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The album is ready. Just waiting for legal to settle it... It'll happen.And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.
The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.
Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54
<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the 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 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.
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Hans ZimmerSteve MazzaroSteven DoarMel Wesson
ComposerAdditional MusicAdditional MusicAmbient Music Design
No Time To Die (Single)
Label: Darkroom / Interscope Records
Length: 4'02
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 (794 votes)
  1. No Time To Die - Billie Eilish (4:02)
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MrZimmerFan reply Replies: 3 || 2020-02-19 16:38:27
No Time to Die coming by Decca 27th March

https:// www.udiscovermusic.com/news/hans-zimmer-no- time-to-die-soundtrack/?fbclid=IwAR1UtjXatRpCQyXWJ9f7YYfT9Eb k5jy4d7XnlS6XzX4vTiOTxFfvQ0PWgaI


Rude Dawg2020-03-13 23:57:39
It appears the soundtrack is being delayed as well:

https://shop.decca.com/*/Decca-Records/Bond-No-Time-to-Die-C D/6E7Q0P01000

November 13th is the new release date.


Anonymous2020-03-14 00:33:56
Makes sense really


Anonymous2020-03-14 16:51:24
lmao did you really think the score was going to come out and only the movie be delayed? this just in: Mulan, a quiet place 2, fast and furious 9 and new mutants OST also delayed

Leo reply Replies: 2 || 2020-03-09 06:01:33
With the movie being postponed to November, is part of the score going to be re-worked or is it finished for good?


Anon2020-03-10 09:27:39
the film is done so the score should be also


Anonymous2020-03-10 17:28:29
i cannot imagine they’re not going to work on it some more

Anonymous reply Replies: 9 || 2020-03-04 18:55:12
delayed until November! #coronavirus


akamd2020-03-04 19:00:11
Is the score also delayed until November or will it be released this month as planned. I hope someone gives an official source reply as soon as it's available. What do u guys know?. Thanks


Hybrid Soldier2020-03-04 19:05:03
Of course the OST will be delayed... They'd be crazy not to...


Anonymous2020-03-04 19:08:13
Now that they have more time, will Hans and co. make changes to the score?


GR72020-03-04 19:22:48
The release was for end of march, then they must have started to press the physical CD's ... it maybe means that the OST could be sold in the state it is right now, and be different of what we hear in the movie, if they want to use the extra time to reword some of the OST... just a supposition...


GR72020-03-04 19:23:19
sry, i meant "rework"


Akamd2020-03-04 19:35:38
I was so excited for the OST. Now another long wait. But thanks for the reply. Appreciate it.


Hybrid Soldier2020-03-04 19:36:08
As of 10 days ago they were still mixing to film, hadn't even settled whatever would be on the OST...


GR72020-03-04 19:58:08
As a fan, im sad, but honestly, regarding what Hybrid said, this delay could be a good thing. Not having to rush the mixing work maybe means we'll have a better experience.


mpolonest123 2020-03-04 22:44:17
Disappointed we won’t get this sooner than later but happy that Hans has the time to do a solid OST release. And it’s not like we don’t have several other HZ scores this summer...

Nick reply Replies: 0 || 2020-03-04 18:58:45
Will the movie delay also affect the release of the soundtrack?

J bond reply Replies: 0 || 2020-03-02 12:07:40
Classical music composer Hans Zimmer

Andreas reply Replies: 1 || 2020-02-19 18:53:40
Hi there,

i have seen that the Score (Soundtrack) will be released on 27th of march. But i would like to know somthing maybe any of you knows:

Will the Song itself be released physical as a Single CD? Or will it be available just for download?
Because if there will be no CD, it would be the first James Bond Song which is not released as a Single CD.


Andreas2020-03-01 11:38:07
No new informations about this? As it's still available digital only atm.

Anonymous reply Replies: 0 || 2020-02-19 15:50:04
Hybrid, Oscar Senen and Joan Martorell orchestrate the score ?

antovolk reply Replies: 7 || 2020-02-15 16:39:11
more of a business-y question but wonder which label will handle Zimmer's score and therefore whether Eilish's theme will be on it...and whether Zimmer actually ended up integrating it into his score the way many Bond fans have been crying out for since the Brosnan days


Anonymous2020-02-15 18:04:06
QoS is the only Craig film to not include its theme song in the score thus far. however you know my name appears in it. Though that was strange.


mpolonest123 2020-02-15 21:51:13
To be fair QoS used the striking piano notes that opened “Another Way to Die” throughout. Very subtle but there wasn’t really a strong melody in that song to begin with &#175;\_(&#12484;)_/&#175;


CerebralCortex2020-02-16 00:02:31
QoS did attempt to use the theme song in the score, but the theme song they went with changed during production. It was originally going to be "No Good About Goodbye" as sung by Shirley Bassey and written by David Arnold, the composer for QoS. Listen to the song and you can hear it all across the score, such as at 3:30 in Time to Get Out and 0:08 in Talamone. As such, I'd still count QoS as abiding by the rule.


Anonymous2020-02-16 04:03:04
I’m aware about no good about goodbye and yes it’s in various cues. can you tell me where another way to die appears? also check out “talomne” it has you know my name on strings


mpolonest123 2020-02-16 05:29:44
"Time to Get Out", “Pursuit At...”, “No Interest In...” and “I Never Left” all incorporate the piano motif from “Another Way to Die”. Granted, they are more like cameos than anything really substantial.


Ricardo2020-02-16 16:18:19
A snippet of the verse (at 0:49) also shows up occasionally in the score, in Somebody Wants to Kill You, the end of Greene and Camille, and Field Trip.


Anonymous2020-02-16 21:57:36
'No Good About Goodbye' was never the intended song for QOS. It was composed after the film was completed using thematic material from the film for Shirley Bassey to perform on her, David Arnold produced album, 'The Performance'

GR7 reply Replies: 1 || 2020-02-16 12:34:31
I really like the song. It has, I think, a Bangkok Dangerous vibe at first, before the first lyrics.
I read some comments on youtube stating its a bad Bond song because its too calm. I disagree. Sure, its less punchy than You Know My Name, but some previous Bond songs, like Tomorrow Never Dies, had the same "mood".
This song, No Time to Die, would also have been a prefect choice for the movie Quantum of Solace, which had this melancholic tone. i espacially picture this music during the train bar scene in Quantum of solace, when Bond is drinking thinking about Vesper and the past.


mpolonest123 2020-02-16 13:48:30
100% agree.

“You Know My Name”, “Skyfall”, “Goldfinger”, etc. all stand out because they embrace the grander aspects of 007. Having a calm and reflective Bond song can be just as effective though. I feel like “No Time to Die” is basically trying to do what “Writing on the Wall” tried but succeeding much better.

Anonymous reply Replies: 2 || 2020-02-15 15:59:32
Matt Dunkley orchestrate the score ?


Hybrid Soldier2020-02-15 16:23:12
Conductor. Matt has also conducted WW84 & Top Gun Maverick.

When Hans records in the US, Nick GS is the conductor. When it's in the UK, usually it's Gavin but since he's busy with The World Of HZ, Matt is around... :)


Anonymous2020-02-15 16:58:15
james bond 25 = inception but without Lorne Balfe

mpolonest123 reply Replies: 2 || 2020-02-14 08:29:38
Not a fan of Eilish usually but this is pretty good, it sounds like a solid Bond song.


TPM0072020-02-15 12:06:24
Is this from the score? Sounds amazing if it is! Zimmer totally gets it!

https://twitter.com/bilsourcemedia/status/122813995948543591 5?s=19


Hybrid Soldier2020-02-15 12:25:55
Most likely !

Miralsice reply Replies: 2 || 2020-02-14 07:41:06
Additional music in one single track? Definitely something new :)


Hybrid Soldier2020-02-14 10:22:21
That's the score credits... lol


Miralsice2020-02-14 22:42:28
Oh, ok

Mr.Unbreakable reply Replies: 1 || 2020-02-14 02:54:33
Wait a minute, Mel Wesson is involved in Bond !? this is incredible!


Hybrid Soldier2020-02-14 10:22:39
Yes Mel's resurrection !!

badbu reply Replies: 2 || 2020-02-14 07:38:44
so her brother was not involved?
btw...I love this track :)


Knight2020-02-14 08:01:10
Her brother co-wrote and co-produced the song.


badbu2020-02-14 08:07:35
@Knight thanks :)

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No Time To Die (Single) soundtrack - Hans Zimmer 2020