Supervising Orchestrator: Bruce Fowler Additional Arrangements by Trevor Morris, Henning Lohner, Heitor Pereira & Kaz Boyle Orchestra Conducted by Blake Neely Concert Master: Endre Granat Supervising Music Editor: Bob Badami Music Editors: Melissa Muik & Daniel Pinder Assistant Music Editor: Del Spiva Preview Music Editor: Zig Gron Score Recorded & Mixed by Alan Meyerson Additional Recording & Mixing: Slamm Andrews Score Mix Assistant: Jeffrey Biggers Performed by The Hollywood Studio Symphony Music Contractor: Sandy DeCrescent Orchestrators: Suzette Moriarty, Rick Giovinazzo, Ladd McIntosh, Walt Fowler, Elizabeth Finch & Brad Warnaar Copyist: Suzie Katayama, Sony Music Preparation Service
Mastered by Patricia Sullivan Technical Assistants to Hans Zimmer: Thomas Broderick, Abhay Manusmare & Mark Wherry Assistants to Hans Zimmer: Moanike'ala Nakamoto & Andrew Zack
Hans Zimmer would like to thank Jim Brooks, Richard Marks, Julie Ansell, Joan Bradshaw, Richard Sakai, Amy Pascal, Lia Vollack, Raul Perez, Polly Platt, Maria Kavanaugh, Sam Schwartz, Michael Gorfaine, Ronni Chasen, Steve Erdody, Kevin O'Connell, Greg Russell, Dennis Drummond, Kim Drummond, Michael O'Farrell, Christy Haubegger, Becky Mancuso-Winding, Oscar Gomez, Al Clay, Mike Melvoin, Steve Kofsky, Robyn Klein, Clay Duncan, Geoff Zanelli, Jim Dooley, Ramin Djawadi, Steve Jablonsky, James Levine, Klaus Badelt, Bart Hendrickson, Alisha Bauer, Jessica Van Velzen, Victoria Y. Lanier, Charlene Huang, Chris Strong, Greg Vines, Ryan A. Watkins, Suzanne Zimmer & the "Mini Z's", Zoe Zimmer & Brigitte Zimmer
Special thanks: Monica Brautovich, Shelly Bunge, Kim Davis, Valerie Caton, Paul Friedman, Don Kennedy & Larry Kohorn
Release date : 01/11/2005 Here's a quiz. It's 2 o'clock ?n the morning, a fireplace is blazing, people with foreign accents are drinking wine, and gorgeous music fills the air. One more hint: Nobody ?? the room has slept for 72 hours. Where are you? That's right. Hans Zimmer's studio as he creates against deadline the score music for Spanglish. Hans always amazes and he always does so in a seemingly relaxed manner. He makes shear terror seem cool and something we'd like to learn and do nearly as well as he. The terror should come from the deadline. Once again Hans is nudging against the release date of the mo?ie as he lays down his "tunes," his word for the perfect, haunting, original theme music he creates for mo?ies. But one of his many Hollywood-defying accomplishments is the spirit he gives to the work. His studio has spawned many other composers, some of whom gather round as he brings this one home. Very little time goes by before he tells some story about someone else ?n the room, some affectionate story which embraces the person and some aspect of the work. People under pressure laugh. This is our third film together. He is my great friend. ? love the guy but this ability of his always seems surreal. The perfect host even as desperation builds around him (musicians being summoned in the dead of night, to slip into his adjoining recording studio and play something hot off the computer, which is rushed off to be ?nixed into the film in the nick of time). He can drive himself; even doubt himself while simultaneously spreading deep appreciation and affection to those who gather around him. Even as ? twitch on a nearby sofa he will pause in his current creative burst to call my attention to someone standing at the back of the large room, who once did this or that brave thing ?n another mo?ie. ? nod; not taking my eyes off the clock because ? am convinced that only by my staring at it will its needs be met. During the 11th hour of composing for this movie (? swear this is true) Hans' hosting and bon homie included a dog. The dog wandered in and Hans told me the small animal's personal history and how difficulty had rendered him homeless and why he now lived at the studio. At a certain point you take on the spirit of the man. Grace under pressure. It's sort of a wild thing to actually see take place. He gives confidence to all around him, though he is artist enough to suffer all sorts of internal demons, he has mastered some wizard's talent of ha?ing his anxiety fuel calm for others. Oh yes, the movie. He made the deadline. Those at the mix wiped away tears when they heard the themes played. He thereby finished two years of helping me at every turn from comments on the script, through the casting and early dailies and the various edits and reviews and finally to giving me the sound for the emotional heart of the f?lm. Hans does the Lord's work for his friends who make films. He keeps you honest. He speaks tirelessly for integrity. He prods you constantly to be the best version of yourself. His generosity is constant. And finally he has won this rough community's highest accolade: ?? one resents that he is the very best there is.
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This is one of my favorite Zimmer's scores. It is very sublime and moody, constantly at the "low level", and it can fit into many things. It's one of those scores that you have to listen through a couple of times to be able to understand it.
It's definitely a five star score for me. I don't know how Hans did it, but he perfectly captured the emotions of an immigrant living in the US. There's sadness and timidness at times, but you can also hear nobility and sincerity. Personally, it's one of the best scores Hans has done.
This song, bus stop. was given to me as a valentin's day gift, so from the first moment i listened i liked it very much so it really meant much to me and it will always remember me someone i loved... thank you LD
Spanglish is one of my favorite movies/scores. I think both deserve more attention. This is not just a "funny comedy".
The music is very beautiful and emotional, but not too sentimental... it supports the story very well. Especially the beach scene is wonderful. I like the piano part. (...but I'm just wondering, who played the piano? All the names of the orchestra member and soloist are listed on the album, except pianist...)
The other day I saw this film again, and I was surprised there are so many music not in the album. Most of them are very short cues or another arrangement of the released stuff, but I think some of them are very beautiful and deserve official release. They should have released them instead of that horrible song at the end! :(
Anyway, I'm looking forward to next collaboration of James L. Brooks & Hans Zimmer! :)
BEAUTIFUL..... 'bus stop' and 'spanglish' are really magnficent. I love this piece of music. It's simmilar to 'Nyah and Ethan" from MI2 score which is also great. Mr Zimmer I beg You to do more music like that theese guitars are marvellous
Hey!!!! Cuando escuché la música pude sentir la diferencia de que no se trataba del clásico ritmo español... aquí se trata de un ritmo mexicano... Señor Hans, yo lo admiro por el ritmo etnico que siempre logra componer para el contexto del film... espero que haya escuchado música marichi... en especial, tiene un buen guitarrista Heitor...