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Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?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=112
You 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 Rozman
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Additional Music - Conductor
Hans ZimmerNick Glennie-SmithHarry Gregson-WilliamsDon Harper
ComposerComposerCo-ComposerAdditional Music
The Rock (Complete Score)
Label: Unofficial Release
Length: 107'32
HZimmer.com rating:        5/5
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 (13759 votes)
  1. Opening (3:54)
    Hans Zimmer, Nick Glennie-Smith
  2. Naval Weapons Depot (4:17)
    Hans Zimmer, Nick Glennie-Smith
  3. Baby Gas (2:26)
    Harry Gregson-Williams
  4. Romance #1 (0:19)
    Hans Zimmer, Nick Glennie-Smith
  5. Tour's Over, Bob (3:29)
    Nick Glennie-Smith, Don Harper, Steven Stern
  6. Hummel Speech - Alcatraz Reopened (2:25)
    Hans Zimmer, Nick Glennie-Smith
  7. Hummel's Demands To Pentagon (1:21)
    Hans Zimmer, Nick Glennie-Smith
  8. Romance #2 (0:46)
    Hans Zimmer, Nick Glennie-Smith
  9. Mason Montage (1:24)
    Nick Glennie-Smith, Harry Gregson-Williams, Steven Stern
  10. San Francisco Montage (1:17)
    Hans Zimmer, Nick Glennie-Smith, Russ Landau
  11. Interrogation (1:02)
    Nick Glennie-Smith, Steven Stern
  12. The Quarter (0:41)
    Nick Glennie-Smith, Steven Stern
  13. Window Crash - Fairmont (2:07)
    Nick Glennie-Smith, Harry Gregson-Williams, Steven Stern
  14. Haircut - Escape: The Chase!! (8:22)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams, Don Harper
  15. Goodspeed Tracks Jade (0:49)
    Harry Gregson-Williams
  16. Jade (1:59)
    Nick Glennie-Smith
  17. Blueprints (1:06)
    Nick Glennie-Smith, Harry Gregson-Williams
  18. Hummel - SEALs (7:14)
    Hans Zimmer, Nick Glennie-Smith
  19. Mason Into Furnace - SEALs Tunnel (1:14)
    Nick Glennie-Smith, Don Harper
  20. In The Tunnels (3:32)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams, Don Harper, Steven Stern
  21. SEAL Attack (4:52)
    Hans Zimmer, Nick Glennie-Smith, Steven Stern
  22. Aftermath (0:49)
    Harry Gregson-Williams
  23. Bombs (3:43)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams
  24. Hammer Head (1:52)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams
  25. The Morgue (2:12)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams
  26. Indiana Jones - Fight With Marines (4:12)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams
  27. Hostage - Goodspeed Captured (5:35)
    Hans Zimmer, Nick Glennie-Smith
  28. Plasma Bomb Is Ready (0:51)
    Nick Glennie-Smith, Harry Gregson-Williams
  29. Mason's Walk (4:10)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams
  30. First Launch (1:54)
    Harry Gregson-Williams
  31. President's Lament (1:57)
    Hans Zimmer, Nick Glennie-Smith
  32. Mission's Over (5:28)
    Hans Zimmer, Nick Glennie-Smith
  33. Final Attack (3:07)
    Hans Zimmer, Nick Glennie-Smith
  34. The Last Chip (2:26)
    Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams
  35. Finale (Part 1) (2:37)
    Hans Zimmer, Nick Glennie-Smith
  36. Finale (Part 2) (3:24)
    Hans Zimmer, Nick Glennie-Smith
  37. Fort Walton, Kansas (1:37)
    Hans Zimmer, Nick Glennie-Smith
  38. Hummel - SEALs (Alternate) (1:56)
    Hans Zimmer, Nick Glennie-Smith
  39. In The Tunnels (Alternate 1) (1:37)
    Hans Zimmer, Nick Glennie-Smith, Don Harper
  40. In The Tunnels (Alternate 2) (1:31)
    Hans Zimmer, Nick Glennie-Smith, Don Harper
  41. Fort Walton, Kansas (Alternate) (1:40)
    Hans Zimmer, Nick Glennie-Smith
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Jaume reply Replies: 0 || 2008-04-03 00:00:00
Fine music!

Where can be found a midi or a sheet notation for this soundtrack?

Maps reply Replies: 0 || 2007-09-19 00:00:00
I created an own bootleg with all the music released fort his film with this track listing:

01 Opening titles (3:51)
02 Hummel gets the rockets (4:12)
03 Defusing the bomb (2:24)
04 Marriage (00:16)
05 Tours over (3:26)
06 Hummel’s speech (2:35)
07 Marriage II (00:42)
08 Mason breaks the glass (2:15)
09 The chase (8:33)
10 Jade (1:59)
11 The mission (7:21)
12 The mission (alternate) (1:53)
13 Father–daughter-chat (1:46)
14 Welcome to the rock (4:16)
15 Welcome to the rock (alternate) (1:34)
16 The shower room massacre (4:37)
17 Bombs away (4:37)
18 The morgue I (1:44)
19 The morgue II (2:10)
20 Tunnel shootout (4:10)
21 Mason’s walk (5:32)
22 The final hour (4:09)
23 Rocket away (1:51)
24 The air force approved (1:56)
25 Mutiny (5:25)
26 The last rocket (3:06)
27 Frye and Goodspeed fight (2:24)
28 Green smoke (2:36)
29 Saving Goodspeed (3:23)
30 Fort Walton – Kansas (alternate) (2:51)
31 Fort Walton – Kansas (1:29)
32 End Credit suite (5:14)
33 The Rock (ideas)

Total running time: 1:42:18

NO SFX!

mark reply Replies: 0 || 2007-08-28 00:00:00
on the rock cover is are names of nick glennie-smith,hans zimmer,harry gregson-williams,but i dont know who did witch theme,who did all score and who just was helping in work.anybady know who did what in this score???

Manuel reply Replies: 0 || 2007-08-27 00:00:00
Well this is a version without sfx. But is not the complete score, The movie runs over 2 hrs and 15 minutes, and many music from the film is not included in this version. Also, we can find this parts of the music in others version but conatins a little sfx. Also, There changes between some tracks from the other versions and this. Please, team of remote control productions, lauch the complete score with all the music and the alternate tracks.

Thanks.

Aggelos reply Replies: 0 || 2007-08-20 00:00:00
I also have the version that ok mentioned about. It's very nice! Hail to complete score with no SFX!!!

Aggelos reply Replies: 0 || 2007-08-20 00:00:00
Most of the bootleg covers are fan made

ok reply Replies: 0 || 2007-08-17 00:00:00
i just saw the cover and its strange that only zimmers name is present when the music is mostly nick glennie smith and then a parts by hans zimmer and least bu harry gregson williams.

The Colonel reply Replies: 0 || 2007-08-17 00:00:00
The cover's most likely fan-made by some goon who doesn't know better; just knows that Zimmer worked on it and as he's the biggest name assumed that he contributed the most.
Poor Nick has never gotten the true recognition deserved to him for this, his fantastic score. A pity.
Anyway this "reordered" track version thankfully seems more "available" than the disordered original tracklist. I'm very happy with it.

Per reply Replies: 0 || 2007-08-17 00:00:00
ok :

This one you mention, is just the same as the one listed on this page, only the cues are rearranged in the correct order they appear in the film, and named a bit differently...that's all !

...actually not difficult to figure out this just by comparing the two tracklists.... ;)

Antas, Webmaster reply Replies: 0 || 2007-08-16 00:00:00
@ok : could you contact me privately ?

ok reply Replies: 0 || 2007-08-16 00:00:00
hey antas/hybrid i found this version,
CD 1
01- A Grave Injustice
02- Hummel Gets The Rockets
03- Defusing The Bomb
04- Tour's Over
05- Hummel's Speech
06- Mason Breaks The Glass
07- The Chase
08- Jade
09- The Mission
10- The Mission (Alternate)
11- Welcome To The Rock
12- Welcome To The Rock (Short Alternate)
13- Shower Room Massacer
14- Bomb's Away
15- The Morgue Part I
16- The Morgue Part II
CD 2
01- Tunnel Shootout
02- Mason's Walk
03- The Final Hour
04- Rocket Away
05- Airstrike Approved
06- Mutiny
07- Frye and Goodspeed Fight
07- The Last Rocket
09- Green Smoke
10- Saving Goodspeed
11- Fort Walton, Kansas
what do u think, its without sfx and has great quality, seems like a complete.

MexX reply Replies: 0 || 2007-07-10 00:00:00
Oke!, i accept that i cant buying this beautiful musik of once of the best composers (hans zimmer, nick glennie-smith, harry gregson-williams and much more) but i want to know, why we cant get this album or anything albums with "[Bootleg Release]", why musst they save that and why dont want to get much money with that musik??? My englisch are so bad because iam from germany^^, i a little composer, i have any good programms and synthesizer with midi funktion and make a little musik for a german movie too. Iam playing pionao for 8 years and since 5 years, iam a BIG hans zimmer fan (composer of RCP too). I have bougth so many albums from hans zimmer (and other) but the best musik are saved!!! and my question ist: WHY, why cant they make
officially this good musik???

Marie reply Replies: 0 || 2007-02-23 00:00:00
just one word: Amazing!

xeriouxi reply Replies: 0 || 2007-02-18 00:00:00
I find it's a shame too that they aren't released to the public. I really love this release since I got it a few years ago and it's a shame that it wasn't a 2-disc release to begin with. =(

Roy reply Replies: 0 || 2007-01-27 00:00:00
I understand.. only its sad.. they let us hear a little part of this beautiful cd, and we cant buy it any were :(

fatih reply Replies: 0 || 2007-01-25 00:00:00
tnk

Parvus reply Replies: 0 || 2007-01-24 00:00:00
OK, I understand. I'm sorry, I do not want any problems. :)

Antas, Webmaster reply Replies: 0 || 2007-01-23 00:00:00
You know, HZ staff (and other composers as well) read regularly the site -- so you can easily understand why it's better to not tell where to find such releases...
We don't want any problem with owners' copyrights

Anthony reply Replies: 0 || 2007-01-23 00:00:00
Screw all the "don't tell people where to get bootlegs" thing. I respect the rules here, but it's not like the H-Z.com guys didn't have to ask around to get them is it. :)

Hybrid Soldier reply Replies: 0 || 2007-01-23 00:00:00
LOL why not (I don't know why, I already feel the webmasters' Red Alert) ? But come to the forum to find me...

Hybrid Soldier reply Replies: 0 || 2007-01-22 00:00:00
timo I really understand what you mean...

This bootleg world is "selfish", isn't it ?

We can talk about bootlegs, give opinion about bootlegs, tell they exist... But we can't tell where to find these bootlegs !

It's a great paradox...

If I tell you where to begin your research, this message will be deleted... ;-(

timo reply Replies: 0 || 2007-01-22 00:00:00
@webmaster all those guys talk about it and listen it,...how did they get them?
thanks

Hybrid Soldier reply Replies: 0 || 2007-01-22 00:00:00
Yes Antas !

A 33 tracks... I don't know how is it (quality ?, SFX ?)... I'll have it soon if you know what I mean... ;-]

Antas, Webmaster reply Replies: 0 || 2007-01-22 00:00:00
@Hybrid

I didn't manage to find any promo or boot with Hans or Mark music for Sniper. Did you ?

Parvus reply Replies: 0 || 2007-01-22 00:00:00
PLEASE HELP How can I get this album?

timo reply Replies: 0 || 2007-01-21 00:00:00
Hybrid Soldier, are you sure is it not possible to get them anyhow?thanks for answering

Antas, Webmaster reply Replies: 0 || 2007-01-21 00:00:00
@timo

bootlegs are not official CD -- so you can't buy them.

D Wade reply Replies: 0 || 2007-01-21 00:00:00
Thanks for all the explanations as to who did what on the score. This might be a little off the Rock subject, but can anyone tell me which pieces of the score to Sniper were written by Hans?

Hybrid Soldier reply Replies: 0 || 2007-01-21 00:00:00
LOL D Wade !

That's a really good question... You certainly talk about the Sniper bootleg available with as only information "Gary Chang - Hans Zimmer - Mark Mancina" as composers...

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The Rock (Complete Score) soundtrack - Hans Zimmer - Nick Glennie-Smith 1996