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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Don’t even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldn’t change a thing about it), I must admit, it doesn’t have nearly the same effect as a stand-alone listen. It’s literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it “award” worthy? I’m not sure. If based solely on the film, you betcha. If based purely on the music itself, I don’t think so. That’s where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or “actual” music (again, works IN the film). It’s glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... I’ve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did it’s job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Additional MusicAdditional MusicMusic Production Services
Geoff ZanelliRyeland AllisonBobby TahouriSteven Kofsky
ComposerAdditional MusicAdditional MusicMusic Production Services
Hitman
Label: La-La Land Records
Length: 45'45 (Score: 41'34)
HZimmer.com rating:        Not yet rated
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 (10997 votes)
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  1. Ava Maria (2:04)
  2. I Take Out The Trash (2:23)
  3. The Belicoff Assassination (2:24)
  4. Roses For Nika (3:09)
  5. Random Complication (2:52)
  6. New Suit (1:17)
  7. Train Station (Bite Your Tongue) (4:36)
  8. Istanbul (1:45)
  9. Table 26 (2:25)
  10. Best Laid Plans (1:38)
  11. Undress Me (2:42)
  12. I Need You To Die (2:10)
  13. My Number Is 47 (2:27)
  14. Trust Unto God (Udre's Funeral) (2:22)
  15. Rubber Duckie (1:32)
  16. Righteous Buttkicking (2:11)
  17. Denouement (3:28)
  18. Ava Maria - Christina England (4:11)
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mathieu[Of FRANCE] reply Replies: 0 || 2017-04-10 18:38:58
Bonjour,

je suis désolé, je suis français et je ne parle pas anglais

cette musique est musique, j'adore

Je suis fan de musique de films et de jeux vidéo!!!



Caro reply Replies: 0 || 2011-06-14 02:36:09
Touchdown! That's a rellay cool way of putting it!

KaijusRoyaume reply Replies: 0 || 2011-06-08 23:28:51
Complete credited tracklist :

1. Ava Maria (2:04) - Coline Grindel
Franz Schubert, Geoff Zanelli
2. I Take Out The Trash (2:23)
Geoff Zanelli, Bobby Tahouri
3. The Belicoff Assassination (2:24)
Geoff Zanelli, Bobby Tahouri
4. Roses For Nika (3:09)
Geoff Zanelli, Bobby Tahouri
5. Random Complication (2:52)
Geoff Zanelli, Bobby Tahouri
6. New Suit (1:17)
Geoff Zanelli, Bobby Tahouri
7. Train Station (Bite Your Tongue) (4:36)
Geoff Zanelli, Bobby Tahouri, Ryeland Allison
8. Istanbul (1:45)
Geoff Zanelli
9. Table 26 (2:25)
Geoff Zanelli, Ryeland Allison
10. Best Laid Plans (1:38)
Geoff Zanelli, Bobby Tahouri
11. Undress Me (2:42)
Geoff Zanelli
12. I Need You To Die (2:10)
Geoff Zanelli
13. My Number Is 47 (2:27)
Geoff Zanelli
14. Trust Unto God (Udre's Funeral) (2:22)
Geoff Zanelli, Bobby Tahouri, Ryeland Allison
15. Rubber Duckie (1:32)
Geoff Zanelli
16. Righteous Buttkicking (2:11)
Geoff Zanelli, Bobby Tahouri
17. Denouement (3:28)
Geoff Zanelli
18. Ava Maria (4:11) - Christina England
Franz Schubert

Taken from ASCAP

n reply Replies: 0 || 2011-02-13 00:00:00
n

Remielle reply Replies: 0 || 2010-07-19 00:00:00
niceee

zura reply Replies: 0 || 2009-08-08 00:00:00
the best

mt reply Replies: 0 || 2009-07-18 00:00:00
for anyone looking for the name and artist who s song is playing when 47 is coming out of the elevator and sits down at the table with all of the weapons is(dvno by justice its also on you tube video by ed banger productions . hope this was helpful it took me about 8 hrs. 2 figure it out thanks!kids luv it!

Leon van Asperen reply Replies: 0 || 2009-05-06 00:00:00
whats the name of the song of the end of the hitman movie

mamdouh hamza reply Replies: 0 || 2009-04-22 00:00:00
veryyyyyyy nice

Pharme389 reply Replies: 0 || 2009-04-15 00:00:00
Very nice site!

Pharma170 reply Replies: 0 || 2009-04-09 00:00:00
Very nice site!

3omda reply Replies: 0 || 2009-04-04 00:00:00
veryyyyyyyyyyyy nice

asd reply Replies: 0 || 2009-03-31 00:00:00
Wonderfull...!!!

greg reply Replies: 0 || 2009-03-30 00:00:00
whats the name of the song when hitman goes to andre belicofs weapon room???

Adrian reply Replies: 0 || 2009-03-30 00:00:00
Why is it ''Ava Maria'' ? The normal orthography is '"AvE Maria'' with an E instead of an A.

james reply Replies: 0 || 2009-03-03 00:00:00
theres only 1 problem with the soundtrack. were is the empires 'im your hitman' song? that song kicks ass and is hard to find

Petter reply Replies: 0 || 2009-02-25 00:00:00
this movi is very funny

Pharm1 reply Replies: 0 || 2009-02-11 00:00:00
Very nice site!

verifier reply Replies: 0 || 2009-01-20 00:00:00
Thanx!!!
it is Weapons of Mass Distortion by Crystal Method...!

Corina reply Replies: 0 || 2008-11-27 00:00:00
It is healthy, I shall come on your site more often, thank.,

Hybrid Soldier reply Replies: 0 || 2008-11-27 00:00:00
Yeah... I don't know what happened with his site... :-(

Jon reply Replies: 0 || 2008-11-27 00:00:00
What is wrong with Mr. Zanelli's homepage? If you follow the link, it can never be found...

hungary reply Replies: 0 || 2008-07-27 00:00:00
what is the song that is playing when agent 47 goes to udre's place and he begins to firing? This is the next song after the DVNO by justice.
I've recently started to learn english so sorry for the grammar mistakes.

Thanks.

DOugK reply Replies: 0 || 2008-06-25 00:00:00
Just watched the movie and started searching the web for that end credit track... seems to be a pirce by Ryeland Allison.

Anonymous reply Replies: 0 || 2008-06-23 00:00:00
The song when the credits start to roll...

An unofficial fan made version:

Hitman (The Movie) 2007 - End Credit Theme (Extended Codename Edit by zenefan) (03m33s)

I hope that the fans would like it ;)

http://www.esnips.com/web/HitmanMovie07/

Sólo un amigo reply Replies: 0 || 2008-06-12 00:00:00
I've been searching for that song too, that's why i found this web site, and I tell you what, I HAVE FOUND THAT SONG... and here you are!
Crystal Method (Group)
Weapons Of Mass Distortion (Song)

Enjoy It!!

Confused Gal reply Replies: 0 || 2008-06-09 00:00:00
i have a question......me and my friend LOVE the song at the end of the film!! what is it called?? or where can we find it?

Anonymous reply Replies: 0 || 2008-05-26 00:00:00
THE SONG IS 'HITMAN' by EMPIRE!!
I'm a mates with the band.

rahul reply Replies: 0 || 2008-05-24 00:00:00
hiiii

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Hitman soundtrack - Geoff Zanelli 2007