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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=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004
The 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 RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/
Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.
What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.
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Additional Music - Conductor
Hans ZimmerHarry Gregson-WilliamsDon HarperJay Rifkin
ComposerAdditional MusicAdditional MusicScore Producer
Broken Arrow
Label: Milan Records
Length: 59'14
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 (6134 votes)
  1. Brothers (7:05)
    Hans Zimmer
  2. Secure (4:47)
    Hans Zimmer
  3. Stealth (7:35)
    Hans Zimmer, Harry Gregson-Williams
  4. Mine (5:42)
    Hans Zimmer
  5. Nuke (10:48)
    Hans Zimmer, Don Harper
  6. Greed (11:00)
    Hans Zimmer
  7. Hammerhead (4:40)
    Hans Zimmer
  8. Broken Arrow (7:37)
    Hans Zimmer
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GermanRCPFan reply Replies: 0 || 2019-08-15 08:36:53
OST is a very horrible realise. Thanks La La Land for sharing Complete score! Score in La La Land is great!

SPECTER reply Replies: 0 || 2018-05-19 00:16:43
4:05 of "STEALTH" some of the best soulful action music I've heard from a Zimmer score. I wonder who wrote that particular section. This the type of stuff I would play trying to rush a pregnant woman to the hospital

El Baradei reply Replies: 4 || 2013-02-15 17:04:55
An amazing action score.

If you listen to Secure, especially the part 02:00 to 02:30, you'll hear the True Romance's main theme (You're So Cool).

By the way Hans is not the composer of You're So Cool, it's the theme for Badlands.


Hybrid Soldier2013-02-15 17:14:31
It's not...

It's extremely inspired by it, but it's not.


El Baradei2013-02-15 17:16:00
Okay, extremely... that's what I said.


matthew2013-02-16 12:11:40
and Ambrose theme in Mission Impossible 2 was inspired by Tony's theme from Scarface.


Zimson2017-11-08 23:10:48
I think the word is hommage. Same goes for the Gladiator Waltz.

Bayhem reply Replies: 5 || 2017-11-08 16:06:58
It's been a while since I've seen Scream 2, but I clearly remember that, for whatever strange reason, Marco Beltrami and Wes Craven decided to use the Deakins theme from the Broken Arrow score as the intro theme for Dewey.

Do you guys remember that? Remember the scene?

I still wonder why they decided to do it. It's incredibly rare to have the exact same track in two completely different movies. Hell, come to think of it, this might be the only case.....

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James2017-11-08 16:22:19
It's not that unusual. It was a ripoff. The director was in love with the theme.


George2017-11-08 16:56:02
I’m also fairly certain Marco hated having to rip-off the temp music and almost got in a lot of trouble for calling the director out on it


Hybrid Soldier2017-11-08 17:53:15
Yeah Marco complained about it and got in trouble with no other than Harvey Weinstein !


Edmund Meinerts2017-11-08 19:25:21
So ahead of the times, Beltrami.


Mike (OTM)2017-11-08 22:29:06
Bayhem, I know Paul Greengrass used "The End" by John Powell from United 93 in Captain Phillips. So there's one more case.

Dimitris Krommidas reply Replies: 0 || 2015-08-08 12:03:07
Glad to have this one too!
Classic.

Anonymous reply Replies: 0 || 2014-07-29 20:48:19
these credits new?

Hispano reply Replies: 1 || 2014-02-13 00:28:59
Brothers and Secure are that in Scream 2.


Agog2014-02-13 17:24:10
Captain Obvious to the rescue!

Haider reply Replies: 0 || 2009-07-21 00:00:00
The BESTof the BEST

Mikel Carmona S.i.W ( from Spain) reply Replies: 0 || 2008-03-17 00:00:00
I live this soundtrack

Junior reply Replies: 0 || 2007-09-09 00:00:00
Great Soundtrack

Suicune reply Replies: 0 || 2006-12-19 00:00:00
One of the best action movie soundtracks. I coul listen to it every time without getting bored. The main theme is simply awesome.

David reply Replies: 0 || 2006-11-17 00:00:00
Great Soundtrack

bosco reply Replies: 0 || 2006-08-26 00:00:00
the best website ever with film-soundtracks

Uri reply Replies: 0 || 2006-02-07 00:00:00
Herr Zimmer ich liebe ihre musik sehr. Sieser soundtrack ist perfekt. Der track 8 ist einfach genial! Ich habe fast alle ihre soundtracks und kann es kaum noch erwarten bis neue auf den Markt kommen wie z.b. Der Davinci Kode und Pirates of the caribbean teil 2. Sie sind einfach genial. Weiter so Herr Zimmer!!!

Qkel6 reply Replies: 0 || 2005-10-13 00:00:00
Tudd ez a hansy gyerek.

Ιric reply Replies: 0 || 2005-08-26 00:00:00
The.
Most.
Awesome.
Film.
Soundtrack.
Ever.

Mixes elements from so many different musical styles, to create this impressive, intimidating, enticing, .... simply undescribable atmosphere.

herdim reply Replies: 0 || 2005-05-28 00:00:00
Du Grand Hans Zimmer qui commence des le debut avec les excellent Brothers-Secure puis nous emmene avec l'action pure dans les trιs reussis Mine, Nuke et Hammerhead

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Broken Arrow soundtrack - Hans Zimmer 1996