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Its Imagine the Fire insertThe Japanese version can be ordered here: http: //www.cdjapan.co.jp/ product/WPCR-18185<br><br>The "Swan Song" is also included on the CD. So it has 3 additional tracks.Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.
So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
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Additional Music - Score Coordinator
Harry Gregson-WilliamsTrevor RabinSteve JablonskyPaul Linford
ComposerComposerAdditional MusicAdditional Music
Enemy Of The State (Complete Score)
Label: Unofficial Release
Length: 105'36
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 (3071 votes)
  1. Logos (0:47)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  2. Death Of Hamersly (1:36)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  3. Main Titles (2:00)
    Trevor Rabin, Harry Gregson-Williams
  4. Restaurant Chat (0:32)
    Trevor Rabin, Harry Gregson-Williams
  5. Pintero's Den (2:50)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  6. Seek The Hide (1:29)
    Trevor Rabin, Harry Gregson-Williams
  7. Reynolds' Commands - Operation Starts (1:12)
    Trevor Rabin, Harry Gregson-Williams
  8. Fuck A Duck (1:29)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  9. Zavitz Chase (Part 1A) (1:47)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  10. Zavitz Chase (Part 1B) (2:02)
    Trevor Rabin, Harry Gregson-Williams
  11. Zavitz Chase (Part 2) (2:23)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  12. Zavitz Is Dead (0:59)
    Trevor Rabin, Harry Gregson-Williams
  13. NSA Research (2:35)
    Trevor Rabin, Harry Gregson-Williams
  14. Dean Visited (0:58)
    Trevor Rabin, Harry Gregson-Williams
  15. Bag Search (0:58)
    Trevor Rabin, Harry Gregson-Williams
  16. Break-In - Shup Up The Dog - Nice Blender (2:08)
    Trevor Rabin, Harry Gregson-Williams
  17. Locker (1:00)
    Trevor Rabin, Harry Gregson-Williams
  18. Rachel Calls (0:39)
    Trevor Rabin, Harry Gregson-Williams
  19. Dean Fired (0:20)
    Trevor Rabin, Harry Gregson-Williams, Paul Linford
  20. You Wanna Blend? (0:22)
    Trevor Rabin, Harry Gregson-Williams, Steve Jablonsky
  21. ATM (0:45)
    Trevor Rabin, Harry Gregson-Williams, Steve Jablonsky
  22. Pintero Revisited (0:21)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  23. Park Surveillance (2:49)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  24. Ferry (1:16)
    Trevor Rabin, Harry Gregson-Williams
  25. Taxi Chase (1:55)
    Trevor Rabin, Harry Gregson-Williams
  26. Meet Brill (4:14)
    Trevor Rabin, Harry Gregson-Williams
  27. Hotel Chase (Part 1) (2:55)
    Trevor Rabin, Harry Gregson-Williams, Steve Jablonsky
  28. Hotel Chase (Part 2) (3:46)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  29. Tunnel Chase (Part 1) (1:57)
    Trevor Rabin, Harry Gregson-Williams, Paul Linford
  30. Tunnel Chase (Part 2) (2:03)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  31. Reunited (0:55)
    Trevor Rabin, Harry Gregson-Williams
  32. Realization (0:34)
    Trevor Rabin, Harry Gregson-Williams
  33. Nanny Drive (1:33)
    Trevor Rabin, Harry Gregson-Williams
  34. Rachel's Dead (5:18)
    Trevor Rabin, Harry Gregson-Williams
  35. NSA Stonewalled (0:52)
    Trevor Rabin, Harry Gregson-Williams
  36. Dean Calls (1:11)
    Trevor Rabin, Harry Gregson-Williams
  37. The Jar (1:41)
    Trevor Rabin, Harry Gregson-Williams
  38. Coal Yard Chase (Part 1) (3:42)
    Trevor Rabin, Harry Gregson-Williams, Tim Heintz
  39. Coal Yard Chase (Part 2) (4:53)
    Trevor Rabin, Harry Gregson-Williams
  40. Edward Lyle (0:46)
    Trevor Rabin, Harry Gregson-Williams
  41. Diner Bonding (1:50)
    Trevor Rabin, Harry Gregson-Williams
  42. Guerrilla Warfare (3:03)
    Trevor Rabin, Harry Gregson-Williams
  43. Bugging The Buggers (1:14)
    Trevor Rabin, Harry Gregson-Williams
  44. We're On TV (1:32)
    Trevor Rabin, Harry Gregson-Williams
  45. Unilateral Wet Dream (0:53)
    Trevor Rabin, Harry Gregson-Williams
  46. Face To Face (3:10)
    Trevor Rabin, Harry Gregson-Williams
  47. Brill Caught (0:18)
    Trevor Rabin, Harry Gregson-Williams
  48. The Van - Shootout (8:44)
    Trevor Rabin, Harry Gregson-Williams
  49. Brill Escapes (1:17)
    Trevor Rabin, Harry Gregson-Williams
  50. Wish You Were Here (2:00)
    Trevor Rabin, Harry Gregson-Williams
  51. Enemy Of The State Main Theme (2:55)
    Trevor Rabin, Harry Gregson-Williams
  52. Brill's Theme (3:29)
    Trevor Rabin, Harry Gregson-Williams
  53. Restaurant Chat (Alternate) (0:40)
    Trevor Rabin, Harry Gregson-Williams
  54. Zavitz Chase (Part 1B) (Alternate) (2:02)
    Trevor Rabin, Harry Gregson-Williams
  55. Ferry (Alternate) (0:38)
    Trevor Rabin, Harry Gregson-Williams
  56. Edward Lyle (Alternate) (0:45)
    Trevor Rabin, Harry Gregson-Williams
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Hybrid Soldier reply Replies: 2 || 2018-11-23 00:33:17
Cuesheet credits & actual cue names...


Knight2018-11-23 01:34:05
Is the "Free Ferry" track on album the alternate ferry cue?


Mr Tweedy2018-11-25 16:30:34
That's the alternate!

It seems they muted all the electronics from the "Main Title" and keps only the orchestra recording for "Free Ferry". It's a weird track, yet very nice to listen to.

Scorefan reply Replies: 4 || 2018-08-28 20:53:24
@Hybrid, in the trailer Hans is credited as the composer for the film. But the music was written by Rabin and Harry. What happened there?


Randy Watson2018-08-29 20:52:30
Probably scheduling conflicts


Hybrid Soldier2018-08-29 20:59:13
You know, Hans was attached to score Kingdom of Heaven or A Cure For Wellness and didn't do them...

Working on The Fan was REALLY hard, he was busy in 1998 and EOTS was heavily temped with The Fan, and HGW did good on The Fan so I guess Hans had many reasons not to do it in the end...


Scorefan2018-08-29 22:25:46
@Hybrid do you know if Hans had been rejected from a movie? I mean, usually when another composer is fired or his music is rejected by producer/director/studio, they go to Hans or many of the RCP composers to write the score for the movie. But, it has passed a reverse situation?

Thanks Hybrid


Bayhem2018-08-30 08:32:43
Hybrid Soldier is right. Plus, Hans worked on 'Thin Red Line' at that time as well, and it's not a secret how crazy Terence Mallick can get during post-production. Especially with music and editing....

Bayhem reply Replies: 3 || 2018-04-05 23:19:18
I'm still amazed how Rabin, Gregson-Williams and Jablonsky did both Armageddonh and Enemy of the State - two huge, score-heavy Bruckheimer projects - in such a short period of time. Not only that, in the same year (1998) Gregson-Williams and Jablonsky also did Replacement Killers (great score!) and Antz. How is that even possible??

There were either a lot of ghost writers we don't even know about (doubt it) or these guys weren't sleeping and were working 24/7. Whatever the case, job well done on all fronts!


Edmund Meinerts2018-04-06 00:04:23
Replacement Killers is a great score? That's certainly not how I remember it...

I mean, you make three composers doing four scores between them (plus Powell on Antz, plus a few other guys on Armageddon) sound like some sort of superhuman feat. It's not THAT incredible. Ennio Morricone does that much composition before breakfast most days. So does Lorne Balfe for that matter.


rockhound2018-04-06 08:48:01
i think Hans Zimmer was the first choice, because his name was in the trailer credits. Rabin was working on Jack Frost, while they asked him to do Enemy of the State. and because Jack Frost was pushed back a lil bit, he had in the end time for Enemy. but there was not much time left to finish Enemy, so Trevor asked Harry for help and this time both got credit. Paul Linford and Tim Heintz also helped on Enemy. and Ennio Morricone is a bad example for this comparison here, because Morricone never had to work with Bay, Bruckheimer and Tony Scott. Im sure he wouldn't have finished both projects, but left them before breakfast.


Bayhem2018-04-06 09:15:57
Replacement Killers is a great score? That's certainly not how I remember it...
======================

Good for you. I disagree. I consider it to be one of HGW best and most underrated scores. And I'm not even the biggest HGW fan.


======================
I mean, you make three composers doing four scores between them (plus Powell on Antz, plus a few other guys on Armageddon) sound like some sort of superhuman feat.
======================

Not a superhuman feat. But close. Armageddon alone contains music for 2 mid-sized movies. God knows how much music they threw out. Jablonsky himself said during his All Access interview that he had never worked for so many hours before..............or after Armageddon. And mind you, that's coming from the Transformers composer! Plus, he wasn't even the main composer on Armageddon. Imagine what was it like for the guys in charge (HGW, Rabin). And....they also had to deal with Enemy of the State. Also, check out the release dates of the movies I mentioned and you'll get a pretty good idea as to what kind of schedule those composers had. Certainly wasn't easy.


==================
Ennio Morricone does that much composition before breakfast most days. So does Lorne Balfe for that matter.
==================


Morricone was never involved in a movie the size of Armageddon. There is a difference between a huge, music-heavy, almost 3-hous blockbuster, produced and directed by one of the most demanding duos in Hollywood, and smaller Itallian movies, TV shows and documentaries. The amount of required music is just different. Way different. When Morricone does something relatively bigger tho, we get The Untouchables. And we all know how much people hate the music in that movie. For me, the best Morricone score is and will always be Lolita. It's his masterpiece.

As for Balfe, yes, he does a lot of work lately, but the projects are not as score-heavy as Armageddon and Enemy of the State. Not even close. The Hurricane Heist and 12 Strong for example are basically the same score. So it's clear that he wasn't trying to do something extraordinary with those movies. A lot of his IMDb credits from the last two years are shorts, TV films and documentaries. I don't underestimate what he did, and he did a lot, but the period between 1995 and 1998 was incredibly intense for the MV/RC team. A lot of big, score-heavy movies and not a lot of time. And I simply admire the fact that they pulled it off. Simple as that.

Felix reply Replies: 3 || 2015-08-15 13:10:52
Hello, did anybody knows who did what??


Edmund Meinerts2015-08-15 13:47:09
I have the breakdown for the regular album, not the complete score. Some of the cues map to the complete score 1-to-1, some don't; unfortunately I haven't heard the complete yet, but hopefully this helps a bit anyways:

1. Main Titles - TR/HGW
2. Main Theme - TR
3. Brill's Theme - HGW
4. The Ferry - HGW
5. Hotel Chase Part 2 - TR/HGW/Tim Heintz (no, I don't know either)
6. Zavitz Chase Part 1 - TR/HGW
7. NSA Research - TR/HGW
8. Brill and Dean Meet - HGW
9. Free Ferry - TR
10. Nanny Drive - HGW
11. Final Confrontation - HGW
12. Coal Yard Part 1 - TR/HGW
13. Face to Face - TR
14. The Tunnel Part 1 - TR
15. Coal Yard Part 2 - TR
16. Rachel's Found Dead - HGW
17. Wish You Were Here - TR

We can also extrapolate from the music player here that Steve Jablonsky worked on Hotel Chase Part 1.

Hope that's a helpful start (and Hybrid, correct me if I'm wrong).


Hybrid Soldier2015-08-15 13:52:37
Well I recently added a lot of "breakdowns" to the site... But for that one it's a little complicated, I have some, and ideas for others but nothing official for the most part...

Final Confrontation is Heintz. Dean Fired is Linford, You Wanna Blend is Jablonsky...

All in all that score was mostly split... The Main Title definitely is Rabin...


Felix2015-08-15 14:00:44
Great Thanks

 HANS-ZIMMER.com© 2001-2018 OST 
Enemy Of The State (Complete Score) soundtrack - Harry Gregson-Williams - Trevor Rabin 1998