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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
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<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
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<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
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<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>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.
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Steve JablonskyLorne BalfeClay DuncanTJ Lindgren
ComposerAdditional MusicAdditional MusicAdditional Music
Transformers
Label: Warner Bros. Records
Length: 59'50
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 (23742 votes)
  1. Autobots (2:33)
  2. Decepticons (3:52)
  3. The All Spark (3:35)
  4. Deciphering The Signal (3:09)
  5. Frenzy (1:57)
  6. Optimus (3:16)
  7. Bumblebee (3:57)
  8. Soccent Attack (2:07)
  9. Sam At The Lake (1:58)
  10. Scorponok (4:56)
  11. Cybertron (2:46)
  12. Arrival To Earth (5:27)
  13. Witwicky (1:57)
  14. Downtown Battle (1:33)
  15. Sector 7 (2:05)
  16. Bumblebee Captured (2:17)
  17. You're A Soldier Now (3:28)
  18. Sam On The Roof (2:03)
  19. Optimus Vs Megatron (4:00)
  20. No Sacrifice, No Victory (2:58)
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Mr Tweedy reply Replies: 0 || 2007-10-10 00:00:00
@wherryt

Megatron awakes
-> "Soccent Attack". This cue is used twice during the movie, and you can hear it when Megatron Awakes.

The autobots riding to the city with the soldiers
-> This is one of the cues missing from this release. Nevertheless, the cue "Scorponok" is pretty similar to that cue.

-Optimus transforming before fighting with megatron
-> "You're A Soldier Now". This cue is astounding !!! Plus it has a really better sound/mix than the promo, it will litterally blow your speakers.

Joshua reply Replies: 0 || 2007-10-10 00:00:00
I think it complimants the Offical score very well. If the track descriptions below are correct then the only really major cues missing from the film would be the ones on the 13 track promo, and if you absolutly need all the cues , then try and get the 52 track promo (good luck). But from whats suposed to be on the offical score, really all your missing is, Soldiers Arrive ,Camaro On The Run, Are you ladies man 217,Autobots To The Rescue and Hoover Dam. All of which are on the 13 track promo. I wish the cue where the autobots and soilders meet and drive to mission city was on one of the releases but its not. In my opinion the only cue worth listening to thats on the 52 track version thats not on the 13 track version is Optimus Sword but its only 49 seconds long.

Per reply Replies: 0 || 2007-10-10 00:00:00
chewblacca, the 13 track "promo" was just a short fan made edit of the 52 track version...

chewblacca reply Replies: 0 || 2007-10-10 00:00:00
So do you think that the 13 track promo score complimates this cd, or is it no longer needed at all?

wolverine05 reply Replies: 0 || 2007-10-10 00:00:00
I've just received it from the USA(I'm belgian) and it's great and marvellous to ,at last,hear it after all this long months wainting. Everything was said about this score,I just have to say one thing: enjoy it ;)

Anonymous reply Replies: 0 || 2007-10-10 00:00:00
I know many people are trying to know what is what on the regular soundtrack, then ok, I'll try to list what contains each cue !

!!!SPOILER!!! !!!SPOILER!!! !!!SPOILER!!!


Autobots : Opening Titles (full version unedited).

Decepticons : used many times during the movie, for exemple "Hacking Air Force One" or "Mars Transmission".

The All Spark : discovering the All Spark into the Hoover Dam, with a nice cello added, and really longer than film version !

Deciphering the Signal : variation on the Keller's briefing, not in film.

Frenzy : unused cue, I guess it should have been originally placed during the Air Force One sequence.

Optimus : complete rendition of Optimus' theme, sounds like a long edit of the movie's "Optimus's Speech" about why defending humans and saving Bumblebee. Flute added.

Bumblebee : a mix between two sequences : "After the Explosion" when Bumblebee has his legs cut ; and "Compacting the Allspark", both in longer, non-film versions (what a great cue !!!).

Soccent Attack : well, the cue from Blackout's attack on the Soccent base at the beginning of the movie. Used again as Megatron awakens and leaves the Dam.

Sam at the Lake : Sam with his new car trying to meet Mickaela... at the lake !

Scorponok : the Scorponok's attack on Soccent's survivors, and counter-attack from the army.

Cybertron : the story told by Optimus Prime, about Cybertron and Megatron found in the ice.

Arrival to Earth : as many people called it, the "Autobots Descent" and scanning vehicles, followed by Sam meeting all the Autobots.

Witwicky : back at the house, Sam is trying to hide the giant robots in the garden from his parents.

Downtown Battle : the arrival at Mission City and Starscream's missile launch.

Sector 7 : Sector 7 trying to capture the Autobots in the city.

Bumblebee Captured : well hum... the sequence where Bumblebee is captured by Sector 7. :)

You're a Soldier Now : Soldiers fighting Devastator, Blackout arrives, Mickaela trying to save Bumblebee, Sam running with the All Spark, Optimus coming to the final battle.

Sam on the Roof : Sam using flares and hiding behind the statues on a roof.

Optimus Vs Megatron : The final battle, including the death of Blackout and Starscream's battle in the sky.

No Sacrifice, No Victory : the ending cue from the movie, including the reprise of the Autobots theme.

Blanca reply Replies: 0 || 2007-10-09 00:00:00
I can't wait to get it lovely and great!!!

OPTIMUS reply Replies: 0 || 2007-10-09 00:00:00
WE ARE HERE! WE ARE WAITING!

Kusi reply Replies: 0 || 2007-10-09 00:00:00
hmmm, I've got the mail of the delivery today!!! :) I can't wait to going home and see the package!! :)))

Per reply Replies: 0 || 2007-10-09 00:00:00
Levente, the music in the first track is not the same music as in the last track (in the end of the film). Same theme probably yes, but same theme doesn't mean same music !

Hybrid Soldier reply Replies: 0 || 2007-10-09 00:00:00
LOOOOOOL OPTIMUS ! :D

"WE CANNOT LET THE HUMANS PAY FOR ALL OUR MISTAKES..."


:-D

About the first track, it's just a longer version of the opening titles... Check the extract I made ! ;-)

Kusi reply Replies: 0 || 2007-10-09 00:00:00
buy it!

ok reply Replies: 0 || 2007-10-09 00:00:00
Amazing, words can describe the album. Love every second of it

prime reply Replies: 0 || 2007-10-09 00:00:00
can somebody tell me how the tracks are coming in the movie from the first to the last?

wherryt reply Replies: 0 || 2007-10-09 00:00:00
I wish to know if this moments are in the soundtrack:

-Megatron awakes
-The autobots riding to the city with the soldiers
-Optimus transforming before fighting with megatron

Thanks!

Levente reply Replies: 0 || 2007-10-08 00:00:00
Autobots is the same music which was used at the end of the film. I think No Sacrifice, No Victory has the same music too, I'm saying this because I heard the promo releases.

arrikis reply Replies: 0 || 2007-10-08 00:00:00
I hope this CD contains the music of the autobots & soldiers coming to the city, it΄s a variation fo the scorponok track, but faster and better!

AEZAC reply Replies: 0 || 2007-10-06 00:00:00
Does anyone know a website I can go to to preview the score? I am about to die, Ive waited 3 months for this thing!!

Anonymous reply Replies: 0 || 2007-10-06 00:00:00
www.walmart.com has 30 second samples for each of the tracks. Just do a search for it

Me reply Replies: 0 || 2007-10-06 00:00:00
I Think is Scorponok

Anonymous reply Replies: 0 || 2007-10-06 00:00:00
What's the real name? Scorponok or Scorpinok?

Per reply Replies: 0 || 2007-10-06 00:00:00
To me it sounds like the released CD have some unused/alternate stuff too, or ? (But don't quote me on that, since I can't remember everything from the film...)

Maybe more like suites or montages than the actual film versions...

For instance the first track - Autobots, that choir at the end of the sample, is that in the film somewhere I wonder?

Could this be the Main Title/Prologue music, only extended or something ?

Really looking forward to receive my CD and listen to it, specially the Arrival To Earth. Even the low quality samples, with all that hiss, sounds much better than hearing the music in the film ;)

Really hope the music where Bumblebee shrinks the cube are included as well ;)

AEZAC reply Replies: 0 || 2007-10-06 00:00:00
I've been to walmart.com before and heard all the tracks (they sound amazing) By the sound of it it sounds like this score will be the best ever. It may beat Gladiator :)

But is there anywhere I can preview a (whole) track? maybe all of them??

Thanks

Antas, Webmaster reply Replies: 0 || 2007-10-05 00:00:00
lengths added

Anonymous reply Replies: 0 || 2007-10-05 00:00:00
I though that the Autobots theme was the one used when Optimus speech why saving humans

Mr Tweedy reply Replies: 0 || 2007-10-05 00:00:00
"The Opening Titles is The All Spark theme"
Hum no, not really, the Opening Titles is the Autobots Theme !
The allspark theme is the one used in well... "The Allspark", and during many other sequences !

Anonymous reply Replies: 0 || 2007-10-04 00:00:00
The Opening Titles is The All Spark theme

joshua reply Replies: 0 || 2007-10-04 00:00:00
Length?????????????????

zenefan reply Replies: 0 || 2007-10-04 00:00:00
@joshua: Not the length count !!! (55:54)

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Transformers soundtrack - Steve Jablonsky 2007