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Known credits are Renaway Train for Mazzaro (was on his website), 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.
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 2004The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premier
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Ramin DjawadiStephen ColemanWilliam Marriott
ComposerOrchestratorTechnical Score Advisor
Game Of Thrones (TV Series - Season 8)
Label: WaterTower Music
Length: 119'49
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 (1303 votes)
  1. Main Title (From Game Of Thrones - Season 8) (1:51)
  2. The Rains Of Castamere (3:44)
  3. Arrival At Winterfell (3:43)
  4. Flight Of Dragons (2:51)
  5. Heir To The Throne (2:26)
  6. Jenny Of Oldstones (2:30)
  7. A Knight Of The Seven Kingdoms (1:59)
  8. The Battle Of Winterfell (4:03)
  9. The Dead Are Already Here (4:55)
  10. Battle For The Skies (4:13)
  11. The Long Night, Pt. 1 (3:42)
  12. The Long Night, Pt. 2 (3:47)
  13. The Night King (8:50)
  14. Dead Before The Dawn (4:14)
  15. Not Today (2:21)
  16. Farewell (5:31)
  17. Outside The Gates (4:09)
  18. The Bells (3:44)
  19. The Last War (7:37)
  20. Into The Fire (1:43)
  21. For Cersei (4:23)
  22. Believe (4:24)
  23. Stay A Thousand Years (2:29)
  24. Nothing Else Matters (2:06)
  25. Master Of War (4:49)
  26. Be With Me (1:45)
  27. The Iron Throne (5:39)
  28. Break The Wheel (4:29)
  29. You Have A Choice (2:22)
  30. The White Book (2:09)
  31. The Last Of The Starks (4:52)
  32. A Song Of Ice And Fire (2:11)
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DvirBA reply Replies: 0 || 2020-03-02 19:15:12
Not sure how I haven't seen this video before. Throughout this conversation it seems like Zimmer almost admires what his "student" Djawadi became and wht=at he managed to accomplish, his work in Game of Thrones in particular.
https://www.youtube.com/watch?v=GDJeo67LqWA

This video was amazing to watch. If the master of film-scoring himself finds Djawadi's work so exceptional, I think it means everything.

DvirBA reply Replies: 5 || 2020-02-14 14:38:36
Ramin is truly a mastermind. Ive been enjoying his GoT scores ever since around 2013, but this one takes it to a whole another level. Months later I can't stop listening to it.
Iv'e always said Djawadi is the next Hans Zimmer


Macejko2020-02-14 14:50:11
You. I like you.


MrZimmerFan2020-02-14 17:54:23
His first works, specially Deception, are not that good (the first season of GoT, musically, is not great, is mostly okay, at least to me, the next season are much, much better), also Prison Break, aside from the main theme, is not speacially engaging.

But when you enter in MoH territory or Pacific Rim, there are interesting material and strong scores (Warcraft or Dracula Untold, are tremendously entertaining), but in this time, give us also those awful scores for Gears of War (Judgment at least have a theme, even is still truly bad)


DvirBA2020-02-14 18:01:40
@MrZimmerFan: the Game of Thrones soundtracks are relying heavily on growth. The first season’s soundtrack is great IMO, but just like the characters of the show the music evolve throughout the 8 albums in a way I’ve never seen before to reach unbelievable heights climaxes.

Not a lot of people do that as good as Djawadi does, and that is why I find Djawadi’s strength mostly in serialized progressing shows than in movies for example


MrZimmerFan2020-02-14 18:03:04
But the themes are better orchestrated in next seasons more the first one, and more thematic and better written.


MrZimmerFan2020-02-14 18:04:09
Also, Westworld, musically is far more interesting, in tv-written Djawadi we talk.

Shince Thomas reply Replies: 0 || 2019-11-21 03:18:08
Zimmer and Djawadi are nominated for Grammys this year along with Hildur,Alan Silvestri,Marc Shiecman

MrZimmerFan reply Replies: 2 || 2019-11-13 20:27:30
Ramin Djawadi will compose The Eternals


Dan2019-11-13 21:00:09
Last week, the IMDb page said Joseph Trapanese is scoring it and next week some other composer will probably be listed there. Amazing that some people still think of IMDb as a reliable source for this kind of info.


Shince Thomas 2019-11-15 19:15:23
But still it would be awesome if Djawadi is composing The Eternals

Shince Thomas reply Replies: 0 || 2019-10-15 07:57:11
Any news on the soundtrack for Jack Ryan season 2?

Iamtommie44 reply Replies: 1 || 2019-06-20 23:27:46
So apparently a new score by Djawadi is released tomorrow.

An animated film called 'The Queen's Corgi'. Never heard of it. But curious to hear what Djawadi does with animation.
I know he did one before, but That was quite a while ago, and he has grown quite a bit


Knight2019-06-20 23:59:44
I have higher hopes for that than his normal work, he seems to do better work when not scoring big blockbuster action. (see The Mountain Between Us, one of his best scores)

archie reply Replies: 1 || 2019-05-21 14:02:54
Just heard the cue 'Jenny Of Oldstones' and OH MY GOODNESS!!! what a bless for the soul and heart it was. I'm no GOT-fan, so I don't have any connections to the series, but that cue was so intense beautiful that i shared a tear while hearing at it.

somehow that melody seems to be familiar to my ear, but can't remember nor can't i say where i have heared it. Was this completely composed just for GOT? Or does anyone know where this melody got its inspiration?

a masterpiece of a cue. wished it was longer and would develope a la 'journey to the line' or 'time' from zimmer.


Kingfannypack is the MILFcommander2019-06-19 08:03:08
Jenny of Oldstones was an old song in Westeros about a common woman named Jenny of Oldstones, a strange woman who a Targaryen prince rejected his claim to the throne to be with. Before a big battle, a character sings this song and a montage of the various characters plays as they prepare for battle. So that is the melody. The lyrics go like this:

High in the halls of the kings who are gone,
Jenny would dance with her ghosts;
The ones she had lost and the ones she had found
The ones who had loved her the most;
the ones who've been gone for so very long, she couldn't remember their names
they spun her around on the damp old stone
Spun away all her sorrow and pain.
And she never wanted to leave, never wanted to leave, never wanted to leave, never wanted to leave.

They danced through the day and into the night
Through the snow that swept through the hall
From winter to summer and winter again
Till the walls did crumble and fall
And she never wanted to leave, never wanted to leave, never wanted to leave, never wanted to leave.

Azor Ahai reply Replies: 3 || 2019-05-20 17:48:48
''Not Today'' is great. Anyone knows the kids choir used?


DarthKlaus2019-05-24 14:39:14
Seems like Scala & Kolacny Brothers.


Anonymous2019-05-24 17:34:04
No. It’s a boys choir. S&K bros is a girl’s choir


Alita2019-05-30 19:10:48
Does anyone know the lyrics and the meaning?

Shince Thomas reply Replies: 0 || 2019-05-21 06:14:29
This Soundtrack is absolutely amazing, each score is beautifully crafted by Djawadi.Night king theme, Not Today, Arrival at Winterfell, The Bells,The Iron Throne are just so perfect.

Iamtommie44 reply Replies: 3 || 2019-05-20 21:25:44
Chronological order (100%):

Episode 1
- Main Titles
- Arrival At Winterfell
- Flight Of Dragons
- Heir To The Throne

Episode 2
- A Knight Of The Seven Kingdoms
- Jenny Of Oldstones

Episode 3
- The Battle For Winterfell
- The Dead Are Already Here
- The Long Night, Pt. 1
- Battle For The Skies
- The Long Night, Pt. 2
- The Night King
- Dead Before The Dawn
- Not Today (Choral part unused, beginning and end is end credits)

Episode 4
- Farewell
- Outside The Gates

Episode 5
- The Bells
- The Last War
- For Cersei (0:00-1:23)
- Into The War
- For Cersei (1:23-3:03)
- Believe
- For Cersei (3:03-end)

Episode 6
- Nothing Else Matters
- Master Of War
- Be With Me
- The Iron Throne
- Break The Wheel
- You Have A Choice
- The White Book
- The Last Of The Starks
- A Song Of Ice And Fire

Unused
- The Rains Of Castamere
- Stay A Thousand Years


Medigo2019-05-20 22:54:07
I think The Bells is split around the middle (at 1:40), and the 2nd part goes after The Last War


Iamtommie442019-05-20 23:38:29
I checked multiple times in the episode. It all before The Last War. But in the epiaode it is a longer cue


Medigo2019-05-21 01:05:52
I know that much, the first part has some extra loops in the show.
But I am 100 % certain the part after 1:40 only plays later, when Jon Snow is forced to start fighting again

Macejko reply Replies: 0 || 2019-05-21 00:08:08
The one true king. A masterpiece.

Iamtommie44 reply Replies: 0 || 2019-05-20 19:00:29
Really, I don't know how he does it. This score is sooo good. It's frightening, romantic, thrilling & adventurous all in one!. I'm happy there are some small cues on the album not used in the season. And his choral use is absolutely out of this world!!!

Might be the best of the the GoT scores. But it's a tough one between this and season 6

Everan reply Replies: 1 || 2019-05-20 04:56:16
Official Youtube playlist by Watertower

https: //www.youtube.com/ playlist?list= PLBKadB95sF4554OTdjwGynwPOwF4FE1hA

Probably will go live in stores in a few minutes


Everan2019-05-20 05:56:42
IT'S UP IN ITUNES

Backbiter reply Replies: 0 || 2019-05-20 04:53:17
Finally here!

Tick tock reply Replies: 0 || 2019-05-20 04:20:08
Where is the album

iamtommie44 reply Replies: 0 || 2019-05-19 20:07:23
Last episode tonight with the soundtrack after that. Gonna be a great night!!!!

got-fan reply Replies: 0 || 2019-05-18 06:46:07
yes i hope 2 cd!!!!

Der Profl reply Replies: 0 || 2019-05-17 13:00:16
Does someone know something about the soundtrack already? Like how many songs there will be or maybe even the full track list? Or will it be a big surprise?

Der Profl reply Replies: 3 || 2019-05-16 00:44:06
Can't wait for this soundtrack.
Just a few days left.


Anonymous2019-05-16 01:48:33
Yesssssssssss yessss yes


Shince Thomas 2019-05-16 04:13:41
I'm so excited hear that.


Kingfannypack is the MILFcommander2019-05-17 08:22:52
Yasss

Please be 2 discs

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Game Of Thrones (TV Series - Season 8) soundtrack - Ramin Djawadi 2019