RafaFast reply Replies: 0 || 2019-10-16 00:08:33
Hmmm, where do you have found the alternate of Electro Showdown Part 1? And what is the track "Farewell"? It is meant to be related to the Norman osborn scene? More likely "Sins of the Fathers" track?, I think not, because the track in that scene is 3 minutes long, while this "Farewell" is just 1 minute long
Also, you missed some tracks: Film Version of "Electro Showdown Part 2", Film Version of "Itsy Bitsy Spider" (which is actually the original version of the Album mix, yeah that one which was cut and renamed to "I'm Electro), an Alternate of "Truck Chase", and "Sins of the Fathers" which I mentioned before.
There's also two more alternates of "Flying Montage", one which is just 40 seconds long, and the film version, which doesn't have anything to do with the original version and the two alternates listed here.
And yeah, we can't forget about the second alternate of "I'm Spiderman" which is the film version of the track, and it was actually released in the album mix!

superultramegaa reply Replies: 6 || 2018-09-22 16:36:28
Kind of shocking to me that John Paesano isn't a member of RCP. Marvel's Spider-Man is basically a more consistent version of this score in many ways with a touch of Danny Elfman's Spider-Man elements.

Hybrid Soldier2018-09-22 19:06:32
"RCP" is not a "style", it's a place...

superultramegaa2018-09-23 00:43:38
Yes, but usually Hans hires people with similar styles to his, or promising new composers. Paesano fits the former fairly well in a lot of ways. I'm just saying it's surprising to me that he's never worked here.

Edmund Meinerts2018-09-23 12:41:29
Does Hans really hire people with similar styles to him? Or do the people hired by him end up developing (or being asked to write in) a similar style to Hans'?

Hybrid Soldier2018-09-23 13:27:33
Yeah Ben Wallfisch sure sounds a LOT like HZ !


superultramegaa2018-09-23 14:06:04
Yeah, I didn't think that comment through. Hybrid, feel free to leave this chain up so my shame is forever on display.

Anonymous2018-09-26 09:01:20
I don't know about the score itself but the theme I heard in that video game's soundtrack seemed closer to Giacchino's take on the subject.

But yes, Paesano has used the style listeners commonly attribute to Hans Zimmer and his team quite frequently in his works - and usually to good effect. That's rare.

Me reply Replies: 3 || 2017-12-27 01:53:50
The lossless version is out there for this, but we are still lacking the dark knight rises complete in lossless form.

Russel2017-12-27 11:28:54

sure?2017-12-28 04:42:35
do you mean this bootleg is available in flac?

Me2017-12-29 21:01:29
If you know where to look

theGordo reply Replies: 3 || 2017-12-26 13:40:08
What's the desperation suite for?

superultramegaa2017-12-26 16:09:50
Once again it's not on any bootleg release, but I believe it represents the creepy piano music when Spider-Man doesn't give Harry his blood, when Peter thinks about his father, and other situations relating to those two things. Once again, I don't think the song file actually exists (if it does I wouldn't know where to find it), but that's probably what the suite comes from.

mpolonest123 2017-12-26 16:29:13
It’s on Andrew Kawcynski’s website/SoundCloud. I’m not sure what it really represents but it appears in the opening of the “I Need To Know” cue. (Roosevelt Station here)

DT-20172017-12-26 22:14:49
Yup, the Desperation Suite is on Andrew Kawcynski’s SoundCloud, as are three other cues we lready have. However, bear this in mind: those cues are actually pitched up and you need to lower the pitch to be correct.

yay reply Replies: 1 || 2017-12-24 13:41:24
Opening cue is missing

DT-20172017-12-24 19:26:50
... Um, the opening cues are all there: the music that scores the studio logos, the music that scores the plane scenes, then the music that scores our first shot of the Spider-Man logo.© 2001-2018 OST 
The Amazing Spider-Man 2 (Expanded Score) soundtrack - Hans Zimmer 2014