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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 premier
I 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 1
You 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.
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Music ArrangerMusic Arranger
Klaus BadeltIan HoneymanAndrew Raiher
ComposerArrangerArranger
The Promise
Label: Superb Records
Length: 73'44
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 (8086 votes)
  1. Freedom Of The Wa (2:40)
  2. Wuji - Main Theme (3:45)
  3. Love Theme (2:13)
  4. Kunlun, The Slave (1:48)
  5. Qingcheng, The Princess (1:22)
  6. Guangming, The General (1:07)
  7. Wuhuan, The Duke (1:53)
  8. Princess Kite (5:03)
  9. The Promise (5:22)
  10. Snow Country (4:32)
  11. The Robe (8:04)
  12. Save The King (4:00)
  13. Guilang, The Assassin (2:24)
  14. Saving a Princess (3:17)
  15. Feather Fight (2:04)
  16. Waterfall (2:44)
  17. Stampede (4:45)
  18. Come Back (4:28)
  19. Birdcage (1:53)
  20. Wuhuan's Plan (10:20)
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Anonymous reply Replies: 3 || 2013-03-08 18:05:48
Recording Sessions
Tracklist:

01 - 1m1 The Tree
02 - 1m10 New Master
03 - 1m2 Qingcheng Runs
04 - 1m4 The Deal
05 - 1m7 Fanfare
06 - 1m8 Stampede
07 - 1m9 Battle
08 - 2m12 forest Prophecy
09 - 2m14 Bitter Tears
10 - 2m15 Assassinating the Gene
11 - 2m16 Kunlun's Ride
12 - 2m17-18 Saving a Princess
13 - 2m19-20 Waterfall
14 - 2m21 Birdcage
15 - 3m23 kunlun to the Rescue
16 - 3m25 Princess Kite
17 - 3m26 Feather Fight
18 - 3m27 Superball
19 - 3m28 Already Fallen
20 - 3m29 Making Beds
21 - 4m31 Princess Leaves
22 - 4m32 Snow Country
23 - 4m33 Cherry Blossom
24 - 4m34 Let Me Take You There
25 - 5m37 Playful Love
26 - 5m38-39 Children Without Pa
27 - 5m41 Kunlun and Qingcheng
28 - 5m44 General Sees Qingcheng
29 - 5m45 Where is the Armor
30 - 5m46 Room of Screens
31 - 6m49 Dancing Columns
32 - 6m50 Slave Speech
33 - 6m52 Just a Flesh Wound
34 - 6m53 Wuhuan's story
35 - 7m55 The End


...2013-03-08 19:26:12
So now it has leaked...


tim2013-03-08 20:12:20
leaked? it has been on klaus website for months... ^^


JJ2013-03-09 07:59:56
Better call it selections from the recording sessions. I can tell that compared to the OST alone, this is missing a good number of cues.

Macejko reply Replies: 5 || 2013-01-27 22:45:54
Great score indeed. Does anyone know of an another Badelt's soundtrack, which has similar qualities?


HGW42013-01-27 23:00:38
The Time Machine. My favorite!


Edmund Meinerts2013-01-27 23:09:51
The Time Machine seconded. It has a lot of temp track love in it but it's a pretty fantastic score nonetheless. Other than that if you can find Solomon Kane, it's along similar grand, sweeping lines, though the themes aren't quite as lyrical.


Prott2013-01-28 01:01:00
Or K-19. That's also a wonderful and emotional score.


Edmund Meinerts2013-01-28 13:26:19
K-19's theme is a great one. The score itself is a little repetitive but worth seeking out. Also, if you can get your hands on the promo to TMNT then do at all costs! Otherwise he's got a bunch of French scores available for free on his website, most of them aren't that great, rom-com type stuff (but hell, they're legally free so who's to complain?). One of them, his thriller score A Bout Portant (Point Blank), is pretty solid with one great action cue ("Subway Foot Chase"). His theme from Poseidon is pretty good but the rest of the score is dull; same with Ultraviolet, as long as you don't mind the temp-track love for Spider-Man! Equilibrium has some fun moments too; it's probably the closest Badelt ever got to writing a classic mid-90s MV action score. Ned Kelly is more laid back and lyrical but quite pretty.

There, that ought to give you enough to chew on for a while. ;)


Macejko2013-01-28 23:00:28
Thanks guys, I'll definitely give those a shot :)

Phi B reply Replies: 0 || 2011-04-30 18:08:26
amazing score...

many thank's to Klaus Badelt

me reply Replies: 0 || 2008-08-21 00:00:00
This is one of Badelt's best scores, if not his best. His use of cultural instruments and influences is seamlessly integrated into the score w/ excellent precision. It does not match fellow MediaVentures comrade Hans Zimmer's "The Last Samurai", but is nonetheless a fantastic score. "The Promise" fits very nicely beside "The Time Machine" and "K-19" in my collection of Badelt scores. Keep it up Klaus!

Mike reply Replies: 0 || 2008-08-21 00:00:00
Second favorite score ever. Last Samurai still no.1 for me. Princess Kite is just perfect...starts with solo violin and ends with solo violin. I too wish there was an expanded release.

aaa reply Replies: 0 || 2008-02-09 00:00:00
aaaaa

Slither reply Replies: 0 || 2007-12-04 00:00:00
The promise is without a dought Badelts best score to date, he was really inspired during his stay in China that he really came out of the experience with a score which tops even Zimmers latest offerings. I cant wait to see a complete release of the promise score, because i have seen the film and there are a lot of great cues missing from the album, one in which features in the trailer

O´Maly reply Replies: 0 || 2007-01-11 00:00:00
Sorry for my comment, you are right Victor!!!

Hans is also one of the best!!!

It´s only sometimes I get mad when I see that the Hans Zimmer Fans vote intent bad for Klaus Badelt CDs!!!

Look at the Promise Votes and you´ll now what i mean!!! Such a wonderful Score can´t be so badley rated with only 67% !!!

Victor reply Replies: 0 || 2007-01-04 00:00:00
By the way, of course it is more powerful and "real" and orchestral soundtrack, but it does depend of production, not just the composer!! It is far more expensive to pay for the whole group of musicians plus the composer than just the composer!!! Has anybody thought of how real could have been a Gladiator or Pearl Harbor soundtracks with a full orchestra?

Victor reply Replies: 0 || 2007-01-04 00:00:00
I do not agree with the opinions that say Klaus is better than Hans, whose Last Samurai or King Arthur soundtracks are as good as The Promise one. Hans has created some of the best epic and action film music ever.Why are you so unfair with this genius who was also Klaus' and so many other's inspiration? I do think they both are among the best in the actual scene and probaly are creating the most beautiful soundtracks of the moment. It is a stupid debate.

King Barry reply Replies: 0 || 2006-12-30 00:00:00
wow amazing!!!!

O´Maly reply Replies: 0 || 2006-12-28 00:00:00
I allways was an Hans Zimmer Fan, but since The Promise I know, Klaus Badelt is so much better!!!
He is the one who can make a score lyric wihtout an stupid Synthesizer!!!
Now I´m a huge Klaus Badelt Fan he is so talented and gorgeous!!! You´ll see, in the near future he will be famous as Zimmer ,John Williams or Jerry Goldsmith!!!
Just wait for Rescue Dawn and Turtles, they sure will be superb like every Klaus Badelt Score!!!

forget Zimmer, Klaus Badelt blows you away!!!

Loren reply Replies: 0 || 2006-12-22 00:00:00
Freedom of the Wa is just impossible to describe... and the entire score has made me look twice...no, three times... at Klaus Badelt.

Danny chang reply Replies: 0 || 2006-11-21 00:00:00
best score ever, forget Hans, Klaus rules!

music dreamer reply Replies: 0 || 2006-11-20 00:00:00
thanks! Hans.thanks Klaus! because when you gives
us these music's miracles, you make me love life

Ruth reply Replies: 0 || 2006-10-08 00:00:00
Es fabuloso este score.
Es uno de los mejores que ha hecho Badelt junto a The Time machine.
El track que más me gusta es The Robe, fantástico, tiene muchas dinámicas y una orquestación excelente. La verdad es que no hay desperdicio alguno en esta BSO, es una genialidad que marca que Klaus Badelt es un compositor excelente!!!

John reply Replies: 0 || 2006-07-07 00:00:00
Great!!!!! Best score ever heard !!!!

Movieknowa reply Replies: 0 || 2006-06-11 00:00:00
send me this album to home.. i want it but i got no money plz

Mr. Manpower reply Replies: 0 || 2006-05-12 00:00:00
The best music I´ve ever heard !!!!

Levente reply Replies: 0 || 2006-05-12 00:00:00
The trailer music is from the soundtrack. Except the action music in the middle, which is from the movie, but it is not on the album.

Anonymous reply Replies: 0 || 2006-03-25 00:00:00
This is one of his best so far along with Equilibrium and Time Machine

belit reply Replies: 0 || 2006-02-28 00:00:00
music trailer please????

ANA reply Replies: 0 || 2006-02-28 00:00:00
MUSIC OF TRAILER PLEASE????

pat reply Replies: 0 || 2006-02-09 00:00:00
klaus badelt The Promise ,un grande moment de music

jens reply Replies: 0 || 2006-01-29 00:00:00
"--Vielen Danke"-- für den Link und alles Gute...

The Best Hans Zimmer und Klaus Badelt

jens reply Replies: 0 || 2006-01-27 00:00:00
wer kann sagen wo man die CD Klaus Badelt The Promise kaufen kann

mauro reply Replies: 0 || 2006-01-27 00:00:00
With reference to Shinji post: It is clear in some parts of the score that the Last Samurai by Zimmer was a source of inspiration to this one. It has nothing wrong with the melodies and of course being treated in an oriental style does not lead for simplicity. As I said earlier the orchestral sound is a bit narrow and not wide enough and this maybe the reason why you have to listen to this score for a few times before it gets you fully blown away. I would have preferred the orchestral Sound by Zimmer like in the last samurai. There the orchestra is truly magnificient and the electronics in that score if there are any, they are subtle and compliments gracefully to the orchestra. Since this is the review part of the Promise, back to subject and after listened it few more times it is 4/5 :)

ABC reply Replies: 0 || 2006-01-27 00:00:00
@Jens

http://www.play-asia.com/paOS-13-71-bi-49-de-15-promise%2Bsoundtrack-70-15wi.html

Shinji reply Replies: 0 || 2006-01-26 00:00:00
When i first heard this score, i wasn't too impressed. I was looking for that simple yet grand and efective theme that these guys threw in our faces from time to time (like in POTC). But there's nothing like that to be found here. To tell the truth this music grew on me with every listen and meanwhile it's become my absolute number one Badelt score. The themes are far from simple and it took me a few days to get into them and really learn to appreciate them. Badelt's music for this movie sounds so huge, so powerful.. Some want to compare it to The Last Samurai, but even though i love that score, i just have to admit that The Promise sounds much more 'real', kind of less synthetic. A real orchestra did a fantastic job, and it's the first time i can't actually hear any 'out of place' electronics - if there are any at all. And of course Badelt used different instruments than Zimmer, since China still sounds a lot more different than Japan. I can't but recommend this epic score, it's a huge step forward for Badelt: 10/10.

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The Promise soundtrack - Klaus Badelt 2005