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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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Bob DaspitRupert Gregson-WilliamsVarious
ComposerComposerComposer
KPM Library - Velocity
Label: Promotional release
Length: 60'52
HZimmer.com rating:        3/5
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 (3780 votes)
BIG BEATS

Track 1 : Phatt Fryer (a) C Henson / M D'Cruze
Feel good‚ Big Beat romp.
Duration : 3.13 Tempo : Medium
Track 2 : Phatt Fryer (b) C Henson / M D'Cruze
Duration : 0.10 Tempo : Medium
Track 3 : Break Out (a) R Gregson-Williams / G Fletcher
Pacey‚ energetic beats.
Duration : 1.47 Tempo : Fast
Track 4 : Break Out (b) R Gregson-Williams / G Fletcher
Duration : 0.05 Tempo : Fast
Track 5 : Mars is Red (a) C Henson / M D'Cruze
Vibey Drum 'n' Bass.
Duration : 4.06 Tempo : Fast
Track 6 : Mars is Red (b) C Henson / M D'Cruze
Duration : 0.10 Tempo : Fast
Track 7 : Mars is Red (c) C Henson / M D'Cruze
Atmospheric underscore.
Duration : 2.53 Tempo : Fast

EXTREME INDUSTRIAL

Track 8 : Fish Flesh S LeFanu / B Gledden
Full-on guitar thrash & weirdness.
Duration : 2.31 Tempo : Fast
Track 9 : Hard as Nails R N Daspit
Intriguing groove with massive chorus.
Duration : 1.56 Tempo : Medium
Track 10 : Paranoid Suicide R N Daspit
Dark‚ hard-hitting.
Duration : 2.11 Tempo : Fast
Track 11 : Monsters of Rock S LeFanu / B Gledden
Relentless‚ hard guitar.
Duration : 2.37 Tempo : Medium

LATIN‚ FUNK AND WEST COAST

Track 12 : Too Hot! (a) S Lefanu / J Frankel
Latin extravaganza featuring trumpet.
Duration : 2.27 Tempo : Fast
Track 13 : Too Hot! (b) S LeFanu / J Frankel
Duration : 0.06 Tempo : Fast
Track 14 : Blue Funk S LeFanu / B Gledden
Urban funk rock.
Duration : 1.41 Tempo : Medium
Track 15 : Highly Charged S LeFanu / B Gledden
Heartland jazz rock.
Duration : 2.23 Tempo : Fast

METAL

Track 16 : Space Cats S LeFanu / B Gledden
Triumphant glam-rock.
Duration : 3.54 Tempo : Fast
Track 17 : Velocidaddy R N Daspit
Prowling electro-groove.
Duration : 2.38 Tempo : Medium
Track 18 : Continuum (a) S LeFanu / J Frankel
Rock countdown.
Duration : 2.49 Tempo : Fast
Track 19 : Continuum (b) S LeFanu / J Frankel
Duration : 0.03 Tempo : Fast

BIG BEATS - 60 SECOND VERSIONS

Track 20 : Phatt Fryer 60 C Henson / M D'Cruze
Duration : 1.00 Tempo : Medium
Track 21 : Break Out 60 R Gregson-Williams / G Fletcher
Duration : 1.00 Tempo : Fast
Track 22 : Mars is Red 60 C Henson / M D'Cruze
Duration : 1.00 Tempo : Fast

EXTREME INDUSTRIAL - 60 SECOND VERSIONS

Track 23 : Fish Flesh 60 S LeFanu / B Gledden
Duration : 1.00 Tempo : Fast
Track 24 : Hard as Nails 60 R N Daspit
Duration : 1.00 Tempo : Medium
Track 25 : Paranoid Suicide 60 R N Daspit
Duration : 1.00 Tempo : Fast
Track 26 : Monsters of Rock 60 S LeFanu / B Gledden
Duration : 1.00 Tempo : Medium

LATIN‚ FUNK AND WEST COAST - 60 SECOND VERSIONS

Track 27 : Too Hot! 60 S LeFanu / J Frankel
Duration : 1.00 Tempo : Fast
Track 28 : Blue Funk 60 S LeFanu / B Gledden
Duration : 1.00 Tempo : Medium
Track 29 : Highly Charged 60 S LeFanu / B Gledden
Duration : 1.00 Tempo : Fast

METAL - 60 SECOND VERSIONS

Track 30 : Space Cats 60 S LeFanu / B Gledden
Duration : 1.00 Tempo : Fast
Track 31 : Velocidaddy 60 R N Daspit
Duration : 1.00 Tempo : Medium
Track 32 : Continuum 60 S LeFanu / J Frankel
Duration : 1.00 Tempo : Fast

BIG BEATS - 30 SECOND VERSIONS

Track 33 : Phatt Fryer 30 C Henson / M D'Cruze
Duration : 0.30 Tempo : Medium
Track 34 : Break Out 30 R Gregson-Williams / G Fletcher
Duration : 0.30 Tempo : Fast
Track 35 : Mars is Red 30 C Henson / M D'Cruze
Duration : 0.30 Tempo : Fast

EXTREME INDUSTRIAL - 30 SECOND VERSIONS

Track 36 : Fish Flesh 30 S LeFanu / B Gledden
Duration : 0.30 Tempo : Fast
Track 37 : Hard as Nails 30 R N Daspit
Duration : 0.30 Tempo : Medium
Track 38 : Paranoid Suicide 30 R N Daspit
Duration : 0.30 Tempo : Fast
Track 39 : Monsters of Rock 30 S LeFanu / B Gledden
Duration : 0.30 Tempo : Medium

LATIN‚ FUNK AND WEST COAST - 30 SECOND VERSIONS

Track 40 : Too Hot! 30 S LeFanu / J Frankel
Duration : 0.30 Tempo : Fast
Track 41 : Blue Funk 30 S LeFanu / B Gledden
Duration : 0.30 Tempo : Medium
Track 42 : Highly Charged 30 S LeFanu / B Gledden
Duration : 0.30 Tempo : Fast

METAL - 30 SECOND VERSIONS

Track 43 : Space Cats 30 S LeFanu / B Gledden
Duration : 0.30 Tempo : Fast
Track 44 : Velocidaddy 30 R N Daspit
Duration : 0.30 Tempo : Medium
Track 45 : Continuum 30 S LeFanu / J Frankel
Duration : 0.30 Tempo : Fast
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KPM Library - Velocity soundtrack - Bob Daspit - Rupert Gregson-Williams - Various