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I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premier
I 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 bleedingfingersmusic.com 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 1
You 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.
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Hans ZimmerSteve MazzaroDavid FlemingAndy Page
ComposerAdditional MusicAdditional MusicMusic Producer
Xperiments From Dark Phoenix
Label: Remote Control Productions, Inc. (Digital Download Only)
Length: 78'43
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 (1529 votes)
  1. X-HZT (17:27)
    Hans Zimmer
  2. X-X (5:59)
    Hans Zimmer, Steve Mazzaro, Andy Page
  3. X-LGDP (8:07)
    Hans Zimmer, David Fleming, Andy Page
  4. X-SI (6:25)
    Hans Zimmer, Steve Mazzaro, Andy Page
  5. X-HD (3:32)
    Hans Zimmer, Andy Page
  6. X-MP (3:21)
    Hans Zimmer, Andy Page (Henry Purcell)
  7. X-MT (5:03)
    Hans Zimmer, David Fleming, Andy Page
  8. X-TX (8:48)
    Hans Zimmer, Steve Mazzaro, Andy Page
  9. X-MDP (9:06)
    Hans Zimmer, David Fleming, Andy Page
  10. X-F (3:56)
    Hans Zimmer, Steve Mazzaro, Andy Page (Henry Purcell)
  11. X-CH (4:58)
    Hans Zimmer, David Fleming, Andy Page
  12. X-SS (2:01)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
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Mike reply Replies: 1 || 2019-08-01 23:06:39
For the record, this album seals the deal for me. Dark Phoenix is my favorite Zimmer score since Interstellar.


BC2019-08-01 23:44:03
Working my way through my second listen now, and I wholeheartedly agree. This entire score - the xperiments and the original score - has been way more amazing than I could have even hoped. The xperimental variations and extended themes are awesome, and it's going to be a lot of fun to compare/contrast with the finished product.

Easily in my top 5 Hans scores, and it's a little early to call it, but it'll probably be my score of the year. I also kinda wish that this would have been the score for the movie. Would have been WILD.

badbu reply Replies: 3 || 2019-08-01 18:59:53
X-SS -> END CREDITS!!!!!!!!


badbu2019-08-01 19:11:42
X - X -> X-Men Theme (like Gap)

X - LGDP -> Dark Phoenix Theme

X - MT -> Magneto Theme

X - TX -> X-Men Theme

X - CH -> Variation of Coda

X - SS -> A short cut from the END-CREDITS


Anonymous2019-08-01 19:29:01
Thank you for explaining those tracks with words, I really appreciate that!


badbu2019-08-01 19:57:53
:-)

Mortifer V. reply Replies: 0 || 2019-08-01 19:30:40
This is a superb release. Really glad we got it!

John G reply Replies: 0 || 2019-08-01 18:57:08
IT'S OUT EARLY AND I'M SCREAMING

Ro reply Replies: 0 || 2019-08-01 18:35:34
Excellent album. I can see now why Hans Zimmer pushed to have this material released. I doubt I'll be revisiting the score now that I've heard this stuff.

I only wish those sound effects weren't included at the end of each track. Kind of kills the mood.

bob reply Replies: 0 || 2019-08-01 17:46:21
Track #2 tho

Morgan Joylighter reply Replies: 2 || 2019-08-01 16:47:22
Listening now...after five minutes my first thought it, wow this is definitely EXPERIMENTAL. Awesome but bizarre and surprising.


Soldierofrome2019-08-01 17:11:31
where did you listen?


Ds2019-08-01 17:36:37
It is already past midnight in Australia!

John G reply Replies: 12 || 2019-07-26 10:09:20
WE DID IT!!!!!!


Nahuel2019-07-30 03:42:53
A shame how disney ruined this movie with reshoots, missing scenes and poor marketing.


HunterTech2019-07-30 03:55:29
Disney had nothing to do with how the film turned out, since all the crucial choices were made prior to them having full control. The most they did afterwards was give it a stronger marketing boost near release, which only ended up working so well.


HunterTech2019-07-30 03:59:05
*ended up not doing much to help its chances to succeed.


MrZimmerFan2019-07-30 11:41:53
Disney complete the purchase of Fox one month before the movie release, and various executives and workers of Fox said the movie was 'sabotage' in a marketing level by Disney.


HunterTech2019-07-30 22:21:37
I wouldn't call making a video celebrating the series history with all the actors who were on board with the franchise 'sabotage' in any manner. Plus some of the posters I'd say were actually better than several of the more recent ones from the MCU. But yeah, let's keep believing Disney didn't want to make a profit out of this somehow. :P


Hybrid Soldier2019-07-30 22:27:40
Hunter, please, just don't...

Disney was embarassed to "receive" that movie in the Fox deal, they wanted it dead as fast as possible.

They made the production change the entire ending & pushed back the film not to overshadow Captain Marvel (which has the same ending)...


BC2019-07-31 00:18:11
@Hybrid Soldier

Wow...and here I thought Fox were the ones that demanded all of the changes after terrible screen testing. But now that I think about it, it does make sense that Disney demanded the changes, and that they didn't want the movie. Releasing it during summer season, especially after Endgame did the expected gangbusters was commercial suicide.

It might have faired better with the February release date, as it's a quieter month, but word is James Cameron demanded that it be pushed so that his little Battle Angel project wouldn't have any competition...and that turned out so well.


mpolonest123 2019-07-31 00:34:01
The irony is, Dark Phoenix is a stronger film than Captain Marvel. Granted, it’s a heavily flawed film (rushed third-act, awful villains, etc.) but I still would easily place it over that mess.

It definitely makes sense that Disney tried to sabotage the project, which seriously makes me wonder if the original version was a much stronger film. From what has been said it seems like some of the problems can be attributed to the reshoots. Reminds me a bit of Justice League...


HunterTech2019-07-31 01:00:01
I'm sorry, but it just doesn't line up with any of the information we've gotten prior and since release. Even if they wanted to, Disney couldn't do anything with the film until it came close to release. The re-shoots were decided upon before there was even any actual bidding for Fox, and only happened once the actors had enough time to do any additional filming. This choice was made in March 2018, while the merger was approved in July 2018, and not actually being in effect til a full year later. How are you going to dispute any of that?

I know everyone has a hate boner for Disney these days, but at least know when to criticize them for things they've actually done, as opposed to because you happened to not like some of their more recent efforts.

That being said: I'd be happy to see a Kinberg cut of DP, since while heavily flawed, I did get the feeling that they at least tried to make something with intrigue. Especially since this is an iteration I still have fondness for, so I'd like to see how it originally was.


MrZimmerFan2019-07-31 18:42:08
@HunterTech: The change ending was Disney's idea and the poor marketing campaing was to sink by any means the movie, obviously, for a reboot by Disney.

If the movie success, Disney will have a great problem.


BC2019-07-31 22:42:51
@HunterTech

The deal wasn't official until recently, but for all intents and purposes both companies were working like it was. A lot of people were released from their jobs, and Fox cancelled a lot of in development projects, while Disney decided to let them wrap up production on the movies they were working on.

At least that's what I've gathered from following the whole thing. The waiting period took so long and there was so much information it's very possible that I misremembered/am wrong.

@mpolonest123

I completely agree, and it's a shame. The movie had all of the pieces needed to be a great film, it just needed some reshoots to add a few sequences and strengthen what was there. I went into the movie expecting it to be a crapshoot and ended up really liking it and seeing it 3 times. It's far from perfect, but it's definitely not worse than The Last Stand's stab at adapting the material. Or X-Men Origins: Wolverine for that matter.


badbu2019-08-01 10:13:42
tomorrow!!! :-) <3

M-N reply Replies: 1 || 2019-07-31 13:25:56
Hey, since Hans managed to get this released under RCP, maybe Tom Holkenborg can do something similar with his Justice League material. I know, it's probably a pipe dream, and I imagine Tom just wants to move on from all that, but a man can dream.


mpolonest123 2019-07-31 15:00:15
I’m pretty sure the music for Justice League is owned by Warner Bros. And I highly doubt they are going to put anything out.

I wouldn’t be surprised if waaaayyyy down the road we get a Snyder cut in some form or another, with Tom’s music attached.

Ro reply Replies: 2 || 2019-07-28 11:52:38
If I understood things correctly, this wasn't the first time a Hans Zimmer scored project ended up with a trunk-load of unused materials. Yet this is seemingly the first time the composer himself pushed for these unused materials to be released for all to hear. What was the motivation here?


Hybrid Soldier2019-07-28 12:40:03
Because, for once, he was proud of all that work ? ;)


finn2019-07-30 12:12:03
hey hybrid could u talk abit more about that, that seems sad, that he isnt proud.

which movies did was he proud and not proud working on etc. would love to know more about hat

Jordan reply Replies: 5 || 2019-07-25 23:38:46
Still hoping for a 2CDs release :(


Leo 2019-07-28 08:07:56
This is the second CD bruh


Jordan2019-07-28 18:17:40
I mean "CD", not digital !


MrZimmerFan2019-07-28 18:19:11
That's not gonna happen

Disney owns Fox and with his mentality...


Hybrid Soldier2019-07-28 20:30:24
The problem is :

1 - Fox never released anything physically.
2 - They could have deals with other speciality labels, but after Disney swallowed them, old deals (LLL etc.) are gone.
3 - Technically, the ones that could takeover releasing it physically are Hollywood Records (Disney), but are apparently not staffed to add Fox catalogue to "to-do releases" before many months.

So, it could happen, but not right away... And will there still be any interest in a few months ? I don't think so. But who knows...


nvictor2019-07-28 21:59:05
OMG! yes yes yaass! so happy for this release :) :) i was on a trip when the news came out. amazing that big corporations have started listening to people. internet is amazing, isn't it? sad there is probably so much music sitting out there in the dark corners of many studios that no one will ever hear...

anyways, now we just wait a few days for this awesome release.

LS100 Studios reply Replies: 0 || 2019-07-26 17:35:35
Great to see this happening! Curious as to what this will include, whether it's unreleased tracks, composer sketches and suites, or a mix of both. Hopefully it includes the music when young Jean arrives at the school, and maybe the credits music. But I'm game for brand new composer sketches too.

The track titles are interesting. Assuming the X-HZT is a composer sketch for Zimmer's new X-Men theme, like the composer sketch for Man of Steel. Maybe X-MT is a suite for Magneto's theme?

Very excited for this, especially since it's longer than the original score. Lots of possibilities!

timothy reply Replies: 0 || 2019-07-26 12:15:16
Interesting to see the "Remote Control Productions, Inc." as the Label. Does this mean, that there is a chance to release older scores, complete scores, through this label? THAT would be groundbreaking...

GermanRCPFan reply Replies: 1 || 2019-07-26 10:53:20
What does mean HZT, HD or SS? Where is normal names of cues?


badbu 2019-07-26 11:47:33
HZT maybe Hans Zimmer Theme

Hybrid Soldier reply Replies: 6 || 2019-07-25 23:21:21
It is coming afterall !


mpolonest123 2019-07-26 00:01:41
Awwwwww yessss!


nvictor2019-07-26 00:10:49
yaaass!


BC2019-07-26 00:52:37
Will this be a separate release, or will it be released in a Deluxe Edition with the released score?


Scorefan2019-07-26 01:37:13
@Hybrid, after all, Zimmer really liked work on this score. It's not common and judging by the label this effort comes from Zimmer and company.


Ahmad2019-07-26 02:32:18
Hoping this reaches HDTracks so I can double dip with the OST.


badbu2019-07-26 07:08:36
i'm so so happy!!!
and it's crazy to see that the labbel is rcp oO

HunterTech reply Replies: 0 || 2019-07-26 00:40:56
I noticed that the label is only mentioned here as "Remote Control Productions, Inc.," as opposed to Fox Music of the OST. Does that mean that Fox/Disney has nothing to do with this particular release then?

Nick reply Replies: 0 || 2019-07-26 00:27:18
Oh Hell yes! I understand that getting unreleased music released after all isn’t really that grand or important in the big scheme of things, but it still warms my heart knowing that when enough people rally around a cause and voice their thoughts, change can occur, regardless of the ultimate player on top. And this isn’t just a victory for that general sentiment, but also a victory for honest fans who care about the integrity of art and artists.

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Xperiments From Dark Phoenix soundtrack - Hans Zimmer 2019