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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.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on somewhere, back in 2003 or 2004

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Hans ZimmerSteve MazzaroDavid FlemingAndy Page
ComposerAdditional MusicAdditional MusicMusic Producer
Dark Phoenix
Label: Fox Music
Length: 67'55 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 (1923 votes)
  1. Gap (8:07)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
  2. Dark (4:27)
    Hans Zimmer, David Fleming
  3. Frameshift (8:15)
    Hans Zimmer, David Fleming, Andy Page
  4. Amity (5:52)
    Hans Zimmer, Steve Mazzaro (Henry Purcell)
  5. Intimate (10:14)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
  6. Negative (3:58)
    Hans Zimmer, Steve Mazzaro
  7. Deletion (4:51)
    Hans Zimmer, David Fleming, Andy Page
  8. Reckless (9:35)
    Hans Zimmer, Steve Mazzaro
  9. Insertion (7:56)
    Hans Zimmer, Steve Mazzaro, David Fleming
  10. Coda (4:40)
    Hans Zimmer, David Fleming
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badbu reply Replies: 6 || 2020-05-14 06:29:12
is there anywhere a complete cue sheet list?

  Your name :   

Please enter number: 1701 

Hybrid Soldier2020-05-14 11:14:29
This is what I could find so far :


badbu2020-05-14 13:48:52
oh wow! thanks hybrid :)
i think the cue "X MANOR TITLE CARD" is the cue where they stand infront of the school. i want this so much :D but anyways, thank you hybrid :)

Knight2020-05-14 23:22:14
Any idea what's up with the Space Scene credit? Did Steve have a hand in the Xperiments version or is he credited for the X-Men theme?

badbu2020-05-15 07:40:35
END CREDIT 1 SPACE SCENE (HZ DF) -> Hans and David
Steve also did a lot of variations of the theme. You can listen to it on his website

Secret Anonymous2020-07-04 04:20:16
@hybrid soldier
Where can i hear the songs you have listed out? I can't find it on YouTube

badbu 2020-07-05 10:29:32
it‘s unreleased...

Anonymous reply Replies: 0 || 2020-04-16 01:34:46
There's an extremely disturbing frequency/tone in "Negative" that drove my tinnitus/hyperacusis through the wall. It's like nails on a chalkboard, but turned up to 10. Anyone hear it?

TomofPoland reply Replies: 4 || 2020-01-08 19:26:52
Helo, does anyone have lyrics? I think it's Sanskrit?

nvictor2020-01-09 07:27:32
check loire cotler on youtube, she has a channel there. i don't think the language she came up with means anything but i could be wrong

TomofPoland2020-01-21 09:50:52
almost sure that first line is " Mah&#257;tm&#257; sisaGgrAmayiSu " in Sanskrit: "great soul wishing to start a war"

TomofPoland2020-01-21 09:51:56
Mahatma sisaGgrAmayiSu ...

TomofPoland2020-02-03 13:34:06
I've wrote to Loire, she confirmed that txt is not Sanskrit but inspired

Mephariel reply Replies: 6 || 2019-06-07 08:14:16
I think this is solid Zimmer effort. It is not mind-blowing great like Interstellar or The Lion King or Gladiator, but a very interesting score. It is a mixture of melodic, reflective, and abstract Zimmer all at once.

"Insertion" is truly Zimmer at his power anthem glory. I think "Gap" and "Coda" are solid themes as well. The end of "Intimate" has some of the best action section, but too bad it is so short.

Paul2019-06-07 10:45:10
What tracks are more “power anthems” ??

Anonymous2019-06-07 14:44:46
Am I the only one who thought Interstellar was just okay? It had a few great tracks, like "Mountains" but a lot of it was just kind of loud and obnoxious for me.

And the mixing for the movie was entirely too loud, particularly during the black hole scene before the tesseract. Hans said during an interview that he told Nolan that he thought that music was too loud, and Nolan told him that it was his movie and he could do what he wanted.

Ds2019-06-07 15:56:10
That story was about the ending of The Dark Knight, I think :-p

Mephariel2019-06-07 16:17:43
Not sure why people think Interstellar is loud. Maybe the mixing is loud in some parts of the film, but compared to other Zimmer score like Chappie, Interstellar isn't even loud.

umambdz2020-01-12 02:14:50
1. Coda
2. Gap
3. Reckless
4. Insertion
5. Intimate
The besttt&#128536;&#128536;&#128536;&#128150;&#128150;&#128150;

nvictor2020-01-12 17:05:05

i agree. interstellar music's greatness has been blown out of proportion but for various reasons. the big one, for me at least, is right moment right time. dundirk, one of my favorites, was both a great picture and music. but the project did not land at a good moment...

Iamtommie44 reply Replies: 1 || 2020-01-09 14:58:16
I was just looking at the release schedule of movies in 2020.

Spongebob: May 22
WW1984: June 5
Top Gun: June 26

That is 3 movies with a score from Hans Zimmer in 1 month!. Insane!

Moggyman2020-01-10 00:51:21
Iamtommie44, And considering that Hans is now scoring No Time To Die (which is basically his ultimate fan service) and Dune, it looks like this is going to be one of his best years yet.

AFN reply Replies: 0 || 2019-11-24 00:18:43
hola la banda sonora de DARK PHOENIX es muy buena, recomindo que deberian lanzar un LP de esta fantastica banda sonora.

Mephariel reply Replies: 2 || 2019-11-20 01:31:56
Hybrid, is Zimmer really attached to Space Jam 2?

Anonymous2019-11-20 15:18:43
Whoah Whoah Whoah Whoah Whoah. Whoah. Space Jam2?! You aren’t serious.

George2019-11-20 15:56:08
I noticed that the other day as well on IMDB. I know that’s not always reliable, but that would be awesome if he was involved. I’ve missed the “fun” side of Zimmer for awhile. The next couple of years hopefully produce a number of Zimmer classics.

BC reply Replies: 0 || 2019-11-19 16:06:25
Anyone own the 24bit FLAC version? I bought it expecting to here a difference between that and the mp3 version and they kinda sound the same to me. Just curious on if anyone else had the same observation.

e reply Replies: 24 || 2019-07-21 10:50:35
He mentions the Dark Phoenix second CD here. 20:33 onwards.

https: // v=mHmKZbUZiIA

"I did a film recently that got away, but we wrote 16 hours of music. We're actually fighting to get another CD released because the film didn't do anything, just to have it out there. Because you can't use again in something else, so it'd be nice to have it out there. So that it doesn't disappear into a rubbish bin".

Hybrid Soldier2019-07-21 10:58:22
And I can tell you Hans brought the matter to the very head of Disney Music... Everyone seems game to release it, just need to work out some technicalities...

badbu2019-07-21 11:44:41
i can't wait!!!!!!!

Ahmad2019-07-21 13:39:25
It's comforting to get a reconfirmation that it's coming.
Now we'll just have to cross our fingers that the process doesn't take months like that one other release ;)

Which one will be out first: End Credits or X-Periments? :P

Max2019-07-21 18:05:58
This is great news.Maybe Balfe’s scores to Ghost in the Shell now can get released.
Over 6000 people have signed the petition for Ghost.

Hybrid Soldier2019-07-21 18:57:53
No GITS cannot be released, it's technically not possible... That's why Lorne leaked his part of the score himself...

Scorefan2019-07-22 05:11:31
16 hours of music?
Can we hear those 16 hours of music one day?

badbu2019-07-22 07:13:27
@Ahmad i think end credits :P

Reckless2019-07-23 21:14:43
This is promising! I'm keeping my fingers crossed and praying to the score gods at Disney that this is going to finally get released, but I'm also preparing for the possibility that I'll have to wait a year or two for the complete score to leak.

badbu2019-07-24 08:57:13
the only cue i want from the complete score is the piano cue (Jean & Charles "school"). But i want to hear the ideas and suites!!! :D i can't wait for it :-)

Nicklas2019-07-25 17:52:14
Halleluja awesome news!!!
Considering the big amount of work Hans put into it, this is awesome!
I really hope it will get a official release on iTunes, Apple Music and Spotify so we can listen to it without problems.

A Fan2019-07-27 08:59:56
>> No GITS cannot be released, it's technically not possible... That's why Lorne leaked his part of the score himself...

What does "technically not possible" mean in this context? Is the harddrive which was used to store the music not working? This would be a technical problem. The music by Mansell would be great to listen to...

Why not leak those 16h of music for Dark Phoenix aswell? ;-)
Or even better, release a signed box set for $400-500, limited to 1000 or 2000 items. I'm sure it will sell out. I certainly would buy one :)

Why can't the unused music used in another movie? HGW once told us in a workshop that he has a lot of unreleased music and that he could use it in other movies if he wants to.

Hybrid Soldier2019-07-27 09:31:26
GITS cannot be released for various legal reasons.

Hybrid Soldier2019-07-27 11:55:38
On the other points, why not leak it ? Because for GITS it was Lorne's choice to do it...

And 16 hours, well it was specifically quite a lot but on all scores there happens to be hours of music left on the side. Hans wrote I'll Do Anything several times, or Matchstick Men, or Rango...

And about reusing it, of course that happens. He's exagerating. If the music belongs to the studio, he can't reuse it (even if it ends up not used in the film it was written for), but if he owns it (and that's the case for all this unused/rejected Dark Phoenix material), he could technically do whatever he wants with it.

Powell is a master at keeping ideas somewhere and use it for the correct project. But Hans does it from time to time too. A famous piece from Gladiator was written for another film a few years before...

Sam2019-07-27 14:27:54
Hybrid, who has the rights for 'Tears of the Sun'? Zimmer or any studio? Who owns the music? If Zimmer owns his music, is there any chance to release that one under the RCP label like Dark Phoenix?

Hybrid Soldier2019-07-27 15:50:50
Big studios own their music...

Hans owns his music for indepedent films mostly like 12 Years A Slave, The Little Prince, Widows, Freeheld, Brave Miss World, Chappie, Rush, The Pacific, Millennium, The Last Face, Mr Morgan's Lat Love, The Power Of One...

Edmund Meinerts2019-07-27 16:42:42
I'd love to learn more about ideas that Zimmer or Powell have been holding on ice, waiting for the right project to come along...I know there was that one old Powell promo/showreel full of demo versions of themes that would end up in lots of his scores, but I've never actually heard that one.

e2019-07-27 19:08:14
That's one reason I might buy this CD. If the CD has cool concepts and is a moderate success it'd be fun to hear some of the other "unfiltered" concepts/demos. In many Hans scores in particular the suites more precisely communicate the intent of the music than the score.

David2019-07-29 02:46:09
what was the Gladiator piece originally from another film??

JK2019-08-27 08:00:12
For people still pondering why The Ghost in the Shell score portions done by Clint Mansell won't be released ever, it's simple: test screeners! Clint and his team composed music for a majority of the philosophical parts which test screeners hated so much especially the original ending of the film where Kuze and Major come together in the mind. As a result of the test screenings, the philosophical elements were cut resulting in huge chunk of the Mansell team's music getting pulled aside, though a portion of the action themes done by Kevin Kiner remained with Lorne taking over the score with a revised third act with a more optimistic ending for potential sequels! So there, thank the test screeners who preferred pew pew movies over philosophical films that explained things! If you don't believe me, go to reddit and others will say the same thing!

Anonymous2019-08-27 13:11:30
ghost in the Shell was problematic from the beginning when they cast a white Woman to play a Japanese character

Knight2019-08-27 13:32:44
> problematic
Ah shit here we go again

meta2019-08-31 15:23:39
Whats sad is that this is the last 20th century Fox movie I will ever see again...At least this one was scored by Hans.

jaa2019-11-06 23:31:56
It's ironic Hans Zimmer scored the last Spider-Man and X-men films before the main characters join the MCU!

Hybrid Soldier2019-11-07 17:55:06
While he helped scoring the very first MCU film !

John G reply Replies: 0 || 2019-09-09 16:22:22
So I've finished watching the movie for a second time. Here's my input:

Gap, Amity, Intimate, Negative, & Insertion are pretty much untouched. Dark is chopped up to fit the picture, and Frameshift, Reckless, & Coda have alternative, extended takes compared to what we actually hear in the album.

Still one of Zimmer's best. It's no Man Of Steel, but it's still a great listen.

badbu reply Replies: 0 || 2019-09-03 11:09:43
is there a cuesheet from the complete score available?

Mike reply Replies: 1 || 2019-09-02 22:39:29
The last minute and 50 seconds of Coda are beautiful. It would be stupid to try and glean too much about a composer from their music, but I wonder if Hans has a melancholy temperament. Cause he does sad stuff really well, to me.

Mephariel2019-09-03 02:11:15
Yep, I think Coda is best track in the album, rival only by "Gap" and "X-SS" on the Xperiments album.

Michael Hayko reply Replies: 9 || 2019-07-29 03:17:11
WTF! So when is a CD of Dark Phoenix going to be released already! And why isn't Hans Zimmer more proactive on how his music is released? How could he settle for a digital download? I feel he's betraying his fans by not insisting that a CD be released immediately! Not so long ago when a film was released the soundtrack would be released as well. I guess those days are gone.

Kekec2019-07-29 15:10:52
I don't blame Zimmer for this, it's more to do with the studios in question. But otherwise I agree; I, too, miss the days when score CDs came with the movies. ItS getting rarer and rarer these days. :(

nvictor2019-07-30 00:23:43
to be honest guys, is CD really better than digital nowadays? maybe you guys can tell... but i can't. i am happy enough with digital (no DRM...)

Ahmad2019-07-30 11:37:18
Well, you can actually purchase Hi-Res 24-bit 44.1/48/96/192 kHz digitally which is "technically" better than what you would get on a CD (16-bit 44.1 kHz). But does that difference matter? Not sure. Though having those versions available is really good in cases like Dark Phoenix.

Now, I really do like to buy physical releases (CD and sometimes vinyl). It's nice to have the artwork and additional information, but it's not the end of the world if one movie doesn't get a release - knowing the circumstances. At least we got it digitally, legally and it's easily obtained.

Randy Watson2019-07-30 14:33:09
"WTF! So when is a CD of Dark Phoenix going to be released already! And why isn't Hans Zimmer more proactive on how his music is released? How could he settle for a digital download? I feel he's betraying his fans by not insisting that a CD be released immediately!"

So! Much! Entitlement!

Hybrid Soldier2019-07-30 14:37:06
Yes, especially for someone who's not trying to understand WHY...

I explained on the other page (for Xperiments) why it's not gonna happen.

Patrick2019-08-07 02:38:59
For me, the CD isn't so much about quality, but the experience. It's something tangible. It's reading the insert while listening to the score for the first time on CD. Just like they did with Vinyls at their peak. It's a collectable item. It's the artwork and the love that goes into the physical copy. I rather have that than a digital album cover and downloaded songs. I am realistic industry is moving forward and change must be embraced. It is just more sad than anything. Could Dunkirk be the last CD I ever bought from Hans? Maybe. But if so, then it's fine. One final thought, to me It is hard to justify paying $10 or so for something I can't feel in my hands. I know that sounds stupid. I paid the ridiculous price for the illuminated star projection edition of Interstellar just because it was special. I am sad to see that special touch go away. Thank you for listening to my TED talk.

Kekec2019-08-07 18:02:28
I'm absolutely with you, Patrick. While I'm glad the score (and other scores) come out at least as downloads, I do not like this trend at all. I only hope that the nostalgia for CDs will come soon just as it came for vinyls...

Daledebil2019-08-25 15:20:52
For me it's easy.
If there is a cd version I buy it. If there is only digital version.....NO
I'll pay for music while there are physical format (only cd really). I'm not interested in pay for downloads,Spotify, etc

tilibro2019-08-26 00:54:38
And streaming practically dominates how the majority listen to music. Physical media is costly and expensive to manufacture and don't sell very well in stores as everyone prefers to to use Spotify and getting the same album for free. Same goes for movies and TV shows as well with Netflix.

nvictor reply Replies: 3 || 2019-08-10 19:48:20
i noticed a few new music incorporating that vocal instrument / rhythm into them. this is really telling! i knew it wasn't going to go unnoticed. just like the drone bass and rhythm from dunkirk inspired many. RCP is always pushing the game forward imo : )

Der Profl2019-08-10 20:07:03
Which new music do you mean in particular? I really like the voice as an rhythmical insturment, so I would like to hear more of it.

nvictor2019-08-10 20:40:28
so youtube lol... :) well in particular what Daniel James put out. he never explicitly said he was trying to achieve these vocal rhythms but that's how i felt. the tune is called "mild cheddar". and then i came across Loire Cotler looking into it and found she worked on DP! so maybe she is perhaps the real inspiration.

Der Profl2019-08-10 22:38:51
Thank you for your answer. Loire Cotler is really impressive though.

John G reply Replies: 0 || 2019-08-08 16:15:18
Wouldn’t it be great if Hans Zimmer, John Powell, Henry Jackman, and Harry Gregson-Williams got together (either live or in the studio) to mix their X-Men scores with each other? That would be a MASTERPIECE.

Watcher reply Replies: 1 || 2019-07-26 20:53:17
In the end credits there is a soundtrack that is not included in those above. It's like a stronger version of GAP. Anyone know its name?

Ahmad2019-07-26 21:20:49
It’s unreleased and I’d assume it’s called End Credits or End Titles in the cuesheet :) There are a lot of interesting variations of the many themes in that track. I think we might hear the same or similar ideas in X-Periments. If not, we’ll have it in lossless surround in about a month.

Edmund Meinerts reply Replies: 5 || 2019-07-25 21:26:27
Xperiments is officially coming, August 2nd! Filmmusicreporter confirmed it. And the track titles are...interesting haha.

1. X-HZT (17:27)
2. X-X (5:59)
3. X-LGDP (8:07)
4. X-SI (6:25)
5. X-HD (3:32)
6. X-MP (3:21)
7. X-MT (5:03)
8. X-TX (8:48)
9. X-MDP (9:06)
10. X-F (3:56)
11. X-CH (4:58)
12. X-SS (2:01)

Any guesses? HZT is probably "Hans Zimmer Theme" but that's about all I can figure out.

badbu 2019-07-25 21:38:46
Yeeeeehhhhh!!!! 1 week!!! Yessss :-)

Knight2019-07-25 21:59:33
Hooray! Another victory for music lovers

Ahmad2019-07-25 23:27:51
@badhu it seems we’re getting CD-2 first afterall :P

I’m beyond happy and I feel very, very hyped right now!

The titles tho - what a riddle XD
3- X-Let’s Go Dark Phoenix!

e2019-07-25 23:28:34
Awesome! Looking forward to hearing the ideas he came up with! The titles are odd.

badbu2019-07-26 13:10:49
hahaha :D oh man me too!!! i'm soooo hyped!!!
can't wait for it :-)

badbu reply Replies: 2 || 2019-07-18 15:09:08
Deleted Scenes:
Edwards Air Force Base
Charles Returns Home
Mission Prep
Beast MIA
Charles Says Goodbye
Rise of the Phoenix: The Making of Dark Phoenix (5-Part Documentary)
Scene Breakdown: The 5th Avenue Sequence88
How to Fly Your Jet to Space with Beast
Audio Commentary by Simon Kinberg and Hutch Parker
*Commentary available on Blu-ray, iTunes Extras and Movies Anywhere only
no Hans (making of) and no isolated score :/ damn...

Ahmad2019-07-18 16:28:51
Wasn't expecting any of that so I'm not disappointed :D

badbu2019-07-18 17:15:40
haha that’s true :D

LS100 Studios reply Replies: 4 || 2019-07-10 22:21:13
Wasn't a fan of this score on my first listen, and I'm not a fan of the film either - but I like the new themes Zimmer wrote and how they're weaved throughout the score. Thought I'd analyze the themes and how they recur in the score.

Zimmer made three major recurring themes - the new X-Men theme, the Phoenix theme, and Magneto's newest theme. "Amity" might contain a motif too, I discuss that more below.

1. "Gap" debuts the new X-Men theme, with various renditions throughout before the Phoenix theme debuts up at the end. Love how the X-Men theme starts off quiet, wish we had more of that in the score.

2. "Dark" is a suite for the Phoenix theme, it has various renditions of it too.

3. "Frameshift" starts off with the Phoenix theme, and then debuts Magneto's motif. The Phoenix theme returns more quietly through the track, then builds up to a violent rendition towards the end.

4. "Amity" is mostly gloomy ambience from the sound of it, but after listening to the whole score it seems like a theme of mourning. It plays after Mystique dies, and again after the loss of Jean. So I guess this counts as a fourth theme?

5. "Intimate" starts off with some uncertain vibes, then transitions to a more ethereal score. Magneto's theme returns, this time in full, with the full theme playing around 6:42. We're welcomed to more renditions of the X-Men theme during the NY skirmish.

6. "Negative" doesn't feature any of the other themes - save for a bit of the X-Men theme towards the end. This track might be a theme for the D'Bari, I think it's when Jessica Chastain takes the Phoenix force.

7. "Deletion" opens with Magneto's theme, and transitions to a violent rendition of the Phoenix theme, which continues through much of the track. The end of the track gave me some Ottman vibes.

8. "Reckless" starts off with a short piano theme - seriously thought Ottman's "Hope" theme was gonna' start at 0:35, haha. It's then followed by the gloomy theme from "Amity", can't remember what scene. Much of this track, similarly to "Gap", contains renditions of the new X-Men theme. An action rendition of Magneto's theme starts around 7:20.

9. "Insertion" starts off with Magneto's theme, its last appearance in the score - followed by a calmer version of the Phoenix theme, which leads to a more violent rendition of it. The theme quiets down to an eerie rendition of the Phoenix theme halfway through the track, and builds up to another violent rendition. The track concludes with a choral arrangement which kind of reminds me of the ending for "Terraforming" from Man of Steel.

10. "Coda" wraps up the score with a reprise of the mourning theme from "Amity". Splices in some bits of the X-Men theme too, and some piano notes towards the middle are derived from the Phoenix theme. Also uses some of the Phoenix chants towards the end. All in all a nice hopeful track to wrap up the film.

Might be some mistakes or things I missed. Hoping for that second score to release, I'd love to see Zimmer's ideas/sketchbook for the film.

nvictor2019-07-11 03:26:02
i identified four themes too. roughly in the order you describe them. two in gap -- although i am not familiar with x-men scores, so i didn't know about the new x-men theme. dark is by far my favorite track. and frameshift -- in my head, without seeing the movie -- is a theme that feels like a transition to evil. now that i read your comment, that phoenix theme is "that" villain theme in my head. and the magneto theme in frameshift is "that" transition. at least to me...

now, amity is where i am hearing the progression from Dido's Lament by Henry Purcell. a few people mentioned it was the inspiration for the score. since i have been paying attention to it, i am finding that other parts and themes blend so well with it or complement it well. the same thing with all the other themes. they blend so well that one could have started as chords or accompaniment for the other. and later turned into its own theme.

i am hoping to figure out how all these themes came from amity or from one another. and pray we get that 2nd CD that will have suites because it will solve everything :)

mpolonest123 2019-07-11 04:05:24
“Negative” is definitely the villain theme for Jessica Chastain, it also opens up the first two minutes of “Intimate”.

Great breakdown, there is still so much with the score to dissect. I love the way the Purcell motif from “Amity” recurs throughout the score, transforming into an action variation in “Reckless”.

Ahmad2019-07-11 13:13:47
I was going to do a similar analysis but got too lazy :P

Dark (or the first section of it) actually plays right after Gap in the film. Starts with Jean waking up and them arriving at the school.

I love how Hans sprinkled the new X-Men theme and Amity all over the score. The piano at the beginning of Reckless is actually part of the new X-men theme "Gap" and the big conclusion at the end of "Insertion" is a variation on the theme as well.

I count at least five unique themes:
1- The new X-Men theme
2- Jean Grey/Dark Phoenix
3- Magneto
4- Tragedy (Amity)
5- Vuk's theme (Chastain's character) - which is incredible

I really love the score and I hope we get to hear the content of the second CD. The end credits suite had very interesting variations not included in the album.

BC2019-07-12 17:25:13
You're forgetting Jean's theme at the beginning of "Frameshift", which in my opinion is one of the prettiest parts of the score. It starts shifting over to the Dark Phoenix theme 44 seconds in.

John G. reply Replies: 4 || 2019-07-02 18:22:21
Is there a source that confirms a 2CD release/existence? I’ve been looking around and I’ve found nothing so far.

George2019-07-02 19:39:22
Facebook group. HZ confirmed himself. Go sign the petition, otherwise this release may not happen at all!

Kevin2019-07-09 09:02:43
I'm really hoping they pull through with that 2 CD edition, it would be great to have not only a physical copy but to know what his bonus material has to offer.

Ahmad2019-07-09 12:16:53
The whole thing is about getting the CONTENT of CD2 out :)
A physical release seems highly unlikely.

BC2019-07-09 18:18:38
Physical release is pretty much a no go at this point. Maybe if the movie hadn't bombed so hard, but the fact that Disney/Fox is going to lose about $150 million on it means that they're definitely not going to throw out money on getting a physical release done. We'll be REALLY, REALLY lucky if we get a digital release with the second disk, and I can live with that, despite wanting a vinyl copy of this very badly.

Nicklas reply Replies: 0 || 2019-07-09 12:18:14
Hybrid Soldier - It seems like you work in the bizz? are you working the same place as Hans?
I have a few questions maybe you can answer?

A few weeks ago Hans Zimmer composed the theme for 13 Minutes to the moon. And last year he did a theme for a car commercial (scoring the drive).
And now the ekstra cd release with Dark Phoenix, which is doubtful will ever be released even though we have signed the petition. A track that is also missing a release is Thunderbirds - Live in Prague...
None of these music tracks were ever released on Apple or Spotify. Why not?

How can a world famous genius composer like Hans still compose great music that don't get I digital release, these days... How can that be?
Who decides if it gets a digital release on iTunes or Spotify if not Hans himself?
Us - the fans have to find it on youtube which is too bad.
You would think that a creative and music lover like Hans would want to get all his music out to the public?

Friendly regards.

Der Profl reply Replies: 1 || 2019-07-02 21:47:59
What does "(Traditional)" mean in the composer credits for "Amity" mean?

Der Profl2019-07-02 21:53:44
Oh, wow. My English is at its best today. XD

HiX reply Replies: 0 || 2019-07-01 01:16:25
Crysis 2 has a track named "Insertion" as well

HiX reply Replies: 0 || 2019-07-01 01:16:21
Crysis 2 has a track named "Insertion" as well

Hybrid Soldier reply Replies: 2 || 2019-06-30 15:34:54
Here is one way to make them realize : se-the-second-part-of-the-dark-phoenix-original-motion-pictu re-score-by-hans-zimmer-87958d0b-fc42-4b8e-bed9-94f3f23ff4be

badbu 2019-06-30 15:50:42
don‘t understand why fox didn‘t release it digitaly...

mpolonest123 2019-06-30 16:59:30
Thanks for the link @Hybrid. With Han’s clout I can’t see why on earth they wouldn’t put out an already finished album. Regardless of the film’s performance.

Fred reply Replies: 2 || 2019-06-30 11:54:04
so...are there more tracks coming?...

nvictor2019-06-30 13:33:26
Hybrid told us not to hold our breath and what he says is often right...

Fred2019-06-30 14:29:37
oh damn...:( and digital? :(

nvictor reply Replies: 2 || 2019-06-28 03:20:51
there is so much to love about this soundtrack. it always brightens my day when i discover something i haven't noticed before. here are a few favorites:

the sharp transition from very quiet to very loud at the beginning of "Gap" gets me every single time.

"Dark" is such an amazing track. i have grown as a score fan and listener and now i gravitate towards tracks that are moving slow, moody, with only a few strong moments. "Dark" delivers all of that. at the moment it's easily my favorite.

the choir in "Dark" (and throughout the album) is said to have been done before but nothing i heard before compares to the "humming" and those tribal sounding voices. it's such a joy to listening to plus when it complements the percussion it is just awesome.

the end of "Reckless" does not seem to have a resolving note and that trick has been used before. but what's new for me is that i seem to hear that final note at the beginning of next track "Insertion". also the end of "Reckless" is pretty much "Amity" but more intense.

when i previewed "Coda" i thought it sounded hopeful like the end of Gladiator. but now it also sounds like Chevaliers de Sangreal. and the voices give me a Circle of Life vibe. it is such a hopeful track and yet feels so incomplete. that's what makes it so beautiful.

nvictor2019-06-29 10:52:49
"Amity" looks like is it in a canon form with the main and accompanying themes circling on different instruments. really simple but effective. i also like that pulse in the low end (a la dunkirk).

Nahuel2019-06-30 08:42:58
Decent movie, way better than crappy endgame.

Nick reply Replies: 1 || 2019-06-28 02:43:28
This score is the very definition of hit-or-miss for me.

On one hand, I admire that this is a lighter and more colorful effort by Zimmer and co. compared to their other superhero scores. The "main theme" introduced in Gap is simple yet uplifting and inspiring enough, and I am really liking the use of female choirs to denote Jean and The Phoenix. It is reminiscent of classic Zimmer bombast from scores such as Crimson Tide and Pirates, and to me (and I'm sure many others) that is a breath of fresh air when compared to his other works in the last decade or so.

On the other hand, I don't think it's quite the return to form for Zimmer some of us were hoping for. The fact of the matter is the reason most of the cues are so long is because half of them are taken up by discordant ambiance and rhythmic pounding (take out the non-melodic/themed content in a cue like Reckless and it could hover around the four minute mark). And the themes themselves aren't anything too special; the aforementioned Gap is more reliant on powerful, overstated chords and piano arpeggio, which doesn't sound bad, sure, but it doesn't elevate it to levels of greatness.

Also correct me if I'm wrong, but in the year prior to the score's release Zimmer was hyping up "trying something [I've] always wanted to do in a film score," and unless I'm mistaken it's adapting "Dido's Lament" for a blockbuster action score? If that's the case then I guess it works out fine (except in a cue like Amity, which irritated me to no end), and the "pounding" remix it sees in a cue like Reckless is entertaining but not really that innovative. Zimmer's toyed with the "adapting classical pieces for the big screen" idea before (Gladiator, Hannibal, Dunkirk, etc.) and this particular treatment doesn't strike me as anything special.

So overall I think Dark Phoenix is one of Zimmer's better efforts in the last ten years but it doesn't reach the heights achieved in a score like Gladiator or Pirates or Angels and Demons (my personal favorite). I'll definitely find myself exploring the soundtrack later on, maybe I'll find another thing to like about it.

Edmund Meinerts2019-06-28 19:12:14
This sums up quite nicely how I feel about the score as well. In a way Dark Phoenix is a perfect microcosm of how the 2010s have been for Zimmer in general - a mixture of genuinely great moments with a lot of frustration and understated droning and ambience that is not nearly as revolutionary or groundbreaking as the composer would like you to think it is. It's an okay score, and I definitely am curious to hear what ideas got left by the wayside, but it's getting more and more clear to me with each new release that what I loved about Hans Zimmer's music and what Hans Zimmer himself currently is interested in pursuing are no longer the same thing.

maybe reply Replies: 10 || 2019-06-27 00:54:31
My Question again?!!!!


badbu 2019-06-27 05:49:48
we don’t have a release day...

Hybrid Soldier2019-06-27 12:02:45
Don't hold your breath...

mpolonest123 2019-06-27 15:17:49
That’s disappointing to hear. Was it the film’s box office failure?

badbu2019-06-27 15:45:37
it will be released. maybe not a cd but digital...widows was not a good movie and there is a vinyl :D

maybe2019-06-27 15:52:01
thanks for the long-awaited answer. It's a shame to hear that there is no cd-release. at a score from Hans Zimmer something completely new.

Nick2019-06-27 16:27:54
@badbu Widows was still a critical and commercial success, and all that combined with the nostalgia, subject matter, and talent both behind and in front of the camera undeniably contributed to a vinyl release, even though I didn't think the score was anything special.

kekec2019-06-27 19:47:01
Do you know something more specific, Hybrid? Not so long ago it seemed the 2CD release was confirmed.

Ahmad2019-06-27 20:57:08
Why are we comparing Dark Phoenix to Widows again?
Widows got a CD and vinyl release. The key here is the record label. Widows was Milan Records while DP is Fox Music and apparently they don't do physical releases.

Wish they had given it to Sony like previous X-Men soundtracks, maybe things would've been handled better.

Gump2019-06-27 21:05:03
Does that mean the 2nd cd is canceled?

badbu2019-06-27 21:12:58
for me a digital release is enough :D

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