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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 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 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 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 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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Justin BurnettHarry Gregson-WilliamsRupert Gregson-WilliamsSteve Jablonsky
ComposerComposerComposerComposer
KPM Library - Extreme Impact
Label: Promotional release
Length: 72'16
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 (3746 votes)
Track 1 : Strike Force R Gregson-Williams
Powerful co-ordinated assault.
Duration : 1.35 Tempo : Fast
Track 2 : Hostile J Burnett
Dark‚ futuristic menace.
Duration : 2.01 Tempo : Fast
Track 3 : A Deadly Game (a) H Gregson-Williams
Intense‚ threatening theme gradually building.
Duration : 2.01 Tempo : Slow
Track 4 : A Deadly Game (b) H Gregson-Williams
Intense‚ threatening theme gradually building‚ with helicopter fx at the start.
Duration : 1.56 Tempo : Slow
Track 5 : Max Action R Gregson-Williams
Driving‚ explosive percussion.
Duration : 1.30 Tempo : Fast
Track 6 : The Ultimate Limits R Gregson-Williams
Ultra high-speed action.
Duration : 1.27 Tempo : Fast
Track 7 : House of Secrets J Burnett
Cold‚ unsettling secrets.
Duration : 2.51 Tempo : Slow
Track 8 : Deep South H Gregson-Williams
Sultry atmospheric theme.
Duration : 1.32 Tempo : Medium
Track 9 : Premeditated (a) R Gregson-Williams
Dark intrigue with dramatic punctuations.
Duration : 2.32 Tempo : Medium
Track 10 : Premeditated (b) R Gregson-Williams
Dark intrigue with dramatic punctuations.
Duration : 2.28 Tempo : Slow
Track 11 : Premeditated (c) R Gregson-Williams
As (b) without key changes.
Duration : 2.28 Tempo : Slow
Track 12 : Techno Drive J Burnett
Dynamic big beat action.
Duration : 1.19 Tempo : Medium
Track 13 : For My Country S Jablonsky
Proud‚ uplifting theme building throughout.
Duration : 2.12 Tempo : Medium
Track 14 : Lethal Run (a) R Gregson-Williams
Tense intro to desperate headlong rush.
Duration : 1.00 Tempo : Fast
Track 15 : Lethal Run (b) R Gregson-Williams
Alternative with less dynamic dart.
Duration : 1.00 Tempo : Fast
Track 16 : Lethal Run (c) R Gregson-Williams
Underscore of (a).
Duration : 1.00 Tempo : Fast
Track 17 : Trail of Deception (a) R Gregson-Williams
Disturbing investigative theme.
Duration : 1.00 Tempo : Medium
Track 18 : Trail of Deception (b) R Gregson-Williams
As above without key changes.
Duration : 1.00 Tempo : Medium
Track 19 : The Last Mission J Atmajian
Stirring military action.
Duration : 1.00 Tempo : Medium
Track 20 : Beat Action R Gregson-Williams
Percussive action bed.
Duration : 1.00 Tempo : Fast
Track 21 : Survival Story R Gregson-Williams
Poignant‚ dramatic theme.
Duration : 1.00 Tempo : Slow
Track 22 : Extreme Action J Burnett
Dramatic‚ relentless assault.
Duration : 2.50 Tempo : Medium

60 SECOND VERSIONS

Track 23 : Strike Force 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 24 : Hostile 60 J Burnett
Duration : 1.00 Tempo : Fast
Track 25 : A Deadly Game (a) 60 H Gregson-Williams
Duration : 1.00 Tempo : Slow
Track 26 : A Deadly Game (b) 60 H Gregson-Williams
Duration : 1.00 Tempo : Slow
Track 27 : Max Action 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 28 : The Ultimate Limits 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 29 : House of Secrets 60 J Burnett
Duration : 1.00 Tempo : Slow
Track 30 : Deep South 60 H Gregson-Williams
Duration : 1.00 Tempo : Medium
Track 31 : Premeditated (a) 60 R Gregson-Williams
Duration : 1.00 Tempo : Medium
Track 32 : Techno Drive 60 J Burnett
Duration : 1.00 Tempo : Medium
Track 33 : For My Country 60 S Jablonsky
Duration : 1.00 Tempo : Medium
Track 34 : Lethal Run (a) 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 35 : Lethal Run (b) 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 36 : Lethal Run (c) 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 37 : Trail of Deception (a) 60 R Gregson-Williams
Duration : 1.00 Tempo : Medium
Track 38 : Trail of Deception (b) 60 R Gregson-Williams
Duration : 1.00 Tempo : Medium
Track 39 : The Last Mission 60 J Atmajian
Duration : 1.00 Tempo : Medium
Track 40 : Beat Action 60 R Gregson-Williams
Duration : 1.00 Tempo : Fast
Track 41 : Survival Story 60 R Gregson-Williams
Duration : 1.00 Tempo : Slow
Track 42 : Extreme Action 60 J Burnett
Duration : 1.00 Tempo : Medium

30 SECOND VERSIONS

Track 43 : Strike Force 30 R Gregson-Williams
Duration : 0.30 Tempo : Fast
Track 44 : Hostile 30 J Burnett
Duration : 0.30 Tempo : Fast
Track 45 : A Deadly Game (a) 30 H Gregson-Williams
Duration : 0.30 Tempo : Slow
Track 46 : A Deadly Game (b) 30 H Gregson-Williams
Duration : 0.30 Tempo : Slow
Track 47 : Max Action 30 R Gregson-Williams
Duration : 0.30 Tempo : Fast
Track 48 : The Ultimate Limits 30 R Gregson-Williams
Duration : 0.30 Tempo : Fast
Track 49 : House of Secrets 30 J Burnett
Duration : 0.30 Tempo : Slow
Track 50 : Deep South 30 H Gregson-Williams
Duration : 0.30 Tempo : Medium
Track 51 : Premeditated (a) 30 R Gregson-Williams
Duration : 0.30 Tempo : Medium
Track 52 : Techno Drive 30 J Burnett
Duration : 0.30 Tempo : Medium
Track 53 : For My Country 30 S Jablonsky
Duration : 0.30 Tempo : Medium
Track 54 : Lethal Run (a) 30 R Gregson-Williams
Duration : 0.30 Tempo : Fast
Track 55 : Trail of Deception (a) 30 R Gregson-Williams
Duration : 0.30 Tempo : Medium
Track 56 : The Last Mission 30 J Atmajian
Duration : 0.30 Tempo : Medium
Track 57 : Beat Action 30 R Gregson-Williams
Duration : 0.30 Tempo : Fast
Track 58 : Survival Story 30 R Gregson-Williams
Duration : 0.30 Tempo : Slow
Track 59 : Extreme Action 30 J Burnett
Duration : 0.30 Tempo : Medium
Track 60 : Strike Force Sting R Gregson-Williams
Duration : 0.12 Tempo : Fast
Track 61 : Max Action Sting R Gregson-Williams
Duration : 0.09 Tempo : Fast
Track 62 : The Ultimate Limits Sting R Gregson-Williams
Duration : 0.12 Tempo : Fast
Track 63 : Techno Drive Sting J Burnett
Duration : 0.12 Tempo : Medium
Track 64 : Lethal Run (a) Sting R Gregson-Williams
Duration : 0.10 Tempo : Fast
Track 65 : Trail of Deception (a) Sting R Gregson-Williams
Duration : 0.12 Tempo : Medium
Track 66 : The Last Mission Sting J Atmajian
Duration : 0.07 Tempo : Medium
Track 67 : Beat Action Sting R Gregson-Williams
Duration : 0.10 Tempo : Fast
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RuthlessGravity reply Replies: 0 || 2010-09-13 00:00:00
This selection sounds like demo cues for The Rock, Crimson Tide, Metal Gear Solid 2, just a bunch of music that never made it into the real stuff but it sound's good though.

waitypissinati reply Replies: 0 || 2010-01-04 00:00:00
como faηo para baixar as trilhas

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KPM Library - Extreme Impact soundtrack - Justin Burnett - Harry Gregson-Williams - Rupert Gregson-Williams - Steve Jablonsky