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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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Steve JablonskyJay FloodPieter A. SchlosserJeff Biggers
ComposerAdditional MusicAdditional ArrangementsMusic Scoring Mixer
D-War
Label: Milan Records
Length: 46'23
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 (10033 votes)
  1. Imoogi (2:19)
  2. The Legend Awakes (5:57)
  3. Village Attack (5:40)
  4. Love Theme (1:40)
  5. Yeouijoo (2:57)
  6. General And His Army (1:00)
  7. Second Life (1:18)
  8. Destiny (2:55)
  9. Battle In The Sky (2:24)
  10. Hypnosis And Flashback (2:32)
  11. Cafe Attack (1:58)
  12. Rooftop Showdown (2:31)
  13. The Altar (2:22)
  14. Buraki (2:52)
  15. D-War (2:01)
  16. Farewell (2:41)
  17. Arirang (Traditional) (3:16)
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Brent reply Replies: 2 || 2019-08-08 06:58:17
Man, I long forgot about this score (probably because it got overshadowed by Transformers). But, after rediscovering it and revisiting it, I didn’t realize how hauntingly beautiful this is. A true Jablonsky hidden gem.

Side note, any idea what happened to the man? I know he has a Pete Berg movie coming out soon, but not much else than that. Really missing his scores as of late.


Bayhem2019-08-08 15:31:42
He became a father. One kid and another one, soon after the first. He made it clear in interviews that he's focused more on his family. Which makes sense after 5 huge Transformers movies. lol.

As Steve himself said, scoring one Transformers movie is like scoring 2 normal movies. He worked on other projects at the same time, so you can imagine how tough and exhausting it must've been for him and his crew. And for him and his family.

I miss him too, but I totally get why he decided to step back for a while. And it's not like he isn't working. He's got that big comicbook movie too - Bloodshot. And probably other projects we still haven't heard.


Miralsice2019-08-17 22:09:22
The greatest thing that could happen, if Katsuhiro Otomo, who returns after very long 15 years break, reunited with Steve for his new anime «Orbital Era». I don't know the story behind the creation of «Steamboy» and how Steve get that job, but this was one of the best works of Jablosnky and my favorite.

It could be the greatest joy to hear Steve in full-orchestral mod and in anime-project like this.

I know, that all of this is a long shot and almost imposible, but you never know how things could turn.

superultramegaa reply Replies: 4 || 2018-03-15 01:00:22
Man, this is one where I wish there was a complete score release. To be honest, I like this score a lot more than Transformers. Jablonsky's raw talent here is unbelievable, and it feels like his score, rather than an RCP/Zimmer one. First, I love how there's only 4 themes, Love Theme, Imoogi, the classical piece that plays at the beginning of "Village Attack" which I can't remember the name of, and the D-War battle music that slowly develops throughout the score. This allows these themes to be used to their fullest potential, unlike Transformers where each theme is used 5 times at most because there was just too many to develop.

I also love the atmosphere of this score. Some tracks almost feel like they inspired Jeremy Soule for some of his Skyrim travelling music. Mainly "The Legend Awakes", "Yeouijoo", and "Second Life". The nature sounds, the instrument variety, the purity of the strings, it feels like something you could listen to while traveling through the mountains.

The action tracks, are wonderfully fitting for a monster movie score with the brute, overwhelming force of the horns, the complex string/underscore, it feels classical the way Howard Shore's Lord of the Rings is classical. Familiar, yet unique to the composer.

The way the themes develop is perfect, with the love theme developing into the classical death theme as the score closes out in "Farewell", the way the classical death theme develops into the main battle theme in "The Altar", "Buraki", and "D-War". And of course, the way Imoogi breaks down through the film, and rebuilds until the satisfying and beautiful finale of "Arirang".

This score, while being made for one of the most infamously bad monster movies ever, has so much care and love put into it. I've never even seen the full movie, but thanks to the fantastic storytelling in the music alone, I feel like I've already experienced it. Probably better than if I'd seen the movie if it is as bad as people say. Highly underappreciated Jablonsky score, and one of my favorite scores ever.

Sorry to go on for so long, but this score is like Steamboy for me, where once I start, I have to finish it in the same day because I love how perfectly it's crafted for this type of movie.


Hybrid Soldier2018-03-15 11:36:02
Funny that many people saw Transformers ripoffs in it while it was written a year before...

The film is hilariously bad, but guess what, they are making a sequel !

Jablonsky should come back, just for the joke ! lol


Edmund Meinerts2018-03-15 12:41:11
I enjoyed your impassioned defense of the score. I really ought to give it another listen one of these days, I've got the "Imoogi" cue on a few playlists but otherwise haven't heard it for years. I remember liking it okay though (nowhere near as much as Steamboy, but a solid score nevertheless). I'm especially intrigued by your Skyrim comparisons!


superultramegaa2018-03-15 13:51:40
I do really hope Jablonsky comes back for the sequel. I miss this type of music from him, the more detailed and mostly orchestral stuff. Transformers 1, 2, and 5 are a lot of fun, but not as good as this IMO.

And Edmund, yeah Yeouijoo in particular gives me a lot of Skyrim vibes, particularly the really calm and peaceful opening. Also the classical piece I was referencing was Dies Irae. It's usually used in movie scores to convey approaching death.


Backbiter2018-03-15 15:08:53
Never heard of this one, I'll give it listen based of on your review.

Philipp reply Replies: 2 || 2013-08-01 18:05:47
where can i buy this music? please tell me


al bundy2013-08-09 22:45:59
there is an amazon link just click on it.


Philipp2013-08-09 22:50:49
thank you al bundy

Elazar reply Replies: 3 || 2013-08-09 17:15:40
Who do this soundtrack ? Hans Zimmer or Steve Jablonsky ?


Macejko2013-08-09 18:17:55
Are you f*cking serious?


Hybrid Soldier2013-08-09 18:20:22
Yeah apparently reading has become a difficult skill, in this world ! :/


Evenstar2013-08-09 22:45:10
omg...

Daniil reply Replies: 0 || 2011-08-24 23:11:05
I have to admit that missed this soundtrack somehow. Recently opened it as good old vine. Very good soundtrack. It's very close to Transformers, but different. Amazing that number of people asked me whether it was unreleased music from TFs. Thanks to Steve and his team.

westfall reply Replies: 0 || 2009-08-07 00:00:00
It's a nice soundtrack, although i agree it's not going to be like Transformers (1 and 2) that plays non almost every day at my place. Imoogi and Arirang are the best. Arirang reminds me of "Arrival to Earth", i wonder why?! LOL (In case you didn't notice, i was being sarcastic there). As for the film, it's not great but i kind of liked it. (Prepares to be stoned). All in all, a nice effort by Jablonsky.

Deakins reply Replies: 0 || 2009-07-19 00:00:00
I'm agree with Ele. This album isn't equilibrated. However, I add the track 'Legend Awakes' for its first approach of the Transformers 'All Spark' theme.

Ele reply Replies: 0 || 2009-07-18 00:00:00
Very bad score :( 3 tracks out of 17 are interesting :( (Immogi, Love Theme, Arrirang, and maaaaybe Farewell)

Mike reply Replies: 0 || 2009-07-18 00:00:00
I disagree...though its definetely Remote Control Productions material, its still good.

Skyler reply Replies: 0 || 2009-05-07 00:00:00
At least it was better than the movie itself (which I can honestly say was probably the single worst movie I've ever been forced to sit through)

Niko reply Replies: 0 || 2009-05-06 00:00:00
It sounds like every other score from the Zimmer crowd.

anand reply Replies: 0 || 2008-10-18 00:00:00
eusuperrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

mama reply Replies: 0 || 2008-08-14 00:00:00
i want the full track !!! >: ( not 46 sec . of the last track D:

Cloud reply Replies: 0 || 2008-05-25 00:00:00
YesAsia is absolutely shipping to Europe (and really cheap), you're probably looking at their US site, you have to look at GLOBAL.

Adriaan reply Replies: 0 || 2008-05-25 00:00:00
@ Cloud
YesAsia doesn't ship to Europe!

And Milan Records doesn't list the cd on their website!

  Your name :   

Please enter number: 712 

Alex reply Replies: 0 || 2008-05-16 00:00:00
Steve Jablonsky is great in creating an emotional music as given in D-War, Transformer etc. I m great fan of STEVE JABLONSKY. IF i get an opportunity to become students of HANS ZIMMER & STEVE JABLONSKY than it would be a GOLDEN apportunity for me. Their music in theatres gives an excitement feeling. Please Sir (STEVE JABLONSKY), If u read this than please reply me as your great fan...

HATS OFF to STEVE JABLONSKY & HANS ZIMMER... KEEP GOING in every's heart...

Klaas reply Replies: 0 || 2008-04-28 00:00:00
############# Great score, nothing more to say.

kei reply Replies: 0 || 2008-04-07 00:00:00
Exciting score!!!

Anonymous reply Replies: 0 || 2008-04-01 00:00:00
Good

Johnny reply Replies: 0 || 2008-03-31 00:00:00
One of the Best Movie Score I ever heard!
Thank You Steve Jablonsky!!!!!

Cloud reply Replies: 0 || 2008-03-12 00:00:00
YesAsia for instance.

AEZAC reply Replies: 0 || 2008-03-11 00:00:00
I have been looking for this cd everywhere.

Sadly I have yet to come across a copy.

Does anyone know where I can find one?!

Mike reply Replies: 0 || 2008-02-10 00:00:00
Transformers comes very close...however D-War takes my nomination as best Jablonsky score. "Arirang", "Imoogi", and "Love Theme" are simply brilliant...they helped make the movie more enjoyable then what it was.

kadeem reply Replies: 0 || 2008-02-03 00:00:00
WOW .... D-war soundtracks amazing love all songs

MacCharlie reply Replies: 0 || 2007-12-12 00:00:00
Although this score was very hard to me to get from Finland I'm glad that I finally managed to purchase it. Thank you Steve.

HMB reply Replies: 0 || 2007-11-16 00:00:00
D-WAR ,Steve Jablonsky is brilliant

Harry reply Replies: 0 || 2007-11-16 00:00:00
D-TRACK is absolut exelent from S.Jablonsky

wim reply Replies: 0 || 2007-10-07 00:00:00
cwd you can buy it at yesasia.com

cwd reply Replies: 0 || 2007-10-05 00:00:00
Where the hell can you buy this? It doesn;t seem to be availble anywhere.

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D-War soundtrack - Steve Jablonsky 2007