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From albums yes, not from the scores... lolemoji movie. live action Pokémon movie. 5 transformers movies. Let’s be honest studios have no clue what people wantAre you sure Jackmans been removing the electronics from his music, or just from his albums?<br><br>Civil War was noticeably different, if you compare the OST to what you heard in the movie.Hybrid said there was some sort of legal issue that came up which prevented use of the samples or something like that.Eh, Shore is a smart composer. He could make it work. I guess whether that's what studios think audiences want is another question entirely...
Is it me or are none of the soundtracks on the website showing the sample tracks that you could listen to anymore?Have you heard that Henry Jackman will composing his music for the upcoming 2019 picture called Pokemon: Detective Pikachu?  I wonder what the film soundtrack would sound like.  Hmm...I think that Howard´s style of music doesn´t really fit to the post apocalyptic genreFor a Peter Jackson production I was expecting Howard Shore.I listened to the score and is one of the most entertaining scores of this year. It's great to see the main theme return but there are a lot of new elements to enjoy and discover here. There were parts that kind of reminded me of Incredibles 2, like the begining of Shank. And tracks like Vanellope's March or Big Strong Man In Need of Rescue are just pure fun.<br><br>Really great score!
I was this tracklist for a 3rd cd floating around, is this legit ?<br><br><br>Disc 1  <br>1.  Planet Earth II Suite  <br>2.  The Sloth<br>3.  Home To Dragons<br>4.  Albatross Dance<br>5.  Racer Snakes vs Iguanas<br>6.  Chinstrap Penguins<br>7.  Singing Indri<br>8.  Competing Hummingbirds<br>9.  Life In The Canopy<br>10. Jungle Weather<br>11. Night Crawlers<br>12. World of Bioluminescence<br>13. Wilson's Bird-of-Paradise<br>14. Something Worth Protecting<br>15. Life Without Water<br>16. Monsoon Deserts/Canyonlands<br>17. Lions vs Giraffe<br>18. The Butcher Bird<br>19. Wild Horses<br>20. Desert Nightlife/Golden Mole<br>21. Long-Eared Bat vs Scorpion<br>22. Early Morning Fog<br><br>Disc 2 <br>1.  Roof Of The World<br>2.  Peaks of North America<br>3.  The Ibex<br>4.  The Himalayas<br>5.  Flight Over Alps<br>6.  Ice Skating Flamingos<br>7.  Dancing Bears<br>8.  Tenacious Bobcat<br>9.  Garden of Ice<br>10. Snow Leopards<br>11. Savage Beauty<br>12. Nomadic Life<br>13. Hunting Buffalo Herds<br>14. The Okavango<br>15. Carmine Bee Eaters<br>16. Industrious Insects<br>17. The Great Migration<br>18. The Unnatural Habitat<br>19. Langurs of Jodhpur<br>20. Temple Gardens<br>21. Market Thieves<br>22. Illuminated<br>23. City Skylines<br>24. Starlings<br>25. Toronto Raccoons<br>26. We Are The Designers<br>27. Epilogue<br><br>Disc 3<br>1. Harvest Mouse<br>2. Jumping Widowbirds<br>3. The Red Fox<br>4. Cacti<br>5. Harris Hawks<br>6. Draco Lizard<br>7. Glass Frog vs Wasp<br>8. Galapagos<br>9.  Zavodovski Island<br>10. The Great Bower Bird  <br>11. Wels Catfish    <br>12. Frozen NightAbout 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 road
Tom 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.
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Additional Music - ConductorOrchestrator
Mark MancinaNick Glennie-SmithChristopher WardBruce Fowler
ComposerAdditional MusicAdditional MusicOrchestrator
Bad Boys (Limited)
Label: La-La Land Records
Length: 70'32
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 (6112 votes)
  1. Prologue - The Car Jacking (4:31)
  2. Bad Boys - Main Title / Heist (6:07) *
  3. Funky Brothers To PD (0:34)
  4. Air Conditioning Inspection (1:07) *
  5. JoJo, What You Know? (0:39)
  6. Dead Guy (4:55)
  7. He's The Person I'd Call (0:52) *
  8. Killing Max (4:15)
  9. The Boys Find Max (2:29)
  10. Into Lois' Apartment (0:49)
  11. Escape From Julie's (2:46)
  12. You're Going To Leave Me Alone? (0:50)
  13. Don't Honey Me Baby! (1:01)
  14. My Bologna Has A First Name? (4:02) *
  15. Julie's Got A Gun (0:53)
  16. Escape From Club Hell / Ether Chase (4:33) *
  17. We Don't Want To Lose You (0:38)
  18. I Mean Like Funny (2:00)
  19. Interrogation (0:40)
  20. Stake Out (0:53)
  21. Tailing Lab Tech / Blown Cover (1:35)
  22. Busted (0:51) *
  23. Footchase (4:23)
  24. Fouchet Calling (0:32) *
  25. Hangar Shootout (9:14) *
  26. Cobra Chase / Fouchet's Death (4:40)
  27. Bad Boys: Main Title (Edited Film Version) (3:36)
*Co-written with Nick Glennie-Smith
Create Topic

Bayhem reply Replies: 30 || 2018-08-28 14:24:22
Not surprisingly, Nick Glennie-Smith co-wrote some of my favorite tracks from this score. I don't know why Rabin and Mancina always wanted to "distance" themselves from MV/RC, yet they were very often working with them.

Speaking of Mancina, what the hell is going on with him?? He just vanished from the film world. He's stuck with Criminal Minds, which, no offence, is not the same as working on film projects. Jablonsky was able to work - at the same time - on big movies (Transformers) and smaller TV shows (Desperate Housewives), so why not Mancina? I got a feeling that his...…..ahem...….."character" played a part in all of this. He's known to be pretty outspoken. And I'm sure that he wasn't removed from Bad Boys 2 simply because Bay and Bruckheimer didn't like the music he delivered....There's certainly more to that story....


rockhound2018-08-28 15:26:10
in a recent interview with trevor, he said that bruckheimer and mancina had a big argument on Con Air, because mancina wanted the credit although he didn't write anything for that movie. bruckheimer didn't want to give him the credit, but the contract said otherwise. after that the bruckheimer/mancina cooperation was done. trevor was even surprised that they asked mancina for Bad Boys 2. maybe it was just because michael bay wanted the old team at the beginning.


Edmund Meinerts2018-08-28 16:27:28
Mancina wrote nothing for Con Air? Hybrid, is that true?


mpolonest1232018-08-28 17:04:04
Which interview was this rockhound?

While I always felt like 99% of Con Air sounded like Rabin, the main theme sounds very much like Mancina. If this is true that’s crazy.


rockhound2018-08-28 17:13:14
check the thread "Trevor Rabin In Oslo" in the maintitles.net forum.


mpolonest1232018-08-28 17:36:50
Gotcha, thanks!


Scorefan2018-08-28 20:51:43
@Hybrid is that true? Mancina didn't wrote nothing on Con Air? And by the way Bayhem, yes, Hans is credit as the composer in the trailer for Enemy of the State. But the music was written by Rabin and Harry. What happened there Hybrid?


MH2018-08-28 22:37:22
I just conducted an interview with Mark Mancina. He said he did write music for Con Air. He mentioned he had to leave early due to a schedule conflict with Speed 2.


MH2018-08-28 22:39:25
He goes into detail about Con Air and what happened. More an that when the interview is online. It is rather interesting....!


Hybrid Soldier2018-08-28 22:49:47
Obviously Mark wrote music for Con Air, parts sound way too much like Mark to be Trevor. It's also true Trevor ended up handling most of the project, but the DNA of the score has Mark all over it.


MH2018-08-28 22:51:51
absolutely true!


rockhound2018-08-29 09:04:38
nothing is obvious in film music and the funny thing is, that this site proves this fact everytime. i dont know, if rabins story is true, but it is a fact that mancina and bruckheimer never worked together again after Con Air (except that they asked him for Bad Boys 2). so there must be a reason for that. if something sounds like mancina in Con Air, for me it is just the theme and tracks like Trisha and Poe meets Larkin, because these 2 tracks sound like the emotional guitar cues in Bad Boys. the rest sounds nothing like mancina, not even the orchestration. but who knows, who is telling the truth....


Bayhem2018-08-29 10:11:28
rockhound, I agree.

To me, except for a very few bits and pieces Con Air doesn't really sound like Mancina. It's very much Rabin establishing his sound. I'm not saying Mancina didn't do anything, but if you put Con Air next to his other scores it just sticks out. It's nothing like his other work, before or after. It's way too aggressive and "metallic". I think the official story is that Mancina started Con Air, but had to leave early because of Speed 2. Whether that's the whole story, I don't know.....


Bayhem2018-08-29 10:16:37
MH, when will that interview be online?

Thanks in advance.


rockhound2018-08-29 10:35:16
@Bayhem
mancina said in an interview last year, that bruckheimer wanted them to score the teaser for Con Air. and that theme idea for the teaser was in the end the main theme for the movie, because bruckheimer liked that theme alot. so i think it is for sure, that at least the theme is by mancina and rabin. in that same interview, he also said that bruckheimer and bay wanted the same music style as in the first one and mancina didn't want to do that. also bay didn't like mancinas approach for Bad Boys 2. that's why he left.


Mr Tweedy2018-08-29 12:19:04
In my opinion, Poe Meets Larkin is 100% Trevor! It sounds exactly like Armageddon and Gone in 60 Seconds. But yeah, tracks like Trisha, or Lear Crash, might have been written by Mancina.

The main theme definitely has DNA from both Mancina & Rabin.

And about Bad Boys 2, in the Lalaland Bad Boys score release, Mancina said: "Michael Bay just didn't like anything I was doing, and I began to feel like I wanted to keep the first score intact. I felt that Bad Boys was a really good score. And I just didn't want to a bland action score, I wanted to keep it in the BAD BOYS tradition, and Michael really didn't want that, so it didn't work out."


Bayhem2018-08-30 13:29:09
rockhound, from what the other guys here said, it seems it's the other way around - Mancina wanted to keep the original Bad Boys sound, while Bay and Bruckheimer wanted something completely different.


As for Con Air, yes, the main theme definitely feels like a mix between Rabin and Mancina, but aside from that it's a pretty obvious Rabin score.


rockhound2018-08-30 15:50:24
@Bayhem
take a look at the All Access interview with mancina from last year on youtube. he says, he didn't wanna write the same thing over and over again. he wanted to do something else, but bruckheimer and bay didn't want something else. but he also said, that bay didn't like anything that manicna offered.


MH2018-09-09 22:33:09
Dear friends,

my Mark Mancina interview is finally online. I hope you enjoy it

https://www.youtube.com/watch?v=CebKZKjxYRQ&t=2s

All my best,

Michael


Bayhem2018-09-10 11:25:57
Thanks for sharing the interview, MH. Just finished listening to it....

As I expected, he simply didn’t like working the way the Bay/Simpson/Bruckheimer crew worked. Yet, he worked on Con Air and agreed to return for Bad Boys 2. Before being removed….. He clearly has no intention of going back to the action genre and that’s why he throws De Bont, Bay, Simpson, Bruckheimer under the bus. I mean, he even took a shot at Antoine Fuqua, who hired him for three whole movies. Can’t say I like that, mainly because his most famous and beloved scores are for movies made by those guys, but still…….He has the right to express his views. Even though I see no point of him undermining the action genre so much. After all, working in that genre and working with those guys is the reason he’s still popular among film score fans. I just think he should be more appreciative of that.

By the way, I loved the interview, but………I disagree with you on Bad Boys 2. I will always consider it to be one of the wildest, most insane action movies out there. I mean, just ask Edgar Wright. He made a whole movie that pays an homage to Bad Boys 2 (Hot Fuzz) : ))))


Thanks again for sharing the interview.


rockhound2018-09-10 12:45:29
thank you for the very interesting interview. looks like mark had problems with bruckheimer & co. right from the beginning. funny, that they asked him to return for The Rock. At least bay, bruckheimer & simpson had no problems with him until that point. otherwise they would not have asked him again. for Bad Boys 2, i would say, that this movie is way too long, with a couple of totally unnecessary action scenes. with these scenes i mean the haitian drug house shootout and the highway car chase. the rest of the movie is very well done.


Bayhem2018-09-10 13:46:05
=======================
funny, that they asked him to return for The Rock. At least bay, bruckheimer & simpson had no problems with him until that point. otherwise they would not have asked him again.
=======================

True. Very true.

Which is why I said that Mancina should be more appreciative of that time. Yes, he had problems with those guys - granted, they're not always easy to work with, that's not a secret - but props to them for asking him back for The Rock. I just don't like the way he brushes off and undermines so many people and movies. I seriously doubt that Bruckheimer "didn't want" and "didn't talk" to Rabin on Con Air. Kinda weird, considering the fact that Rabin ended up being the composer who had worked the most with Bruckheimer. It's like Mancina is saying "I was the star and they wouldn't talk to anyone else."

I'm honestly not surprised that he didn't get along with the Bruckheimer crew: most of those guys, especially Bay, are very vocal and very confident. Mancina is clearly the same. He often pimps out his own stuff, including in this interview. So when you get two of those guys in one room you certainly gonna see some sparks flying around. But now, sadly, Mancina just sounds bitter about his time in the action genre. I had no idea that he hated it so much.....


rockound2018-09-10 14:09:59
that bruckheimer didn't want trevor for Con Air is not that wrong. trevor said in one interview, that someone of bruckheimers staff heard his music from Glimmer Man and kind of suggested him for Con Air. but because trevor was still very new in the business, bruckheimer didn't want to give him the job. so bruckheimer asked mancina and then mark brought trevor in.


Bayhem2018-09-10 16:22:22
rockbound, I knew that, yes. But the way Mancina said it, it almost sounded like Bruckheimer was pressured to go with Trevor. But okay, even if that is true, there's still one more thing. Mancina said that Jerry didn't talk to Trevor, which is simply not true because in an interview about his career Trevor revealed that Jerry was in reality the one working the most on the post-production of Con Air. Not the director. Apparently Jerry wasn't too happy with Simon West, so he basically took over.

So what Mancina said is apparently not true.


rockhound2018-09-10 17:07:59
@Bayhem
i think mark meant, that bruckheimer didn't talk much to trevor at the beginning of the composing process for Con Air, because bruckheimer hired mancina as the main composer. but when mark left, bruckheimer ofc had to talk to trevor for the rest of the process. but it is still strange, that trevor said that mancina composed almost nothing and because of that mark and bruckheimer had an argument about the film credits and mancina says now, he composed lots of action music and chase music. that doesn't make much sense. so somebody is telling not the truth. but it also looked like, that bruckheimer, simpson and bay didn't even realize, that mark didn't enjoy the collaboration on Bad Boys. thats why he said no to The Rock. they liked his music, but he didn't like to work with them.


Scorefan2018-09-11 00:41:25
Bruckheimer hired Mark to score Con Air. Mark hired Trevor to write some additional music. That's why Bruckheimer didn't talk to Trevor and only talk to Mark. Mark write some ideas for Con Air. In the middle of the process, Mark left the project and Bruckheimer and his staff talk with Trevor and asked him if he can write the music to Con Air. Trevor writes the score for almost all the film and took some of Mark ideas. For contracts and commercial purpose both are credited as composers. Trevor is unknown and Mark is known. Both are credited is the commercial CD.
Bay and Bruckheimer hired Mark to wrote the score for Bad Boys. Bay and Bruckheimer liked the score but didn't like the process and work with Mark. Not even matter, they asked Mark to score The Rock because of music. Mark didn't like the process to work with them, so Nick Glennie-Smith came aboard with Hans helping him and the rest is story.
Bay and Bruckheimer went to Bad Boys 2. They wanted the crew again and Mark aboard to score the film again. Mark wanted to keep the themes from the first film. Bay and Bruckheimer wanted new music. Mark wrote some ideas with the original themes. Bay and Bruckheimer didn't like those early ideas. Mark was fired and Trevor came to wrote the score with Dr. Dre in the rap parts as additional music.
Since Con Air, the relation between Bruckheimer and Trevor went well, including with Bay. That's why Trevor score many films for Bruckheimer. And that's the reason why Mark disappeared from film scoring, even from Antoine Fuqua after scoring Training Day and Shooter. The next film from Antoine was King Arthur and who was the producer? Bruckheimer. The rest is history.


Bayhem2018-09-11 09:51:06
but it is still strange, that trevor said that mancina composed almost nothing and because of that mark and bruckheimer had an argument about the film credits and mancina says now, he composed lots of action music and chase music. that doesn't make much sense.
===========

Well, it's a pretty obvious case of "He said, she said". And I have a feeling that Mancina and Trevor are not exactly good buddies. Even though they basically started together.... I mean, Trevor took over from him on Con Air and Bad Boys 2 and Mancina never really praises Rabin. Unlike Trevor, who's always very nice and complimentary towards other composers.

Mancina, as much as I like his 90s work, seems like he could be a bit of a dick. He easily throws people under the bus and he doesn't seem appreciative of the success he had in the action genre. And it's weird.....he said that he didn't want to do The Rock because he didn't like working with Bay and Bruckheimer, yet......7 years later he agreed to work on Bad Boys 2. I mean, if working with those guys was really as bad as he claims why would he even consider the idea of working with them again? Was it a money thing? Doubt it. At that time, right after Training Day, Mancina was still a relatively "hot" composer. So he had other options. And he doesn't want to admit it, but he didn't leave Bad Boys 2 on his own. He was fired. I guess maybe Bay and Bruckheimer heard some of his interviews where he was trashing them. lol! Kidding :)

P.S. I wonder how Mancina feels about The Rock now. Considering how popular and beloved that score is. Personally, I don't think his score would've been as good as the one that ended up in the movie. And I'm saying that as a fan of his work....


rockhound2018-09-11 10:18:38
mark said in an interview from last year, that he wasn't fired from Bad Boys 2, although he wished that he would have been fired. in the end he left mainly because of michael bay.


Bayhem2018-09-11 19:24:42
rockhound,

As Scorefan also said, Mancina was indeed fired. I clearly remember reading it around 2004, a year after the movie came out. I mean, when you put all the pieces together, you'll realize that him being fired is the option that makes the most sense. Remember: despite his apparent strong negative thoughts towards Bay/Bruckheimer, and despite not wanting to do any of their movies......he agreed to do Bad Boys 2. So apparently he had a VERY good reason to do it. And then he's gonna just leave like that....? Knowing full well that Bay is often difficult. I doubt it. There's more to the story, I'm sure. Would love to hear from Bay himself.

Someone should ask him on Twitter. lol.


rockhound2018-09-11 19:51:16
Bayhem,

mark clearly says in that All Access video interview, that he should have been fired. that would have been better for him. and then he involved trevor for Bad Boys 2. at least that is what he said. and trevor said in that recent interview, that bruckheimer asked him to choose between Pirates 1 and Bad Boys 2. who knows what is really true.


Bayhem2018-09-12 09:12:52
============
mark clearly says in that All Access video interview, that he should have been fired. that would have been better for him.
============

Yes, and that's him saying it. For all we know, it could be just him trying to save face and make it sound like he was the "brave guy" who left a huge Bay/Bruckheimer production. Thing is, we haven't heard anything from the other side (Bay/Bruckheimer), so we can't really know for sure.

I mean, it doesn't matter anyway, because Bay and Bruckheimer have moved on and Mancina doesn't plan on scoring action movies. So I guess at the end of the day this will be just one of the many "he said, she said" Hollywood stories...

Jean-Luc reply Replies: 0 || 2018-08-30 19:13:39
Everybody, I have a question about Mark Mancina interviews about bad boys 2, but where I find that interviews because they don't have no closed captions on YouTube I'm a deaf that's why. What he said about bad boys 2 was he fired from the movie?

Scorefan reply Replies: 1 || 2018-08-29 22:34:44
@Mr Tweedy

That's what Mancina said in the LLL edition. Mancina wanted a score with the themes from the first film in BB2 like he made with Speed 2, but Bay and Bruckheimer wanted a different score from the first film. That's the reason.


Bayhem2018-08-30 13:23:40
No offence to Mancina, but at the end of the day the director and/or the producer decides what music will be in the movie. It's up to the composer to deliver what the guys at the top want. Sure, bringing up the old themes would've been nice, but on the other hand BB2 is a veeeeery different movie from the first one. It's a big blockbuster with a budget of $135 million. So it needs a big, blockbuster music. While the first BB movie is much more "contained", and with a budget of less than $20 million.

So I understand what Bay and Bruckheimer wanted to do. They wanted BB2 to look and feel BIG. And as much as I like Mancina's themes from the first one, they're just not the right fit for something as a wild and huge as BB2. IMO.

Mikel Siw (a fan from Spain) reply Replies: 0 || 2010-03-26 00:00:00
a miracle of edition :__:

Peter reply Replies: 0 || 2008-05-12 00:00:00
I got it I got it :D at last!! Now I waiting for complete score from the lion king and batman begins ;p

Per reply Replies: 0 || 2007-10-28 00:00:00
It's available (or at least it was, I don't know if they will get it back in stock) on Intrada too apparently...

Damien, Moderator reply Replies: 0 || 2007-10-28 00:00:00
It is certainly only available on La-La Land Records website as it is a limited edition, so try here:
www.lalalandrecords.com/BadBoys.html

Kim. reply Replies: 0 || 2007-10-27 00:00:00
hi, guys.. I;m from Korea..

How can I get this CD?

I really want to have it!

Jesse Stipek reply Replies: 0 || 2007-10-16 00:00:00
Got my copy! It's great!

ZEUS reply Replies: 0 || 2007-10-03 00:00:00
Thanks Cloud. Have ordered it with MasterCard.
Now its time to... wait :)

andi reply Replies: 0 || 2007-10-03 00:00:00
ahh score bjutiful mister mancina,released score
speed 2 cruise control and fair game please
thanks la-la land for bad boys score
andi switzerland

Cloud reply Replies: 0 || 2007-09-30 00:00:00
You can order it directly from La-La Land if you got Visa or something like that. They take PayPal too. More info: http://www.lalalandrecords.com/

ZEUS reply Replies: 0 || 2007-09-30 00:00:00
Hi guys,

will be the edition availaible e.g. through amazon?
How can I get it in Europe?

And sure: I love this score and be happy that they make it legal to have it.

Kaya reply Replies: 0 || 2007-09-28 00:00:00
I'm as happy as everyone else is, but what took them 12 years to release this?

andi reply Replies: 0 || 2007-09-28 00:00:00
bad boys forever juhuu
mister mancina,coming soon complet score
fair game and speed 2???????????????

Lesleylionel reply Replies: 0 || 2007-09-28 00:00:00
I was so thrilled when I heard the news... Can't wait to share it with my neighbours....

Per reply Replies: 0 || 2007-09-28 00:00:00
This is great news. Maybe not because it's my favorite score, but simply because they are doing such a release.

La-La Land Records is the way to go for previously unreleased (MV) scores, for sure !!

I wonder if they would consider releasing some of Zimmer's scores ? ... Why not start with his first big "hit", Rain Man, and take it from there... !(?) :)

Mark reply Replies: 0 || 2007-09-28 00:00:00
Agreed. lets see the same thing with some of Zimmer's scores. Such as a complete scor to The Prince of Egypt. The tracks on the cd are good already but we want more!!!

Per reply Replies: 0 || 2007-09-28 00:00:00
La-La Land seem to release many/mostly 'complete' scores, so it will for sure be interesting what they come up with later on... hopefully some Zimmer expanded/complete scores too ;)

The Prince Of Egypt is also one of the scores I would like to get a complete release from.

Cloud reply Replies: 0 || 2007-09-28 00:00:00
Wow, what a great release by La-La Land. I even managed to catch a signed copy, yay!

 HANS-ZIMMER.com© 2001-2018 OST 
Bad Boys (Limited) soundtrack - Mark Mancina 1995