NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
About his studio at RCP, is it rental or he owns the stuff? What happens to the gear when he is not around?That is probably the fairest thing anyone on this website will say about Clemmensen. :P@Anonymous<br><br>Christian Clemmensen believes that Hans Zimmer found his definitive voice back in the 1990s with scores such as Driving Miss Daisy, Rain Man, Crimson Tide, and Lion King. However, he has in reviews of later scores compared Zimmer's overly obvious chord progressions and masculinity with what the "rock ballad" did to rock-n'roll music of the '70s. To him, it's overly powerful, unsubtle, and aggressive music that appeals to the gut more than the heart or the mind. Some of Zimmer's most popular scores such as Gladiator, Pirates, and The Dark Knight he has given middling reviews for because the general sound is derivative from his earlier works, not colorful, and not creative. He also accuses Zimmer of starting a trend with overly-recycled, bombastic, masculine action music that's big on density and power and low on subtlety and personality. <br><br>I can definitely see where he's coming from, one cannot deny the similarities between Crimson Tide, Lion King, Gladiator, Pirates, Dark Knight and so forth. One also cannot deny that scores such as Dunkirk and Blade Runner 2049 qualify more as sound design than actual symphonic music (mostly). However, if he had his way, every film score would be shamelessly optimistic and flighty, all major chords (and occasionally alternating off-key), with prominent woodwinds and metallic percussion. He definitely knows what he's talking about, but he has an ideal image for film music in mind, and that very much comes through in his Zimmer reviews, some of which I think deserve much more credit than he offered (Pirates 3, Da Vinci Code, and Gladiator come to mind).a more orchestral fury roadTom is gonna score Mortal Engines<br>What kind of sound do you expect?
He has a studio at RCP but mostly work from his own home studio. His business is "Sacred Tiger Music."<br>Does Henry actually work for HZ at RCP or does he have his own film score company now like HGW?Why filmtracks always behave very Aggressive about hans zimmer and always trys to make his scores worthless ??!! Its odd for meAw Hell...<br><br>I guess it never did freeze over.Sorry, I should've been more specific. This is a comment I had originally posted on the Filmtracks forum, NOT from a Christian Clemmensen review. My bad.
Referring to the previous comment (how did it not reply to the the previous message?)That's not the actual review. The length is a pretty big giveaway. Also, I'm fairly certain he's still given some RCP efforts some good scores.WOW....color me impressed at Filmtracks. I thought that site was anti-Zimmer in all aspects far, wide, near and dear.Copied from Filmtracks:<br><br>Excellent score - a little slow in the middle third*, but some really stirring fantasy-adventure elsewhere. "The Internet" is Cue of the Year material. Although it's odd how little synth there is here, particularly in the finale, where the orchestra seems to completely take over; this isn't too bad of a thing because Jackman's orchestral skills are downright breathtaking at times. The references to other Disney scores/musicals (yes, including Star Wars) left a big dumb grin on my face.<br><br>*I get the sense that this movie might be too long (1 hour and 52 minutes).No you're not. I think Jackman has made some great score over the last through years.<br>And I think this is one of them. Both tracks with or without electronics
So I guess I'm the only one who likes less-electronic-Henry?Henry has been removing electronics for 4 years now...Listen to<br><br>A Big Strong Man In Need Of Rescuing.<br><br>That whole track is a damn easter eggI haven't seen the movie yet but I like the score more with each listen. Not a classic Zimmer by any means but still an enjoyable listen at its short running time. Looking forward to the movie as well.This is me or Henry Jackman removed the electronics this year it could be affect to the predator score because I was thinking about the predator score affect him to remove electronics and turned serious & dramatic. That's weird when Henry Jackman used a lot electronics & fun since 2009 to 2017 with his scores.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Additional Music
Klaus Badelt
Additional Music
X-Men
Label: Decca Records
Length: 40'27
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 (3747 votes)
  1. Death Camp (3:05)
  2. Ambush (3:26)
  3. Mutant School (3:48)
  4. Magneto's Lair (5:01)
  5. Cerebro (2:13)
  6. Train (2:35)
  7. Magneto Stand Off (3:01)
  8. The X-Jet (3:47)
  9. Museum Fight (2:21)
  10. The Statue Of Liberty (2:38)
  11. Final Showdown (2:31)
  12. Logan And Rogue (5:57)
Create Topic

Bayhem reply Replies: 10 || 2018-05-03 17:37:16
Hmmm, is this a mistake or Badelt was really involved here?


Scorefan2018-05-04 00:21:16
Ottman was the obvious choice for Singer. But in that time Ottman was developing Urban Legens 2: Final Cut as a director/music composer/editor. So for a recomendation Singer turned the music to Kamen. Singer was dissatisfied with the music, so Badelt came to added the electronics/synths tones to the music. There's a promo with Badelt's music.


ThePhantasm 2018-05-04 00:31:38
i would love to hear Klaus compose music for a super hero movie. It'd be so amazing


Edmund Meinerts2018-05-04 00:47:21
I mean there's Catwoman, and TMNT is almost a superhero movie.


Scorefan2018-05-04 01:44:49
The same thing was for Constantine. Brian Tyler composed the music. Francis Lawrence, the director of the movie, was not happy with the work of Tyler, it was too orchestral, so Badelt came and composed new music with electronics/synths tones. The result: a hybrid score. The film itself feature music from both composers and the official release both composers are credited. Also there are promos for each composer.


Bayhem2018-05-04 06:42:44
Scorefan,

Thanks for the reply. I'm surprised at myself for never knowing about Badelt's involvement with X-Men. He's not credited anywhere. And clearly he should be. At least as an "Additional Composer" on IMDB.

And truth be told, I always thought it was weird to have Kamen as the composer of this movie. I think of him as a more gritty, urban-type of composer (Lethal Weapon, Hudson Hawk, Last Action Hero, etc...) and I always wondered why Singer went to him instead of, say, James N. Howard or Jerry Goldsmith. Personally, I would LOVE to see an X-Men movie with a James N. Howard score. *drooling*


Bayhem2018-05-04 06:57:33
Scorefan, yes you're right about the Constantine situation. Speaking for myself - and as much as I love the movie - I think the hybrid score that ended up in the movie did not deliver entirely. I honestly can't even remember a standout track......I really have to listen to the whole thing again.

By the way, Badelt has a history of coming in and re-scoring or adding elements to a score. After Constantine, he was brought in by Michael Mann to do additional work on Miami Vice. John Murphy was the original composer, but as it often happens on Mann movies things change constantly. Both Badelt and Murphy are credited, but I remember reading comments from Murphy regarding this project, and he was clearly not happy with the whole situation. Kinda like Harry Gregson-Williams and Mann's Blackhat....


rockhound2018-05-04 08:48:26
badelt has a credit in the booklet of the X-Men soundtrack album for synth programming or something like that.


Michael Fields2018-05-04 12:25:22
It's right. Badelt has a credit "additional electronic percussion"


Michael Fields2018-05-04 12:47:00
Here's the full booket credits, if you're interested.

Music Composed And Conducted By
MICHAEL KAMEN

Music Produced By
MICHAEL KAMEN
STEPHEN McLAUGHLIN
CHRISTOPHER BROOKS

Orchestrations By
ROBERT ELHAI
BRAD WARNAAR
MICHAEL KAMEN

Sampling And Programming By
JAMES SEYMOUR BRETT
MICHAEL PRICE

Additional Electronic Percussion By
KLAUS BADELT

Music Contracted By
THE MUSIC TEAM
GINA ZIMMITTI
DEBBIE DATE - PYLE

Music Preparations By
JOEL FRANKLIN
ERIC STONEROOK MUSIC

Music Recorded And Mixed By
STEPHEN McLAUGHLIN

Music Editor
DARYL KELL

Additional Recording By
JOEL IWATAKI

Music Performed By
THE LA ALLSTAR ORCHESTRA

Cellists
STEVE ERDODY
DAVID SHAMBAN
DENNIS KARMAZYN

Concert Master
BRUCE DUKOV

Score Recorded At
THE NEWMAN STAGE, TWENTIETH CENTURY FOX

Recordist
JOHN RODD

Engineer
BILL TALBOTT

Stage Crew
TOM STEEL
DAMON TEDESCO

Score Mixed At
THE CHAPEL STUDIO

Assistant Engineers
LEE HANNING
MARK KELLEN
DAN ADAMS

Music Supervisors For Twentieth Century Fox
ROBERT KRAFT
MICHAEL KNOBLOCH

Business Affairs
TRACY GALLAS OPGAHL

Original Score Publishing By
FOX FILM MUSIC CORP.

Chairman, Universal Classics Group
CHRIS ROBERTS

Soundtrack Coordinators
LIAM TONER
MIRANDA SMITH
RANDY DRY

Art Director
BEN ALDIS

And So On!


Scorefan2018-05-05 00:47:53
Bayhem, that0s right. John Murphy was the official composer for Miami Vice but, it's a Michal Mann movie, so Badelt came to add music for that movie.
Well It's not a surprise Michael Mann is always like that in music. Let's remember The Last oh the Mohicans with Trevor Jones and Randy Edelman, Public Enemies with Elliot Goldenthal taking cues of his music from Heat and, well, the known history with Harry Gregson-Williams in Blackhat.

Mephariel reply Replies: 2 || 2018-05-04 07:30:24
How awesome would it be if Zimmer ask John Powell to score something for Dark Phoenix just as a nod to X3?


Edmund Meinerts2018-05-04 14:13:42
Sadly I think Dark Phoenix will do all it can to distance itself from X3 and everyone involved in it, and even though Powell is the last person who should be blamed for that film's poor reception, he's tainted by association.


Mephariel2018-05-04 16:28:36
Yeah, too bad. Not only the people, I think based on what I read, they want to distance themselves from the story as well. So I doubt they want the same style of scoring.

bruceV reply Replies: 0 || 2008-06-13 00:00:00
Yes! You are absolutely right! ''The Statue Of Liberty'' along with all the rest tracks was amazing!.... - By the way, YioHaj, you probably mean ''Michael Kamen and his music was great''..., is that right?... ; )

YioHaj reply Replies: 0 || 2008-02-11 00:00:00
the statue of liberty is the best track ih heard since James Horner Braveheart ost. Michael Kane was a great man as is his music

 HANS-ZIMMER.com 2001-2018 OST 
X-Men soundtrack 2000