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About his studio at RCP, is it rental or he owns the stuff? What happens to the gear when he is not around?That is probably the fairest thing anyone on this website will say about Clemmensen. :P@Anonymous<br><br>Christian Clemmensen believes that Hans Zimmer found his definitive voice back in the 1990s with scores such as Driving Miss Daisy, Rain Man, Crimson Tide, and Lion King. However, he has in reviews of later scores compared Zimmer's overly obvious chord progressions and masculinity with what the "rock ballad" did to rock-n'roll music of the '70s. To him, it's overly powerful, unsubtle, and aggressive music that appeals to the gut more than the heart or the mind. Some of Zimmer's most popular scores such as Gladiator, Pirates, and The Dark Knight he has given middling reviews for because the general sound is derivative from his earlier works, not colorful, and not creative. He also accuses Zimmer of starting a trend with overly-recycled, bombastic, masculine action music that's big on density and power and low on subtlety and personality. <br><br>I can definitely see where he's coming from, one cannot deny the similarities between Crimson Tide, Lion King, Gladiator, Pirates, Dark Knight and so forth. One also cannot deny that scores such as Dunkirk and Blade Runner 2049 qualify more as sound design than actual symphonic music (mostly). However, if he had his way, every film score would be shamelessly optimistic and flighty, all major chords (and occasionally alternating off-key), with prominent woodwinds and metallic percussion. He definitely knows what he's talking about, but he has an ideal image for film music in mind, and that very much comes through in his Zimmer reviews, some of which I think deserve much more credit than he offered (Pirates 3, Da Vinci Code, and Gladiator come to mind).a more orchestral fury roadTom is gonna score Mortal Engines<br>What kind of sound do you expect?
He has a studio at RCP but mostly work from his own home studio. His business is "Sacred Tiger Music."<br>Does Henry actually work for HZ at RCP or does he have his own film score company now like HGW?Why filmtracks always behave very Aggressive about hans zimmer and always trys to make his scores worthless ??!! Its odd for meAw Hell...<br><br>I guess it never did freeze over.Sorry, I should've been more specific. This is a comment I had originally posted on the Filmtracks forum, NOT from a Christian Clemmensen review. My bad.
Referring to the previous comment (how did it not reply to the the previous message?)That's not the actual review. The length is a pretty big giveaway. Also, I'm fairly certain he's still given some RCP efforts some good scores.WOW....color me impressed at Filmtracks. I thought that site was anti-Zimmer in all aspects far, wide, near and dear.Copied from Filmtracks:<br><br>Excellent score - a little slow in the middle third*, but some really stirring fantasy-adventure elsewhere. "The Internet" is Cue of the Year material. Although it's odd how little synth there is here, particularly in the finale, where the orchestra seems to completely take over; this isn't too bad of a thing because Jackman's orchestral skills are downright breathtaking at times. The references to other Disney scores/musicals (yes, including Star Wars) left a big dumb grin on my face.<br><br>*I get the sense that this movie might be too long (1 hour and 52 minutes).No you're not. I think Jackman has made some great score over the last through years.<br>And I think this is one of them. Both tracks with or without electronics
So I guess I'm the only one who likes less-electronic-Henry?Henry has been removing electronics for 4 years now...Listen to<br><br>A Big Strong Man In Need Of Rescuing.<br><br>That whole track is a damn easter eggI haven't seen the movie yet but I like the score more with each listen. Not a classic Zimmer by any means but still an enjoyable listen at its short running time. Looking forward to the movie as well.This is me or Henry Jackman removed the electronics this year it could be affect to the predator score because I was thinking about the predator score affect him to remove electronics and turned serious & dramatic. That's weird when Henry Jackman used a lot electronics & fun since 2009 to 2017 with his scores.
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Additional Music
Hans ZimmerJohn Van TongerenJay RifkinPete Haycock
ComposerAdditional MusicScore RecordistMusician
Thelma & Louise (Complete Score)
Label: Unofficial Release
Length: 40'50
HZimmer.com rating:        4/5
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 (4632 votes)
  1. Going To Mexico (2:10)
  2. J.D. Appears (J.D.'s Blues) (3:23)
  3. Butt Talk (1:12)
  4. Happy Birthday‚ Lady (0:44)
  5. Picking Up J.D. (0:40)
  6. Cops (0:57)
  7. Jimmy's Money (0:30)
  8. The F.B.I (0:57)
  9. The Robbery (Drive‚ Drive !) (2:45)
  10. Homecoming/Railway Station (3:38)
  11. Loading Guns (1:32)
  12. Cattle Stop (2:05)
  13. Wide Awake (3:01)
  14. Bitches From Hell (0:45)
  15. The Chase / Grand Canyon (7:54)
  16. The Decision - End Credits (3:58)
  17. Thelma & Louise (ThunderBird) (4:05)
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Bayhem reply Replies: 3 || 2018-08-25 15:47:36
What with all the noise around Hans scoring the "female empowering" Wonder Woman 2, let me just remind the skeptical folks that it was Hans who successfully scored the ultimate "female empowerment" movie - 'Thelma & Louise'.

I still listen to that score. "The Decision" alone is a masterpiece, as far as I'm concerned. The ending wouldn't have been as powerful and memorable if it wasn't for that track. It's so refreshing listening to that score now. It brings you back to the time when scores were more than just crazy, weird sound design.....


mpolonest1232018-08-25 19:40:27
^ This.
Aside from being an incredible film that gets overlooked, I think Zimmer did an impeccable job of crafting a score that tackles the depressing story without getting heavy handed and actually fun at points. Very similar to Rain Man in that regard. It’s a bit repetitive but it does suit the film great.


Scorefan2018-08-26 03:27:37
And mention too, all the women who participate in many Zimmer's scores, Shirley Walker, Anne Marie Simpson, Tina Guo,


Josiah2018-08-26 08:52:53
*sigh* why does it matter to be honest? A female lead movie needs a female composer? Hans Zimmer of course in my opinion is the best option for any movie regardless of any situation. Hans Zimmer was the first person who actually got me interested in movie soundtracks but the way he works and operates works for any type of movies. The last samurai, Gladiator,Super hero movies war movies etc etc. He has done 190+ movies and i love pretty much all of them. He truly has an idea of the music to picture perfect.

Dakota reply Replies: 0 || 2010-12-28 00:00:00
MGM announced the 20th Anniversary Blu-ray of Thelma & Louise last week, so maybe there will be an official 20th anniversary soundtrack? And by soundtrack I think everyone knows I mean Hans' beautiful score. Who knows......if not, maybe someone will rip it all from the Blu-ray.

Anonymous reply Replies: 0 || 2008-04-03 00:00:00
Hans Zimmer Proves That He Can Compose Any Movie

That's Why Mr. Zimmer Is The Best Composer EVER

Thomas reply Replies: 0 || 2006-03-25 00:00:00
Hello Hans &-- co.

regarding soundpiece for "--Thelma &-- Louise"--

I believde that your sound piece "--Bitches from Hell"-- is from the scene where Thelma and Louise shoot up the the gas truck and it explodes, followed up by some really sweet and great fast western country slide/blues guitar. Im not sure if that is "--Bitches fromm hell"--, but is there any way i can download this piece of music?..it is really great and for me, the definition of what modern fast country guitar is all about. Thanks in advance...Thomas

Zedman reply Replies: 0 || 2006-02-13 00:00:00
un score qui continue dans la lignée de ses scores prolifiques et riches en coup d'eclat artistique comme pour "--Rain Man"--, "--Black Rain"--, "--Bird On A Wire"--, "--Days Of Thunder"-- ou encore "--Backdraft"--...
Hans Zimmer continue sur sa lancée et prouve sa maturité en n'utilisant en plus du synthetsiseus habituels, guitare electrique, choeurs de femmes...
La b.o. ne deroge pas a la regle, jouant sur ses bases instrumentales tout en les rendant plus interssant et reelements plus matures que ces precedentes oeuvres.
comme toujours, Thelma &-- Louise a pour particularite d'avoir plusieurs motifs (ou meme de themes) qui se croisent, le tout premier théme entendu est un motif mis en valeur par la guitare electrique et le synthetiseurs utilisé dans "--Going To Mexico"-- ce théme est attribué au voyage des deux femmes, victime de leur innocence et de leur "--train-train"-- quotidien.
Le second théme est celui des policiers, un théme fort qu'on entend brievement dans "--Cops"--, "--The F.B.I."-- et "--The Chase/Grand Canyon"--
L'autre théme est surement l'un de mes preferes, entendus dans "--Cattle Stop"--, "--Wide Awake"-- et "--Thunderbird"--.
Mais le théme a proprement dit memorable est celui entendu dans "--Cattle Stop"--, "--Wide Awake"--, "--The Decision/End Credits"-- et "--Thunderbird"--, un théme d'une trés grande beaute qu'on entend dans toute sa splendeur dans l'excellent "--The Decision/End Credits"--, grace a ce théme Zimmer a prouvé sa grande maturite et a prouver au systeme hollywoodien que ce n'etait surement pas un compositeur a sous-estimé.

Herman reply Replies: 0 || 2005-04-28 00:00:00
Un excellent score de Hans Zimmer qui des Going To Mexico nous prouve qu'il est l'un des meilleurs compositeur mais on retiendra surtout le grand The Decision/End Titles qui conclue brillament le film de Ridley Scott nous menant ainsi dans le grand saut de Thelma &-- Louise

Jayrip reply Replies: 0 || 2005-04-23 00:00:00
Such a brilliant score! I mainly bought it for "--The Decision/End Credits"-- 'coz it makes me shiver every time I hear that fantastic climax and the female singing coming in. Hans has always said he's not released it because there's not much score except for the same repetitive theme, but that's EXACTLY what I wanted!! I will never understand why this wasn't commercially released coz it really has to be one of my most listened-to CDs. I just love the melancholic twangy guitar tune that really conveys the strain and strength of the two characters. I'd never heard the music for "--Regarding Henry"-- before but it sums up the reason I love Hans Zimmer's music!

I did, however, have the hardest time tracking it down, so for anyone who wants to know, try placing an ad in the forum for it at

www.soundtrackcollector.com

The people there are really helpful. The other places I know that still have it (at this moment in time) are Hurricane Records, a European site:

http://213.239.206.44/hurricane/product_info.php?products_id=809262

I nearly vomited when I saw the price - 79.99Eur, which is a bit pricey to put it VERY mildly. Another very reliable collector is

http://www.majestyx.com/discsale.html

The price is $35 which isn't bad I guess. The guy is very good at transactions, and I've been told you can't get better service from him!

Anyway, if you're a fan of the movie, or more importantly, a fan of the simply gorgeous music of it, then it's an absolute must have. Worth every single penny of its pricing. You may have to loads for it, but trust me it'll be worth it, if just for "--The Decision/End Credits"--. Good luck!

jovl77 reply Replies: 0 || 2005-01-07 00:00:00
Excelent Score from both movies. I heard the score from Regarding Henry never before, the score from Thelma &-- Louise I know from the movie, but this CD is a long waiting for the score from T&--L, now I have it and it is absolutly fantastic sounding. I don't know why this score wasn't released yet.

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Thelma & Louise (Complete Score) soundtrack - Hans Zimmer 1991