NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Hans ZimmerSteve MazzaroDavid FlemingAndy Page
ComposerAdditional MusicAdditional MusicMusic Producer
Dark Phoenix
Label: Fox Music
Length: 67'55
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 (1924 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
Create Topic

Pages << 1 2 3 4 >>

Bdange reply Replies: 6 || 2019-06-23 20:15:06
This is not a best soundtrack of Hans, but the theme "Gap" and the first two minutes for me are very good, no good....excellent.


badbu2019-06-25 07:43:04
for me the best cues are:
the unreleased piano cue (school)
Deletion (what a scene!)
Insertion and Coda!

I like the choir so much in this cues! Amazing work!
I can't wait for the second "cd" and i also hope we get a making of the score (video)!!!


ThePhantasm2019-06-26 03:09:20
The song Deletion plays in what scene?!


Mephariel2019-06-26 04:12:37
Insertion and Coda are probably my two favorite cues other than Gap. But the last 3 minutes of Intimate is the best action sequence of the entire album. I just wish there is a cue completely devoted to that sequence.


badbu 2019-06-26 08:29:41
@ThePhantasm the magneto vs jean scene ;)


Ahmad 2019-06-26 10:17:17
Any reason why Negative is put before Deletion other than to piss us off and ruin the chronological order? :P

Intimate > Deletion > Negative > Reckless > Insertion > Coda


badbu2019-06-26 16:10:18
@Ahmad hahah idk :D

JamesT reply Replies: 1 || 2019-06-19 15:12:51
Is there any word or time frame on the second release?


badbu 2019-06-23 15:39:02
no :(

... reply Replies: 13 || 2019-06-20 14:57:53
I saw the movie again and can confirm that most of the music is on this release. There are 3 unreleased cues I would like to hear... The scene where Jean and professor X arrive at the school, romantic cue which ends with the aliens landing on earth and finally end end credits cue.


Ahmad2019-06-20 16:12:56
I'm actually quite pleased and surprised that most of the album if not all of it is comprised of actual cues - not suites, not edits (although some tracks are slightly edited like Reckless - which extends the X-Men theme with brass @ 4:20).

The romantic cue/s (I think there's more than one) is a variation of the Jean Grey/Dark Phoenix theme played with high strings.

The end credits are easy to get when the Blu-ray comes out so I don't give it any thoughts. And I think the first part of the cue is probably taken from CD2 or would be featured on CD2.

The cue at the school is really good though. Wish it was put on the album. And that loud swell that played during the title card is incredible.

One thing, they definitely butchered and buried some cues in the mix. The first part of Intimate, parts of Reckless and Insertion, sound effects took the center stage.


badbu2019-06-20 17:01:29
all i want is the "school" cue :D


Ahmad2019-06-20 17:12:07
Isn't funny how we always focus on the cues we don't have instead of the really cool ones we already got? :D
CD2 and the school cue lol.


mpolonest123 2019-06-20 17:19:46
@Ahmad
For me personally it really depends on how well the album is put together/what is missing. If an album is arranged well enough and nothing important is left off I’m usually happy.

The problem with most Zimmer releases (thankfully not this one) is that there are always major/important cues left off for no reason whatsoever. When you are missing “Escape From Ship”, “No Time For Caution”, or most of “Dunkirk” it becomes a burden. Especially when so many composers nowadays are putting out longer albums.

I will say though, I think Zimmer has gotten better in recent years in terms of albums. Dunkirk aside most of his releases have been pretty strong. Compare that with Sherlock Holmes 2 or the Pirates scores.


...2019-06-20 17:37:40
Well the school cue is one of the best in the score.


badbu2019-06-20 17:44:03
@Ahamd haha yes it is :D
No... i'm really happy about this release!


Ahmad2019-06-20 17:48:59
@mpolonest123

Long post :)

I totally agree with you. I think this release is very satisfying because you really get most of what you hear in the film. But also it does make the cues not included stand out because you can literally count them, plus they're really short so they could've been included as well.

I really enjoy releases like Justin Hurwitz's First Man where we got literally got every single cue (some alts but still). People still complained about "filler tracks" or whatever that means but you can always make your own playlists.

With Dunkirk (I might be wrong) but I feel like the score doesn't exist in a traditional way like other scores - I'm going by what they Zimmer and Nolan said publicly. The idea that the score was constructed as one long track. Although Nolan did mention exporting having to re-export music stems for archival purposes as they were mixed with unwanted sound effects, so audio files exists. So couldn't they have found a way to export the music and give us a proper film version? They probably could have done that. But I feel like they didn't think it would be a good listening experience so they opted with the suites.

Also, I feel like Hans may not want to release cues if they are heavily edited by music editors. That might be the case with the film version of NTFC and Dunkirk.

Interstellar was an interesting one. It seems very satisfying as we eventually got all important cues but it missed some really good ones like Quantifiable Connection and Landing In Tesseract.

One last thing... although I love physical media and love to collect CDs, why are they still concerned with having to cut stuff out to fit stuff on CDs? Although with Hans it seems like it's more about a pleasant listening experience. But they can put out hours of music digitally while putting a short concept album physically. There should be no limits.


mpolonest123 2019-06-20 18:03:36
@Ahmad
Dunkirk is one of those rare instances where the only presentation that would have worked would be a complete one, for the reasons you stated.

And I definitely give major props to whoever is handling the Marvel score releases nowadays. Both of the latest Avengers and Black Panther had some
extremely comprehensive album presentation on the digital side of things. Or even Brian Tyler (who I’m not generally crazy about) and Ben Wallfisch, who put out long albums.

In today’s digital age there is no reason to skimp on music. I’m personally satisfied with Dark Phoenix’s release because, while not complete, it does at least contain almost every major cue (pretty much the last 30 minutes is completely intact). Now that doesn’t mean I’m still not waiting eagerly for that bonus disc....
;-)


Ahmad2019-06-20 18:16:41
Yes, exactly. It's an experimental film to the core so I wish they walked the extra mile and released the music in an unconventional way by releasing it as one-ish track (there are 2 to 3 pauses actually).

Well... I'm not with you on Marvel lol. They skipped incredible tracks with Captain Marvel and Endgame. There's one cue in CM that's so incredible and I cannot believe they skipped it. Another cue in EG which is literally in one of the biggest and most important moments in the film. They released the cue before it and the cue right after but kept it out of the release.

But I love that they do put out extended versions of the albums digitally and not conforming to the limits of physical media.


iamtommie442019-06-20 21:44:58
I've been wondering something for quite some time now.

Why are there soundtracks albums made? Why aren't the Complete Score/Sessions just released at first hand?

Is there a reason for this?


Anonymous2019-06-20 22:04:30
Money


nvictor2019-06-21 00:23:42
@iamtommie44

may i compare with mainstream music for a minute here. albums are important because putting one together is an art form on its own. the best albums are often not the ones with only the good tracks. but of course there are also those you buy because of track #2 or #3

in hiphop for example, mixtapes are a big thing. they seem like a freer album form. a way for artists to test new ideas and project directions. based on the response, those ideas would show up in albums. it's a nice way of testing things (or us lol) since our taste, especially in music, changes often. sometimes these artists want to see what works and what doesn't. i wouldn't mind buying experimental stuff from my favorite composers to be honest.

but anyways, dundirk is a very good album if you ask me. it's one of those that i can listen to in a loop and not get tired of. the tracks carry you along the journey. and by the time you reach the end of the last track, it loops right back into the first one...


kekec2019-06-21 09:47:29
Why soundtrack albums are made? Because most of the times a well edited album is a much better listening experience than the music as heard in the film, complete and chronological. At least 9 out of 10 cases I prefer to listen a well edited album. There are very few cases when a complete album is needed, in my opinion. The other thing is: I only have about 40-60 minutes patience for an album listen.
In Hans' case it's different sometimes because I really enjoy his suites and experiments.

levraibond reply Replies: 0 || 2019-06-18 11:18:55
No more superhero film score for me, he said .... :D

Mr.Unbreakable reply Replies: 12 || 2019-06-12 20:02:10
I know it's a lot to ask, but @Hybrid thinks you could put the credits of Mazzaro and Fleming?


Hybrid Soldier2019-06-16 23:55:41
All credits added for the OST, even though since it's long montages from lots of cues, it doesn't make THAT much sense... :)


Anonymous2019-06-17 01:46:18
why does Amity say (traditional)?


Hybrid Soldier2019-06-17 08:58:59
Because it's heavily influenced by Henry Purcell, that's what Hans said :

"Dark Phoenix is all Henry Purcell... I felt the last few bars of “Dido’s Lament” with the endlessly descending line and the “Remember Me” perfect for the characters... less the tune, more the harmonic movement"


Edmund Meinerts2019-06-17 11:03:07
I guess I should know better at this point but I'm still a little disappointed that there are no solo Hans cues. Although I suppose there could be some hidden inside the longer album tracks.


Ahmad2019-06-17 16:53:55
"heavily influenced" indeed :D
I really love Amity and I love how the theme appears in several other cues:
Reckless which features an epic/action rendition
Insertion = a short quote at the beginning
Coda = another call back to the theme

Been listening to the score since I saw the film. Love it. Eagerly waiting for CD2. I wonder if it includes an extended version of the last 2 minutes of Insertion - INCREDIBLE.


mpolonest123 2019-06-17 18:53:45
@Edmund
I wonder if this is one of those situations where the material in film is derived heavily from the suites, with everyone either arranging it or adding elements onto it. Just guessing of course, I’m sure we’ll get a clear picture once the bonus stuff gets released.

And apparently there is about 16 hours of music “lying around”, going off of what Hans mentioned in the Vi-Control forums.


Michael Baker2019-06-17 19:07:37
Yeah... Wait till CD 2 and I'm sure we'll get a much stronger idea of what's solo Hans in here.


George2019-06-17 20:35:18
@Michael Baker - I can’t be the only one who read that as Han Solo right?


Backbiter2019-06-17 21:12:31
The same thing happened to me George


Michael Baker2019-06-17 22:37:30
A surprise reference to be sure, but a welcome one.


Backbiter2019-06-17 23:10:10
Posibly


maybe2019-06-18 01:07:23
CD RELEASE????

Anonymous reply Replies: 6 || 2019-06-16 12:58:54
Saw the movie. Great score and it really fits the movie.

Missing stuff:
- 25 seconds of a piano version of Gap without the brass and bells
- a 30 second badass version of the main theme during the mageneto/jean helicopter stand off
- 1.5 minute end credits suite. Typical Zimmer to leave the best and most epic track and best main theme version off the album. I hope it will be on CD2, but knowing Zimmer the best tracks always remain unreleased. This is another escape from ship...


badbu 2019-06-16 13:24:48
Yes! That piano part is amazing!
„when charles and jean stand in front of the school“


Zac2019-06-16 20:37:05
There was also a Jean/Scott love theme that was briefly used in the bedroom scene after they return from space. It was included in the end credits suite as well.


...2019-06-16 20:53:09
Which instruments were used to play the love theme? Piano?


Zac 2019-06-16 21:51:41
No piano. I believe it was mostly strings and had a small bit of the choir.


Meta2019-06-17 01:16:11
Just rip it off the DVD....no biggie


Zac2019-06-17 02:02:33
Right. Hopefully the other missing stuff gets released on the 2nd CD though.

badbu reply Replies: 1 || 2019-06-16 11:15:35
after listening and listening...this score is truly amazing! i love it so much! i want the suites and ideas NOW! :D


nvictor2019-06-16 22:10:01
me too!

maybe reply Replies: 0 || 2019-06-16 18:12:56
CD RELEASE?

nvictor reply Replies: 0 || 2019-06-14 18:06:30
been listening to this score for a week now and i am going to wait a little more before putting a comment on it here... but there's something else i have been saying for a while now. let's stop associating scores with movies and start seeing them as a work of art in their own rights. (albeit inspired by movies)

people are here complaining about the movie that it didn't speak to them. and then i have the feeling that they project their disappointment on the soundtrack. but both pieces of art co-exist and not depend on each other. i, for example, seldom watch any of these movies. but i have listened to their soundtracks and love them.

also i never asked for an extended CD before... but we need one for this one. it's very clear that tracks like gap and coda were definitely shortened.

also i never asked for an extended CD before but we need one for DP. it's clear that tracks like gap and coda were definitely shortened.

Choir reply Replies: 0 || 2019-06-14 14:38:42
There's nothing unique about those choirs, standard East European chorus stuff mixed with Johansson. Check out Debbie Wiseman's Warriors from 2000 and you'll get a much more elaborate version of this music.

Spor reply Replies: 5 || 2019-06-13 12:32:23
Ah, maybe it's not that bad. Gap is fantastic for the first two minutes. There's some nice stuff in the other tracks. But this is so derivative. Everything outside of Gap comes from somewhere else, Da Vinci Code, Interstellar, even older Hans like frigging Pacific Heigths and Spirit.

It's not a bad score but it sure is a massively overwhelmingly disappointing one. So Kinsberg wanted something progressive/conservative and fucked up his film and Hans went back to the 1990s to get some inspiration? Sounds plausible.



Ds2019-06-13 13:30:55
I'm curious... where did you hear Spirit?


Michael Baker2019-06-13 18:52:07
Some of the synth work throughout is definitely like Spirit. The first couple minutes of Coda are one example.


Ian Brown McCarthy2019-06-14 02:00:33
Yeah, while this does have a great deal more substance than most of the work Hans has done the past few years, I struggle to say it's a genuinely *good* score.

I mean, within the first minute I'm reminded of Dunkirk, then we get a pretty standard Zimmer/Balfe buildup we've heard a million times since Inception... and it doesn't get hugely better from there.

I will definitely give Zimmer credit for the unique and genuinely creative use of female choir in some of the cues, though.


AFan2019-06-14 10:28:34
I agree that Gap is the best track. My main complain with this score is that it feels that Zimmer composed it on autopilot. For me those choirs sounded too much to Electro's Theme in TASM. Is too standard and has very few remarkable moments. The movie itself lacks of personality and the score is part of that problem. I think they just wanted "dark" and hired Zimmer for making his dark ostitatos.


Medigo2019-06-14 11:07:08
I cant say that this chorus reminds me of anything I have heard Zimmer done before. And I have played all his scores to death.

Collector reply Replies: 0 || 2019-06-13 09:26:26
Seen the film last Friday, its definitely not as bad as they are saying it is. Not very good either, but a solid average. Loved the score! Works really well in the film, I need to give it a thorough listen tho. Been listening since Friday and Im only on track three now, but enjoying the hell out of it so far. Thank you Mr. Zimmer!

Morgan Joylighter reply Replies: 7 || 2019-06-12 12:43:11
I hope the box office results don't discourage them from releasing the 2CD album. There are so many great ideas in this score that I'm dying to hear further development in suites.


Hybrid Soldier2019-06-12 13:21:44
It's in the works.


Jordan2019-06-12 13:35:21
Very happy that the 2CD edition is still in works and not canceled !


mpolonest123 2019-06-12 18:24:57
@hybrid
Do you know if the bonus music is exclusively for the physical release or will it also be released digitally?


Hybrid Soldier2019-06-12 18:46:00
Digitally, sure. Physically, maaaayybe ?


badbu2019-06-12 19:24:33
i can‘t wait!!!! :))


mpolonest123 2019-06-12 19:25:52
That’s great to hear, if it is digital that means a faster release hopefully :-)


Anonymous2019-06-13 00:01:12
Vinyl?

Topic reply Replies: 0 || 2019-06-12 13:01:33
Even though I agree with the previous poster - would love to hear what Hans came up originally - but sadly a lot of this sounds like copying Interstellar (when it's good) and Dunkirk (when it's totally useless). Hans is not a man to innovate from score to score, so if all sounds like previous work?

Zach reply Replies: 0 || 2019-06-11 21:34:25
I’m not in love with the score, but l love the piano motif in the first two minutes of track one. Shame it wasn’y used more.

badbu reply Replies: 2 || 2019-06-11 19:27:31
@Hybrid
Do you know how many tracks are on the second cd? Any infos about it? :)


kekec2019-06-11 20:10:21
Why do we talk about CD1 and CD2 when no CDs have been released at all? OK, I admit Download1 and Download2 sounds terrible...


badbu 2019-06-11 20:14:38
There is a CD coming ;)
CD 1 - Score / CD 2 - Suites and Ideas

Dude reply Replies: 2 || 2019-06-11 12:40:11
I think everyone's going to bury this one as soon as possible. The film is a huge bomb, Zimmer's score is a copy-paste effort from better stuff in the past. Don't expect any of this to have any significance soon. Sad, I was expecting this to at least experiment with vocals (Johansson, etc did this stuff).


MrZimmerFan2019-06-11 13:06:28
Can we please, create something debatable?


superultramegaa2019-06-11 19:11:28
...That's literally what he just did. His opinion isn't fact, therefore it's debatable.

Mortifer V. reply Replies: 15 || 2019-06-08 00:17:08
so.... will there be a Deluxe release? :p
i’d love to hear the Dark Phoenix theme suite with more of that choir


mpolonest123 2019-06-08 06:28:48
Same here!

I’m really itching to know what “ideas” Zimmer had throughout the process.

And just having seen the film I can easily say almost all of the score is included here, albeit edited together in longer suites.


Mephariel2019-06-08 10:51:54
I want to know if there is an extended version of the last 3 minutes of "Intimate." That 3 minutes is the best 3 minutes of action in the album.


mpolonest123 2019-06-08 16:53:34
Yeah, I would love to hear more of Magneto’s theme which felt surprisingly underplayed.

So a few notes on the score; the opening piano theme for Jean is on album, just moved to the end of “Frameshift”. In terms of what’s missing there are two or three variations on the X-Men tune not on album, some variations on the villain identity from “Negative”, some smaller atmospheric cues, and the amazing end credits piece. Definitely no MoS situation where anything major is missing though.

And does anyone else feel like the string variation of Jean’s theme in the opening of “Frameshift” sound similar to “Still” from Black Hawk Down?


BC2019-06-08 18:10:02
@Mephariel - I know right!!! "Reckless" is the track I can't stop listening to though. Perfect track for working out or playing action video games.


Jean-Luc2019-06-08 18:18:17
Which was the song during the train fight sequence?


Iamtommie442019-06-08 20:37:54
Reckless & Insertion


badbu2019-06-08 20:39:15
It‘s „Reckless“


Jean-Luc2019-06-08 21:02:57
@Iamtommie44 & Badbu Thank you for your help, I really appreciate it.


Iamtommie442019-06-09 00:33:33
Not everything is correct with 'Frameshift'. But this is how I think the score of Dark Phoenix plays in the movie.

Gap: Space Mission
Dark (0:00-1:20): Back From Mission
Dark (1:20:end): Inside Jean's Head
Frameshift (0:00-7:08): Jean At Home / Jean Vs. X-Men) [Lot of it is alt.]
Frameshift (7:08-end): After crash / Logo (Alt.)
Amity: Funeral / Admit You're Wrong / Jean In Rain
Intimate: A New World / Helmet / The Girl Dies / Street Fight
Deletion: Magneto Crushed / Puppet Charles / Still Hope
Negative: Take It / Taken
Reckless: Train Fight
Insertion: Phoenix Rises
Coda: Aftermath / Chess


Jean-Luc2019-06-09 02:45:45
@Iamtommie44 You are right with every detail of these songs from the movie. I watched that movie today when, I listen all the songs from the whole movie has a complete score with a few missing songs wasn't here on the album. Also, Insertion and Reckless are my favorite songs, but I'm very obsessed with the Insertion song over & over, but the soundtrack is good too.


mpolonest123 2019-06-09 16:05:42
@Iamtommie44
The first two minutes or so of “Frameshift” are when Jean arrives at the island and meets Magneto. Outside of that cue though everything else is in the right order.


SteveR2019-06-09 18:43:10
Where in that chronological order would you put the first two minutes of "Frameshift"?


mpolonest123 2019-06-09 21:35:47
In between Amity and Intimate. It might over two minutes though, I can’t remember the length of the cue in film.


badbu 2019-06-10 10:18:18
One cue is missing i want so much!!!
When Jean and Charles drive to the school and stand in front of it.
There is in the beginning the x-men theme in a very nice variation and after that a
amazing piano cue! Love it!


Bibi2019-06-10 21:21:44
I want the first part of the end credits *_*

Bibi reply Replies: 0 || 2019-06-10 21:05:52
This album absolutely does not do justice to the music in the movie

Bondo reply Replies: 0 || 2019-06-10 21:04:07
For those of you who have seen the movie, who or what theme is played at 8:50 in "Intimate" and 7:20 in "Reckless"?

Iamtommie44 reply Replies: 3 || 2019-06-08 14:23:47
Just saw Dark Phoenix. Don't get all the backlash. Ok, it's not the best movie ever but it's not bad either. There are some faults in the script for my take, but the performamces, action sequences (especially the final train battle) were great. I liked the ending better than The Last Stand's ending.
The score fits the movie perfectly and I already liked the score, but this has increased after seeing the movie. I really wish we get a Deluxe release. I especially need the music that plays over the first half of the end credits. It's a mix between the X-Men theme & Dark Phoenix theme. Love it


vced2019-06-10 19:10:56
I'm also really interested in the 2nd CD.

The score as presented here is (in my opinion) really awful, basic, and rushed sounding, which makes me think the more interesting ideas didn't get used. Especially if it's been two years working on it. A bit like how On Stranger Tides is a bad score but you can hear the seeds of something cool and interesting developing in the concept guitar tracks.


David2019-06-10 19:57:24
Is the score on the album suites and maybe the second cd will be tracks heard in the movie? Anybody knows this???


iamtommie442019-06-10 20:26:33
Look a few posts below.
I made a breakdown of how the tracks are played in the movie.
They're not suites

manny manfred reply Replies: 8 || 2019-06-07 19:30:56
I miss old Hans :( I hope he doesn't put Synth music on The Lion King (2019)


Hybrid Soldier2019-06-07 19:45:13
But synth is old Hans...

Listen to the 80s of his !


badbu2019-06-07 19:47:35
Yes! Hans is SYNTH!


manny manfred2019-06-07 23:32:23
No you guys doesn't understand me. I mean i want like Gladiator music or The Last Samurai music. I think Hans didn't make good music after 2014.
Music ratings for me.

2015
Chappie - 2/6
Woman In Gold - 4/6
Freeheld - 1/6
Le Petit Prince - 2/6

2016
Kung Fu Panda 3 - 1/6
Batman v Superman - 3/6
Inferno - 2/6
Hidden Figures - 1/6

2017
Dunkirk - 3/6
The Last Face - 1/6
The Boss Baby - 2/6

2018
Widows - 1/6

2019
Dark Phoenix - 2/6





HunterTech2019-06-08 01:35:51
Those are arguably the start of modern Zimmer, and comes after a lot of his 80s/90s work. You could say Gladiator is the midpoint, but even that is debatable.


SteveR2019-06-08 01:36:14
You do realize that there is a significant amount of synth in Gladiator, right??


mpolonest123 2019-06-08 02:24:12
You totally are entitled to your own opinion, but I definitely disagree with you massively here. KFP3 and Hidden Figures both 1-star? I think both of those are excellent, particularly Panda 3.

I guess it comes down to personal taste. As much as I absolutely love orchestral Zimmer I think electronic Zimmer can be just as good, albeit in a different type of setting. Chappie and Dark Phoenix both work extraordinarily well for me, and even Inferno has its moments.


Old2019-06-08 05:32:55
Well old Hans is 30-40 minutes of suite


Mephariel2019-06-08 06:17:58
Kung Fu Panda 3 and Hidden Figures are both excellent scores. Also, Blue Planet II.

Kekec reply Replies: 3 || 2019-06-07 16:36:29
I don't get all the whining. Just back from the movie and the score is wonderful. (The movie not so much.) It has melody, action, simple ideas made memorable like only Zimmer can do, so a very enjoyable score in my opinion. Looking forward to get the CD!


superultramegaa2019-06-07 17:50:07
Just because someone has a negative opinion does not mean they are whining, no matter how harshly they express it.


NTNBC2019-06-07 18:56:08
A negative opinion on the score is something way different from all the entitlement and whining here. Sorry, but calling Hans Zimmer lazy and other shit isn't really valid criticism.


Medigo2019-06-07 20:10:32
It only annoys me because its all done in its separate box.
I hate visual clutter!

Boriana reply Replies: 0 || 2019-06-07 18:22:53
Dark Phoenix is my new favorite soundtrack from Hans Zimmer!!! Thank you maestro!!!

SteveR reply Replies: 0 || 2019-06-07 18:22:34
anyone got a breakdown of the score yet as it appears in the movie?

Shince Thomas reply Replies: 0 || 2019-06-07 18:07:39
This score is interesting in a lot of ways.I don't understand why some are left not liking it.

Dk reply Replies: 1 || 2019-06-07 16:22:57
Anyone missing cues so far from the so called official release?


badbu2019-06-07 16:31:56
the official release is about to 95% the complete score.
I think there is a piano part in the opening we don't have.

BC reply Replies: 2 || 2019-06-07 00:19:12
"Intimate" and "Reckless" are honestly the best tracks on the album, which is saying something because I honestly loved all of them.

After hearing that the film is, pardon my French, a hot ass mess, I'm really glad that Hans delivered the goods with the score. It's everything I was hoping for and then some, and dear god the themes...after the blandness of Days of Future Past and Apocalypse's scores, it's nice to finally hear some new, inspired themes. Jean's, Phoenix's, the new X-Men theme, and the brief usage of Magneto's new motif are all excellent, and are expertly used.

"Reckless" and "Intimate" are my favorites. Both are dark, intense, relentless and just epic.



HunterTech2019-06-07 01:35:00
It's been said that for DOFP, Ottman was held back by Singer to make something that was more RCP in style, which didn't sit too well with him. His main theme from X2 almost didn't return because Singer thought that it would've been seen as too cheesy in the modern landscape, and that a producer eventually had to convince him to keep it. Xavier's theme is pretty good, as is all the X2 callbacks, but it's clear that Ottman just didn't put his all into it. Apocalypse was much better, but people likely don't discuss that one purely because they didn't like the film, so any merits were brushed aside.

I'm not too sure sure if I'll wait until after watching the film to hear the full score, but "Gap" and the other samples has left me confident that the score will be more interesting than Zimmer's most recent efforts.


BC2019-06-07 14:40:41
That I didn't know, and it restores a good amount of my faith for Ottman. I can't blame him for not putting his all into it, especially when it seems like Singer kinda signed off after DOFP and was just getting another easy paycheck with Apocalypse.

I didn't like Apocalypse, but I wasn't really impressed with the score either. Not the worst score I've ever heard, and not the worst in the franchise, but not great either.

mpolonest123 reply Replies: 11 || 2019-06-06 22:21:27
First listen impressions:

What’s so interesting about this score is that it’s basically modern Zimmer meets Classic Zimmer. Tonally the music is very similar to things like Inferno, Chappie, TASM2, and Dunkirk. Themewise though, you still have those classical chord-progressions and power anthems much akin to that 90’s MV style. Amazing use of action in “Gap”, “Reckless” and “Insertion” that definitely pulls a book from both sides of Zimmer’s career.

And THAT Dark Phoenix theme..... wow!!! As great as the main X-Men tune is, the choral chanting and female vocals for Phoenix steal the show here. Especially the way it culminates in the last few tracks. Worth mentioning is a little motif for (Magneto?) that gets some great usage on piano/guitar in “Intimate” and “Reckless”.

The only real nitpick I have is the middle portion of the album, which does slow down a bit. Otherwise it’s nice to see Zimmer on top of his game again.


Hybrid Soldier2019-06-06 22:38:41
"The only real nitpick I have is the middle portion of the album, which does slow down a bit."

Just like (in) the film. lol


...2019-06-06 22:54:25
So is the score like this (long cues) or do these long tracks contain pasted together cues?


Medigo2019-06-06 23:03:13
It sounds me to like its a little of both. Tracks like Gap and Intimate shift around a lot so must be from different scenes. Others sounds like they could belong to long scenes, or some scenes that have silences removed.


mpolonest123 2019-06-06 23:41:26
@hybrid

Is the film as bad as people say?


Hybrid Soldier2019-06-06 23:47:13
Second CD is mastered, but no idea what's happening.

Film is meh, it's not exactly terrible, but it's definitely not good either...


Anonymous2019-06-07 00:20:31
Any chance of a vinyl release?? Cause I'd happy throw down $30 bucks for it.


George2019-06-07 00:45:52
Honestly I couldn’t have imagined something like this. I was really worried it was going to end up being a drone-fest that would put me to sleep, but like everyone is saying, it’s a great mix of MOS, Interstellar, Dunkirk, and TASM2. I’m generally not a fan of the synth heavy stuff, but this is the exception. The man is BACK.

Really the only snoozer is Amity. The rest is top notch.


mpolonest123 2019-06-07 01:00:28
@Hybrid
That’s a shame to hear, at least the property is going to Disney/Marvel now.

And for some reason “Amity” reminds me of “Widows” with the slow, sustained tones...


HunterTech2019-06-07 01:37:43
The franchise certainly should've ended at DOFP and/or Logan, but it is rather disappointing that the last Fox outing wasn't too well received, and as such might taint the reputation of this iteration of X-Men. It's had its ups and downs, but it's still pretty important in the grand scheme of things, so to brush it off like it wasn't is pretty disingenuous.


Ds2019-06-07 09:38:13
@mpolonest123: "at least the property is going to Disney/Marvel now"... yeah, so the films will make a billion $ but will suck 10x more. For all its flaws, Dark Phoenix is still leagues above the average MCU product.


BC2019-06-07 14:36:42
I disagree. Marvel lets their characters grow instead of rebooting every 5 years because the studio's run the franchise into the ground.

X1-2, great. X-3 tried to do too much and seriously mishandled the Dark Phoenix Saga story, leading to a reboot. XO:Wolverine was supposed to reset and focus on individual characters, but after it bombed, the Magneto movie that was supposed to come after was cancelled. Reboot.

Then we get the First Class series, which ranged from really good to bad. Kinberg says that despite the Fox/Disney merger, Dark Phoenix was considered to be the last of the First Class series movies, so reboot again if Fox hadn't sold.

Marvel's had a consistent vision for all of their characters and franchises for the most part, and that all paid off in Endgame, where nearly every major character got an earned ending. And I say all of this as a life long X-Men fan. Fox just didn't really know what to do with the franchise, and it shows at how wildly uneven it is.

Pages << 1 2 3 4 >>

 HANS-ZIMMER.com© 2001-2018 OST 
Dark Phoenix soundtrack - Hans Zimmer 2019