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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
The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/
Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.
What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.

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Hans ZimmerDavid FlemingSteve MazzaroRyan Rubin
ComposerAdditional ArrangementsAdditional ArrangementsMusic Supervisor
The Lion King
Label: Walt Disney Records
Length: 77'36 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 (1542 votes)
  1. Circle Of Life - Nants' Ingonyama - Lindiwer Mkhize & Lebo M (4:01)
    Elton John, Tim Rice, Hans Zimmer, Lebo M, Stephen Lipson
  2. Life's Not Fair (1:43)
    Hans Zimmer, David Fleming
  3. Rafiki's Fireflies (1:52)
    Hans Zimmer
  4. I Just Can’t Wait To Be King - JD McCrary, Shahadi Wright Joseph & John Oliver (3:22)
    Elton John, Tim Rice, Pharrell Williams, Stephen Lipson
  5. Elephant Graveyard (6:38)
    Hans Zimmer, Lebo M
  6. Be Prepared (2019 Version) - Chiwetel Ejiofor (2:03)
    Elton John, Tim Rice, Hans Zimmer, David Fleming
  7. Stampede (7:46)
    Hans Zimmer, Lebo M, Steve Mazzaro
  8. Scar Takes The Throne (2:50)
    Hans Zimmer, David Fleming
  9. Hakuna Matata - Billy Eichner, Seth Rogen, JD McCrary & Donald Glover (4:11)
    Elton John, Tim Rice, Pharrell Williams, Stephen Lipson
  10. Simba Is Alive! (3:38)
    Hans Zimmer, Lebo M, David Fleming
  11. The Lion Sleeps Tonight - Billy Eichner & Seth Rogen (1:24)
    Luigi Creatore, Hugo Peretti, George David Weiss & Solomon Linda, Pharrell Williams
  12. Can You Feel The Love Tonight - Beyoncé, Donald Glover, Billy Eichner & Seth Rogen (3:02)
    Elton John, Tim Rice, Pharrell Williams, Stephen Lipson
  13. Reflections Of Mufasa (5:09)
    Hans Zimmer, Lebo M
  14. Spirit - Beyoncé (4:37)
    Labrinth, ILYA, Beyoncé, Derek Dixie, Jeremy Lertola, Jeff Lorber, David Fleming
  15. Battle For Pride Rock (11:01)
    Hans Zimmer, Elton John, Tim Rice, Lebo M
  16. Remember (3:09)
    Hans Zimmer, Elton John, Tim Rice
  17. Never Too Late - Elton John (4:09)
    Elton John, Tim Rice, Greg Kurstin, Matt Still, Lebo M
  18. He Lives In You - Lebo M (5:05)
    Mark Mancina, Jay Rifkin, Lebo M
  19. Mbube - Lebo M (1:56)
    Solomon Linda, Pharrell Williams, Lebo M
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Jokerslb#37 reply Replies: 0 || 2020-04-24 22:32:55
Hybrid Soldier, no Complete Score tracklist topic?

Hybrid Soldier reply Replies: 1 || 2020-03-07 20:55:26
Credits added.

Knight2020-03-08 03:44:40

Anonymous reply Replies: 0 || 2020-02-09 18:51:58
what’s this about hans doing space jam 2

Knight reply Replies: 0 || 2020-02-05 13:20:15
A couple of additional credits from the cuesheet:

Hans Zimmer, David Fleming


Hans Zimmer, Steve Mazzaro


Hans Zimmer, Steven Doar


No Lebo M credits as it's too confusing for me to distinguish between cues from the original and the 2019 version.

Iamtommie44 reply Replies: 0 || 2019-12-23 20:12:00
http:/ / 19/12/23/ron-howards-rebuilding-paradise-to-feature-music-by -hans- zimmer-lorne-balfe /#more-65516

Dillon Patterson reply Replies: 3 || 2019-12-08 16:13:21
How come the Pixar franchise albums like "Toy Story," "Monsters, Inc.," "Finding Nemo" and "Cars" didn't make it in this website?

Mike2019-12-08 16:29:13
Because those have nothing to do with Hans Zimmer or associated composers....

Dillon Patterson2019-12-21 22:57:47
Read this:
This does have Randy Newman, David Newman, Thomas Newman and John Debney.

DT-20172019-12-23 15:52:29
They're not a part of RCP.

Also that list lists EVERY composer, and who they're associated with. None of those composers are listed under Hans Zimmer.

Mephariel reply Replies: 0 || 2019-12-09 05:31:37
I just finished the movie last week and the score was the best thing about the film. The scene using the cue "Simba is Alive!" is perfect.

Paul reply Replies: 6 || 2019-10-12 18:37:02
Just watching this movie again, and I hope that someday they will release an expanded score edition

Iamtommie442019-10-12 20:08:19
Maybe we get a FYC album

Edmund Meinerts2019-10-12 21:33:41
I'd be very surprised if Disney submits an FYC for this score. Surely it would fall afoul of the "too much pre-existing music" rule and they wouldn't even bother.

Iamtommie442019-10-13 02:04:49
Have you listened to Star Wars: The Last Jedi?
That was nominated and had tons of pre-existing music

simba2019-10-13 03:40:18
but the lion king is preexisting music that has previously won an Oscar. I don’t see that happening again

Mephariel2019-10-13 06:25:52
Zimmer himself confirmed on Facebook that this score wouldn't be eligible.

DT-20172019-10-13 22:02:16
Yeah, I always thought that would be the case for the Academy Awards. Don't know about others but if it's not eligable for the Oscars I can't see Disney submitting it for consideration at any other awards either. Could be wrong - I have the vague notion BATB got an FYC despite being ineligable.

Best thing to hope for is either a leak of the 'sessions' or a future official expanded score release.

aria kumar reply Replies: 2 || 2019-08-15 01:01:10
We need the complete and expanded score available to us! This includes the score playing during mufasa's entrance to rescue zazu

Anyone else with me?? Hans is a legendary genius! <3

Soldierofrome2019-08-15 07:55:26
i like Rafiki theme. When Rafiki gets his old stick.

DT-20172019-08-15 10:03:04
Heh, if it's anything like the 1994 score, then you'll be waiting a LOOOOOOOOOOOOOONG time.

DT-2017 reply Replies: 0 || 2019-08-10 16:52:14
Am I the only one who thinks the different pitch of the second halves of "Stampede" and "Reflections of Mufasa" might have been altered in mixing?

mgbube reply Replies: 1 || 2019-07-30 21:18:38
this is mgbube for friends of the lion king and its composer hans zimmer i am very pleased that hans has dedicated a song to me in appreciation of enormous effort helmed by me in not so distant past to have complete score released by corporate monster disney corporation and which did in fact lead to ultimate release but allow me to point out the spelling is not correctly represented on this non official site run by hobbyists so it shall be excused however please do rectify this grave mistake and all is fine thanks mgbube oh and another thing edmund meinerts friend what are you doing here thanks mgbube

Edmund Meinerts2019-07-30 21:30:24
Wow, this was a blast from the past haha.

Anonymous reply Replies: 0 || 2019-07-25 22:18:00
Heitor Pereira, Richard Harvey and Satnam Ramgotra have any credits. Why ?
(Sorry for my english)

Scorefan reply Replies: 1 || 2019-07-22 05:08:29
I saw the film today. It's amazing and wonderful. The feeling and emotions of the 1994 film keep untouchables. The score is simply breathtaking. The songs are incredible. The stampede scene is so intense just like the 1994. Hans has made an intense, epic and beautiful score.

Gilvane Cezar 2019-07-22 17:05:25
I watched the movie yesterday. Unfortunately,the songs are in Portuguese here, in Brazil (even "Spirit"! ). But Hans' work is still amazing, intense, he's stolen the show again!

Leo reply Replies: 0 || 2019-07-22 04:52:55
Additional arrangements instead of additional music? Even part of the score not on album?

Ds reply Replies: 1 || 2019-07-21 21:37:58
Having seen it, the biggest thing I realized was that I missed this kind of scoring in movies. When the HZ of the 90s-2000s left in favor of experiments, it seems no one replaced him, so this area of "big sounding scores with instantly memorable and beautiful themes" has just been abandoned. Hopefully seeing/hearing this version of The Lion King now will give some ideas to executives/directors regarding musical choices!

iamtommie442019-07-21 21:46:37
That's exactley what I thought.

There was one other thing I thought was great.

I went with my parents, who have heard Zimmer's music, from when I'm listening to it, but they said to me that you can hear, that it's him, without even knowing all of his music.
They said, the thematic content, the bombast of it, it is just pure Zimmer.

Hope Spongebob & Wonder Woman 1984 are with a large orchestral/choir ensemble, and with WW1984 some 80's synths!!

Soldierofrome reply Replies: 0 || 2019-07-21 10:19:18
Life's Not Fair first part is similar > Tears of the Sun - Yekeleni Part 1 lol

superultramegaa reply Replies: 0 || 2019-07-21 04:22:13
Honestly the biggest problem with this new version for me is the lack of new variants of the themes. They mostly just repeat verbatim Hans' original ideas with little to no innovation or changes made most of the time.

It also doesn't help that cues that did have wonderful variations such as "Nala Attacks", and "Nala & Simba" have been shortened to mostly cut them out. The worst cut being for the ending to "Mufasa's Ghost" which originally peaked the emotion with that lovely variation of Simba/The One True King theme transitioning into the Pride Rock theme, all of which is absent now.

Soldierofrome reply Replies: 4 || 2019-07-16 19:22:50
Who composed Circle of Life flute part?

Mephariel2019-07-17 05:46:18
Flute or panpipes? I already thought the sound was from panpipes.

Soldierofrome2019-07-18 17:16:08
panpipes or flute doesnt matter, i just wondering who composed this :D

DT-20172019-07-18 17:49:10
Probably Zimmer, in 1994. It's part of the demoes he included on the Legacy set so I'd say it's a safe bet.

Iamtommie442019-07-20 21:30:47
It's indeed a shame so much mhsic is missing from the official album.

Love to hear more!

Anonymous reply Replies: 0 || 2019-07-20 09:09:28
Heitor Pereira, Satnam Ramgotra and Richard Harvey are credited musicians

Edmund Meinerts reply Replies: 11 || 2019-07-18 13:26:05
I feel like this is simultaneously the most enjoyable and least interesting Zimmer score of the last several years. It's nice to listen to, but it's basically the 1994 score rerecorded and tweaked in just a few places. Those tweaks do produce some highlights especially in the stampede and final battle sequences, but it's hard to think of this as a major effort, really. Yeah, it's good, but we've known that The Lion King is good for 25 years.

vced2019-07-18 18:57:18
Most of it sounds like a high quality youtube remix to me, honestly. it's serviceable but unnecessary.

NB2019-07-18 21:37:03
I have to agree. It's a stellar score and I love it, but it was written 25 years ago, nevertheless.
Still, credit where credit's due, as you mentioned, the new 'Stampede' is a beast of a track, really added to the original, as well as the 'Battle' cue, awesome stuff for sure.
Haven't seen the movie yet, but I really hope it measures up, at least in the same way the score does.

DT-20172019-07-18 23:08:59
Didn't Menken do much the same with Aladdin and Beauty and the Beast? I think the only ones who have been the most original with the scores to these remakes have been Danny Elfman and John Debney.

My personal view is this serves as a great compliment to the 1994 soundtrack, not an outright replacement. If you combined the two you'd get quite the meaty soundtrack.

As for the film itself, I highly doubt it will be as 'great' as the original, but that's not to say that it deserves the slating critics have given it either. I personally can't say - I haven't seen it yet.

mpolonest123 2019-07-18 23:28:01
Having seen it I can say visually it is incredible, definitely a work of art on that level. What sets it back (for me personally) is the lack of a strong emotional core. The choice to make the animals realistic looks great, but doesn’t have the same range that the hand drawn version had in terms of giving the animals the facial characteristics like the original. Soulless might be kind of harsh, but I didn’t feel anything throughout. Also doing a shot-for-shot remake probably wasn’t the best approach.

Musically though; this definitely was a great reminder as to why the original score is still a classic. Like everyone has said, it’s a perfect companion piece that actually fixes some minor flaws and fleshes out some ideas much better. Some important cues missing though.

Mephariel2019-07-19 05:29:44
This is the perfect companion piece to the original. It is like the high level concert version that Zimmer never did with the original Lion King.

Edmund Meinerts2019-07-19 11:50:09
I feel as though Menken did a bit more to differentiate his 2017 Beauty and the Beast from the 1991 one. The major pieces like "Prologue" and "Transformation" were left relatively intact but otherwise the rewrite was a bit more substantial than what Zimmer and crew did here. Compare the final battle music from the original (which consists to a large degree of upbeat instrumental versions of "Be Our Guest") to the remake (which is largely serious, straightforward orchestral action music). I haven't heard his new Aladdin so I'm not sure what the old:new ratio was there.

I'm not necessarily complaining, this is basically what I expected the score would be from the moment it was announced. The problem lies deeper, with the entire premise of these pointless remakes that allow very little wiggle room for freshness or creativity. Of course, I have no doubt this movie will make north of a billion dollars and give the Disney execs further license to print money. Maybe by the time they've remade every single film in their vault enough time will have passed that they can just start from the beginning again and nobody need ever be subject to the indignity of an original story ever again.

mpolonest123 2019-07-19 14:08:03
I can’t agree enough. These remakes suffer from the issue of being inferior to the original source material, mainly because they rely so heavily on copying the originals so heavily. I’m not necessarily against Disney updating their classics if they are willing to do new takes on the material. Take Jungle Book for example; they were able to do something fresh with the concept while keeping elements of the animated film. Even Maleficent, which I’m not crazy about, tried something new.

Another BIG issue I’ve noticed is the fact that they lean towards hiring actors who cannot sing, or at least cannot sing on the level required. Emma Watson, Will Smith, Chiwetel Ejiofor, etc.

DT-20172019-07-19 17:12:46
I feel like people are overreacting in a way that suggests these remakes have far more power than they actually do. The studio that makes them is separate from every other studio. WDAS is still creating new content and will be for many, many years to come, long after the remakes have had their heyday.

If anything, the proliferation of superhero films is far more likely to drown out originality on that front: there are multiple studios doing it.

DT-20172019-07-19 17:25:16
This is where I wish we could edit our comments.

Not only do you have WDAS doing mostly-new movies (I hesitate to say 'original') but you have Pixar doing them as well. Toy Story 4 was their last sequel for the foreseeable future, with them even eschewing the popular option of doing an Inside Out sequel for original projects.

mpolonest123 2019-07-19 18:20:58
Disney definitely tries to put quality into their projects, which is why I admire them. As you’ve said, WDAS and Pixar are both churning out some excellent and original films. Even Marvel, despite its formula and flaws, tries new things with the films and stick closely to the source material.

The problem with the remakes is that they seem to be nothing more than cash-grabs that prey on nostalgia. If you are going to retell a beloved story at least try something different and exciting, instead of trying to copy/paste what everyone has seen.

nvictor2019-07-20 01:32:40
me who seldom watch any of these superhero movies and remakes went and saw the new aladdin last weekend.

based on my own experience of that remake i have come to the conclusion that maybe some of the reviewers are stuck-up and not open-minded? i did enjoy the new takes on some of the songs. the new movie felt like that. a new different movie to me.

i decided that i will go and watch these movies for myself now. and i would not watch (or listen to original scores) in advance to build up expectation. i will go and enjoy my time and the songs.

that's all &#175;\_(&#12484;)_/&#175; you can't please everyone.

D A R T H reply Replies: 11 || 2019-07-11 19:23:32
A lot of missing tracks, i hope there are an expanded score one day

DT-20172019-07-11 19:56:04
I'm amazed that you can know this given the film isn't out for another week.

D A R T H2019-07-15 07:52:40
Yes, but, Sorry, but i see it ...

Rafael2019-07-17 19:18:15
Saw the film today, there is a LOT of music missing.

DT-20172019-07-17 22:11:16
Well, now we have somebody who's seen it (and yes, it's out in some countries today), we know for certain.

I wouldn't expect anything official any time soon unless Zimmer wants to release a second CD.

Hybrid Soldier2019-07-17 22:18:51
I confirm I'm back from it, there's quite a bit of unreleased score.

Anonymous2019-07-17 23:16:26
Is it all material from 1994 or is it new 2019 score?

DT-20172019-07-18 10:08:24
Wonder if it will take 20 years for an official complete score XD Not to mention any unofficial leaks (it took a long time to even get that for the original film). TBH, I'd prefer a proper release of any score any day of the week.

To answer the question above me: Mostly it's new material using the same themes from 1994, though if my interpretation the OST is correct, the hyenas and Timon and Pumbaa get new themes. The only true 'copies' of music from 1994 are Circle of Life and Remember, but even then, they are at least partially-new recordings.

Edmund Meinerts2019-07-18 10:45:17
The second half of the new "Elephant Graveyard" is basically note for note "I Was Just Trying to Be Brave" from the 1994 version as well, just with a few changes in orchestration

Ahmad2019-07-18 11:04:47
I seriously don't understand why they didn't do two separate releases like most musicals do (La La Land comes to mind - perfect release).

A soundtrack album and a score album. No missing tracks, no fuss. And optional 2-CD set containing both.

Instead, they went with a soundtrack album with some of the score and another song album for whatever reason that is lol.

DT-20172019-07-18 15:08:11
Hey, this is Disney we're talking about. Never expect this sort of thing for that. The ONLY film from them that immediately springs to mind that got that the first time round was Frozen.

Ahmad2019-07-18 15:20:13
And that's why it bugs me so much lol. They're literally the biggest studio out there, so it would've been nice to see them go to the max with this release. Especially since it's one of their most popular IPs if not their most popular IP.

superultramegaa reply Replies: 7 || 2019-07-12 19:17:34
Well, if nothing else, it's just really nice to know that Hans Zimmer can still write completely orchestral pieces when needed. Hopefully he gets asked to do this style more often again.

imbatman2019-07-13 03:05:43
Yes. Exactly. This is HZ style we want. Not the other over-used electronic synthesizers which he have been constantly using since Inferno.

nvictor2019-07-13 19:31:39
people, Hans Zimmer has been doing synths way before people got him to do orchestra. it's weird to hear that he "has been doing synth lately" talk...

DT-20172019-07-13 21:48:50
I don't think that's the argument people are trying to make. It's that his style has moved away from these big, symphonic scores to, according to some, nothing but mere background noise. Most people attribute that to around the time of The Dark Knight Trilogy. I'm not 100% sure I agree - there are quite a few scores from after then that Zimmer has done that I personally don't like but I can appreciate he's basically been experimenting.

...2019-07-13 22:53:49
The thing is, a lot of people got to know zimmer during the 2000s. During those years he did Gladiator, Last Samurai, Pirates of the Caribbean, Batman, Inception etc. While many of his scores from that period had synths, they usually had a lot of orchestra and for the people who think of that as "old Zimmer", these new scores like Widows & Inferno seem a bit different and less interesting.

MrZimmerFan2019-07-17 11:59:36
Widows is terrible score, Inferno was ok, far from things like Da Vinci Code or Angels & Demons.

But yes, listen this one, is gratifying see Zimmer can make things with orchestra like early 2000s. And this comes from a guy who loves Inception, Interstellar or Chappie

Mephariel2019-07-17 16:25:27
I absolutely disagree with you saying Widows is a terrible score. It may not be great on album, but the music fits very well with the film.

superultramegaa2019-07-17 16:48:55
We've had this argument before, almost any score can fit in a film. But what separates the mediocre composers from the best is the ability to make great music that works on its own, outside of the film.

Hans has had a lot of work lately that hasn't been doing that, and it's the reason people want him to work with orchestra again and produce is 2000s, late 90s type of style. Because those scores, for whatever problems they had, they felt distinct, memorable (for the most part), and easily could have been enjoyed away from the film.

Good scores have themes and ideas that both enhance the film, and enhance the listener's experience. Music like Dunkirk, Inferno, or Widows just feel like shallow and empty committee scores that the studio/directors didn't want too much thought put into. "Ah just write one main theme, and fill in the rest with electronics, Hans, it'll be fine!"

Thomas reply Replies: 1 || 2019-07-17 12:29:27
Request the king of pride rock with circle of life

Thomas2019-07-17 12:54:16

Mephariel reply Replies: 4 || 2019-07-12 08:16:59
What is your favorite part of the score?

For me, it is "Battle for Pride Rock" from 5:04 to 7:21.

The most glorious 2+ mins of the score.

ram2019-07-12 08:50:00
Simba Is Alive and Rafiki's Fireflies. I think those are much better from the original corresponding.

imbatman2019-07-12 15:47:04
"Life's Not Fair"
"Rafiki's Fireflies"
"Scar Takes The Throne" and
"Battle for Pride Rock"

Mephariel2019-07-12 16:41:17
I think Stampede now my new favorite cue. And one of the best of the year.

DT-20172019-07-13 21:49:33
Stampede, without a doubt. It's a huge elaboration on the original and to me it's much more impactful.

imbatman reply Replies: 0 || 2019-07-12 15:42:40
I agree with you all. I'm fully happy after listening to the score. This is the Lion King score I've been waiting for. Thank u Hans.

The track "Scar Takes The Throne" and the first few moments of "Battle For Pride Rock" are my favorites. The whole tracks just sound more mature and epic. Loved it !

Peter Bezemer reply Replies: 1 || 2019-07-12 10:40:36
Thematically I prefer the original, but this one is pretty epic

circleoflife2019-07-12 14:36:30
I like a couple of the new arrangements, and the percussion patches sound as good as ever, and the melodrama in the first half of "Stampede" and "Scar Takes the Throne" works very well.

But I disagree on "epic": the orchestra recording sounds really lifeless and dry in quite a few places. I also don't like the solo cellist overdubs: their performance isn't appropriate for the material and its overbearing presence in the mix wrecks several cues for me sadly.

It's generally fine but lots of it makes me feel like I'm listening to a YouTube cover album. Which can be all right but it's still just a clone when all said and done.

Hari Haran reply Replies: 7 || 2019-07-11 18:22:12
Battle for Pride Rock sounds much more poignant and crisper this time round.

It's too early to say how it shapes up to the original, in part due to the Legacy 2018 release for the original still being fresh.

That being said, this 2019 revisit from Hans is knocking all the emotional centers overboard.

DT-20172019-07-11 18:40:21
I'd say this perfectly compliments the Legacy set.

Though I must wonder how deep Zimmer had to dig in oder to find those percussion patches given I haven't heard them on many of his scores since the 90s :P

Iamtommie442019-07-11 18:47:59
Zimmer also made some sort of creepy choral laughing motof for the hyena's. It love it. I think this is Zimmer in top level. I think it's really great!!

mpolonest123 2019-07-11 19:23:23
Nothing can top the original...

But this comes pretty close. As everyone has already said, the mixing is so much better here than in the ‘94 score. There is a more mature, epic sound in the recording. You can almost hear the difference and maturity in Zimmer’s voice and style when you compare the two.

I also love that Zimmer stuck close enough to the previous version while still embellishing the music enough for it to be fairly different in parts. Gone are “Bowling for Buzzards” and the Scar/Hyena theme (at least judging by the album).
It might be sacrilegious to say but I actually even prefer this version of “Stampede” over the original.

As for the songs; they are good. “Circle of Life” and “Can You Feel...” are both incredible. “Be Prepared” is completely different, definitely sounds more evil. The rest are good, pretty much by the numbers.

Overall I think this is a success, it won’t top the original but it definitely is much better than I expected. Especially on Zimmer’s part, you can tell he treated the material with a lot of respect.

JBSO992019-07-11 20:12:19
mpolonest123, I think I agree with you in almost everything you say, and I definetly like this version of Stampede more. It sounds more epic, more aggressive and even more dramatic on the final section.

One of my favourite tracks for now is Rafiki's Fireflies, with its new variation of the main theme that is really beautiful.

Overall a really great score and a pleasant change in direction (at least for me) from the latest Zimmer efforts.

mpolonest123 2019-07-12 04:01:26
Some notes;

1. Simba’s “tune” seems to be underused here, which is strange given how prominent it was in the original. The only times I picked it out was the Fort Walton/True Romance take at 2:20 in “Simba is Alive” and the middle of “Remember”. Maybe it’s used more in the film.

2. The first 30 seconds of “Battle....” are an arrangement of the original opening of “Be Prepared”. “Life’s Not Fair” also incorporates “Just Can’t Wait To Be King”. Not sure if any other song melodies are used.

3. My personal favorite ‘Zimmerism’ is the epic take on the main theme at 3:40 in “Stampede”. Holy shit that’s cool!

badbu2019-07-12 07:12:01
first of all, i like it! but i prefer the original one :-)
"stampede" is very good but i have more feelings for the "first" one. "Scar Takes The Throne" is an amazing cue. The best one for me on this "new" score. It reminds me a little bit of Trevors deep blue sea :D idk why^^ it's a very good zimmer score and i can't wait to see the movie again :-)

Mephariel2019-07-12 07:47:40
This score is a perfect compliment to the original.

"Rafiki's Fireflies" is basically "This Land" I don't think it has the majesty of the original, but it is more beautiful and peaceful. Not sure which version I prefer, but this one sounds more like organic and wild, natural.

"Elephant Graveyard" is basically modern day Zimmer sneaking into The Lion King. The dark snare atmosphere with clock ticking. But overall, I love the darker version of this cue, especially in the second half.

"Stampede" is the one cue that I think Zimmer expanded upon the most. I think the original is more intense and flows better, but this version is more complex, and actually has more narrative. This is the one cue where I think I prefer intensity of the original but I love the longer, more ebb and flow of this one. The ending is awesome as well.

"Scar Takes the Throne." Like Lio mentioned, I prefer the Oboe over the string. I feel like Zimmer want to turned this cue into something like “This Land” with solidarity and weight, but I don’t think it works that well.

"Simba is Alive" is one of my favorite cues. It basically a reprise of the main themes, but the performance is just so heartfelt.

“Reflections of Mufasa” is a pivotal cue that is beautifully orchestrated, but doesn’t have the connective tissue and the reflectiveness of the original cue “Remember Who You Are.” I prefer the original but wouldn’t mind listening to this one as well.

“The Battle for Pride Rock” vs “The Rightful King” sums up this score versus the original. “The Rightful King” wins in composition, storytelling and overall flow, but “The Battle for Pride Rock” is bolder, louder, more bombastic and better orchestrated. I think the original wins, but again, I wouldn’t mind putting this one on repeat either.

“Remember.” What can I say…this is the soul of The Lion King. If you don’t like this, you won’t like this score. The only thing I don’t like is that this version doesn’t have the “Busa” ending.

Overall, the original score is better written and stronger for sure. But this one is more about the performance and the orchestration. I think they are a great companion to each other actually.

You can't complain either way. Thematically, this is some of the best music ever written anywhere.

e reply Replies: 0 || 2019-07-11 20:43:42
I really like the integration of the Stampede theme in the final battle.

I prefer this version to the 1994 one because the orchestration is sharper, the themes are better integrated, while still being meaty and having a real 'Zimmer' sound. Great job Hans and team!

Johnny reply Replies: 5 || 2019-07-11 17:07:50
Out now! Listening on iTunes <3

Anonymous2019-07-11 17:13:41
Same. Sounds much better mixed than the original. More grand and less dry

...2019-07-11 17:15:29
Is it the same score, rerecorded or is it different?

DT-20172019-07-11 17:17:41
I imagine that's because there's none of the 'toy orchestra' elements of the demoes that Jay Rifkin thought was a good idea to mix in. It sounds more like the Legacy set than it does the original 1994 release for sure.

I do find it intriguing that they seem to have reused the 1994 Circle of Life instrumental, though I guess that Zimmer thought it was good enough on its own. Either that, or Favreau wanted it untouched.

Anonymous2019-07-11 17:21:04
It sounds re recorded enhanced with some Zimmer trademark synths. I like it. Excepts the songs. Not into that

DT-20172019-07-11 17:26:29
Um, yes? This score is 're-recorded', or should that be re-orchestrated?

The only part that doesn't sound like it is Circle of Life's instrumental. Perhaps they added to it. I don't know, because I don't have the release myself - I'm going off the samples I heard via Amazon.

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The Lion King soundtrack - Hans Zimmer 2019