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Because they didn't work direcly in this score, but their material from the previous one was reused.Does anyone know why some of the composer names are in brackets? Thanks!thanks4:05 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 hospitalIn case he's visiting this site, I wanna say 'Thank You' to Ashton Gleckman who does the 'Behind the Score' episodes on YouTube. I loved the 1-hour episode for the Transformers scores and I actually learned a lot. Very educational. I found the video by accident and now I plan on watching his other videos as well.<br><br>Job well done, my friend.
@Hybrid <br>You don't add anymore Trevor Morris things ?Probably for chronological purposes<br>even though the movie uses a shortened version of Romanian Wind at that timei saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene.<br>===============================<br><br><br>I agree. <br><br>And I think at the end of the day the movie itself is not the type of movie that could win people over with its score. No matter how successful and popular it is and no matter how good the score is. I Am Number 4 was part of the YA craze that took over Hollywood a few years back (we all know how people feel about those movies), and even the most successful YA movies (like Twilight) are not exactly known for their scores.<br><br>People - even film critics who are supposed to talk about all aspects of the movie - were too busy talking about half-naked characters and Kristen Stewart's acting..... and completely ignoring the good work done by Alexandre Desplat.<br><br>It was pretty much the same with I Am Number Four...<br><br>It's not that Trevor created a "bad" score, it's simply a case of a nice, little score that went under the radar. No one bothered to talk about it..... Just like his score for Torque, which as far as I'm concerned is one of his best scores.I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.<br>===========================<br><br><br>I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks. <br><br>But why most people don't think like us?<br><br>The reason I think is because those "big tracks" are presented - most of the time - during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.<br><br>While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.<br><br>The subtle tracks simply can't win against that. Sadly....<br><br>By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.<br>Why is Romanian Wind not sequenced after Case Re-Opened? Is not the former 7M48 and the latter 7M47?
Yeah that is true, can’t argue there lol<br><br>And is it me or does “Calypso Must Be Released” sound like Black Hawk Down?To be fair there is a lot of King Arthur in At World's End too. Just the general feeling you get from the action tracks in both scores is virtually identical. Hell, one of the main themes from King Arthur even appears when Bootstrap Bill remembers that Will is his son.@MrTweedy<br>That’s totally fine, everyone has their own favorite HZ scores, which is awesome!<br><br>It’s funny though, I feel like DMC is far more schizophrenic than AWE. Now don’t get me wrong, I absolutely love DMC. It’s the score that got me into Hans Zimmer. But still, I feel like a major part of that score is note-for-note reprises of cues/themes from COTBP. Not to mention the temp tracking of King Arthur.<br><br>AWE always felt far more original to me, especially considering that the entire tone of the music shifts from the “rock’n’roll” sound of the first two to a more traditional score (at least by Hans Zimmer standards lol)@MrTweedy<br><br>Just curious, what scores do you considered to be Zimmer's best?The Pinnacle of Hans' career?<br>Although I really like this score, I don't agree. But hey, I know it's just a matter of opinion, okay? ;)<br><br>Of course it shows Hans strengths in almost every area (action, drama, romance, comedy...) but for me it's too much of a medley of previous works, without much personality.<br>It feels a bit like a palette with too many colors. From the action sequences borrowed from Drop Zone, to the Morricone inspirations for Jack's Sequences, to Gladiator's duduk that ended up there with no real reason, to a beautiful Love Theme that brings another new shape to the sonic identity... it's like the score sometimes goes schizophrenic.<br><br>Though each individual idea is really enjoyable to listen to, I think Hans has made scores that are much more cohesive and enjoyable as a whole!
i also think it is an underrated score. especially the action music has a couple of nice touches. i saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene. the emotional music is nothing ground breaking, but a lovely listen.Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores. <br><br><br>I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that. <br><br><br>Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme. <br><br><br>Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion. <br><br><br>Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.Thanks guys, will check out these cues.Hmm, aside from "The Guardian Suite' I don't think I've heard any other tracks from this score. And I have a feeling I'm not the only one....lol.<br><br>Speaking of.........I would most definitely put "The Guardian Suite' right up there next to "Now We Are Free" and "My Name is Lincoln". It's *that* good and powerful. Shame that the movie is not as popular as The Island and Gladiator. If it was, that suite would've been one of the most popular film score tracks with millions of views on YouTube. It certainly deserves it.Very underrated score. As already pointed out by a couple of reviewers, it's a nice, little throwback to MV/RC's Golden Years and Trevor's own scores from 1997 to 2002. Give it a listen if you can. It's not long and it's worth it.
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Klaus BadeltGeoff ZanelliRamin DjawadiJim Dooley
ComposerAdditional MusicAdditional ArrangementsAdditional Arrangements
The Time Machine (Complete Score)
Label: Unofficial Release
Length: 71'01
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 (3932 votes)
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  1. Main Titles (3:24)
  2. Wish Me Luck (1:20)
  3. Marry Me (1:10)
  4. Emma Dies #1 (1:31)
  5. In A Week (3:09)
  6. Bleeker Street (2:26)
  7. Emma Dies #2 (0:56)
  8. Moon Sign (1:06)
  9. I Don't Belong Here (3:56)
  10. In The Year 2030 (1:02)
  11. Time Travel - Asteroid (2:11)
  12. Where Am I (0:38)
  13. Are The Friendly (3:33)
  14. Goodnight (4:37)
  15. Stones & River - Village (4:52)
  16. Morlocks Attack (7:04)
  17. Where The Ghosts Are (1:43)
  18. Morlock World (6:27)
  19. The Master (5:42)
  20. Time Machine Returns - Fight (4:08)
  21. Alex Reconsiders (1:29)
  22. The Escape (3:24)
  23. Freedom - Godspeed (5:17)
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ThePhantasm reply Replies: 29 || 2018-02-18 05:00:01
So Johan johannson (R.I.P) was actually going to be the composer for Christopher Robin instead of the previously announced Klaus Badelt, where does that leave Klaus? Its honestly heartbreaking that the guy can't get a damn good project he is so talented and deserves a chance. He's proved himself with The Promise, pirates, time machine, solomon kane etc. How is it that henry jack and lorne balfe both of which I'm a fan of can get projects no problem but Klaus can't??

Maybe he needs a better agent.


Anonymous2018-02-18 09:27:44
Or. Maybe he's just choosey with his projects like Powell is.


gringo2018-02-18 10:13:40
@ThePhantasm: It breaks my heart aswell. He was the heart in Zimmers most beautiful era and would have wished to see him making his own great carreer. I've never understood the hype for Lorne etc. For me Badelt >> Lorne,Junkie,etc


Edmund Meinerts2018-02-18 10:14:13
I don't think so...remember those years when he did all sorts of random low-budget French comedies and thrillers? Didn't seem too choosy to me.

This is pure idle speculation, mind you, but I wonder if Klaus might not have burned some bridges here and there...his departure from the MV/RC/Hans inner circle seemed awfully abrupt.


Hybrid Soldier2018-02-18 10:30:34
There's a lot more to the Klaus story I can't really disclose here...


Bob Belcher2018-02-18 10:50:00
because it would put a bad light to zimmer? are his hands involved in this that badelt isn't getting any big movies at all?


rockhound2018-02-18 11:10:27
klaus said in an interview last year, that he was looking to do some french movies, because he saw one on a flight to paris and was amazed by that movie and also because he loves paris and has a couple of friends there. he contacted people there to get in the french film business. he likes the way the people work there in the business. more freedom for him. in the interview he doesn't sound like he had to do these movies, because otherwiese he wouldn't get work. he really wanted to do these movies.


Hybrid Soldier2018-02-18 11:22:30
On Hans ? No. On Klaus...


I'll say one thing : waste of talent... I loved Klaus' music and his amazing scores while he was in RCP, but he didn't need the help of anyone to destroy his own career... Too bad...


Hybrid Soldier2018-02-18 11:24:10
In fact, he's not even a composer anymore, he has his own company which deals with movie broadcasting worldwide... He does a score here & there but it never was his vocation... He just happened to be ridiculously talented (and Hans will confirm this to anyone even to this day).


Bob Belcher2018-02-18 11:35:08
Thanks Hybrid for those informations. I always had some fear Hans had his fingers in his departure from rcp and making his career-life as hard as it can get. It's too bad to see he doesn't appreciate the gift it was given to him. That talent was beyond, and the collaboration between Hans and Klaus was magical. I so would have wished it would never have stopped. And by reading your comments, Hans seems to think that aswell :(


...2018-02-18 11:36:33
and what about Trevor Rabin? He is amazing composer as well, sadly we don´t hear about him anymore


rockhound2018-02-18 11:43:31
trevor rabin is taking a break from composing filmmusic and was on tour the last 2 years with jon anderson and rick wakeman from YES. they created a new band called ARW. at the moment they are working on new songs.


Hybrid Soldier2018-02-18 11:56:42
Yeah I agree, the problem with Trevor is that he never adapted to his environment, so to speak... He never changed his style, always the same kind of writing (big amazing theme + big action + guitars) and slowly lost the interest of everyone...

Key is being able to renew yourself (for better or for worse). But I miss his themes cause he's an amazing melody writer.

I know he wants to work, he wants to be hired to score, even if he doesn't "need" it really, and yes he has his solo/band career going on as well...

Funny story about Trevor he never really liked being listed on Hans-Zimmer.com as he never was a regular RCP occupant (even if I think having worked with Mancina and then done pretty much 5 scores at RCP, and then having in his team former RCP members, it did justify to me)... But since I'm probably the last one promoting his career on the internet, and having his brother-in-law Steve Kofsky being RCP's boss, I keep him there ! lol


rockhound2018-02-18 12:07:40
im actually very happy, that trevor didn't renew his style like hans for a couple of times. i just wish, he would compose more for orchestra only without guitars and cheap sounding samples. scores like Remember The Titans, The Great Raid and Flyboys prove that he can do it. maybe bruckheimer will hire him someday again. trevor composed amazing scores for him....with help by rcp on a couple of movies. ;)


mpolonest123 2018-02-18 12:30:28
Lol, maybe Trevor can return for Deep Blue Sea 2! Not that THAT would help his career much....



MrZimmerFan2018-02-18 12:43:25
Rabin himself has never considered to be a Zimmer-guy.


ThePhantasm2018-02-18 15:29:28
Damn so he ruined his own career? i hope he gets a second shot. Would to see what he can do with a superhero movie. I know he'd kill it if given the chance. Hopefully disney will let him score Christopher Robin. Here's hoping!


Edmund Meinerts2018-02-18 15:36:32
Well, there's always Catwoman...


ThePhantasm 2018-02-18 16:29:28
Hey man, that was a really good score okay lol but i mean like a good superhero movie like a marvel or DC


Dudu2018-02-18 22:20:35
@Hybrid,
Speaking of klaus, do you know how the other rcp members feel about him? Do they still keep in touch or is he persona non grata?
I know that geoff zanelli is completely pissed (check his website, for all the projects he names his colleagues like steve jablonsky or else, and then for the klaus projects he just puts « the composer »), and you told that hans avoids him as much as he can ( which I can see when the pirates topic is brought during interviews post 2006...no mention of klaus)
Hell even michael levine in his post about « why hans gets the job » name-dropped EVERYONE at rcp but klaus
So i was wondering how people act towards jim nowadays, especially ramin djawadi who is really popular now and started as his assistant!


Olive2018-02-19 02:43:12
From the way you talk it even seems like the man turned into a criminal. lol


rockhound2018-02-19 09:37:03
when i take a look on IMDB, klaus is still busy with filmmusic. just because he doesn't score hollywood blockbusters anymore and is not busy as lorne balfe, doesn't mean that he destroyed his career.


ok2018-02-19 12:09:01
he is doing Christopher Robin (2018, its disney
that is a big movie is it not


Balfe2018-02-19 13:32:17
Well, Klaus did compose a lot of the essential music from 1997 to 2005. As we know, Hans says - Hans does. Why do we trust this 'Hybrid Soldier', who calls them themselves that anyway? Tell us more mr rcp. How are you top of the line when you are French. Who is Hybrid - must be a reject from HZ line....



Olive2018-02-19 13:33:48
Johánnsson was hired for Christopher Robin little time before his death. Now will be another composer.


Olive2018-02-19 13:33:48
Johánnsson was hired for Christopher Robin little time before his death. Now will be another composer.


Hybrid Soldier2018-02-19 13:35:40
Then explain to me why his career went downhill after he left Remote in 2006 ?


rockhound2018-02-19 15:04:31
hybrid, what do you mean with downhill? to compose music for smaller movies doesn't mean you don't earn money or your career is ruined. i really don't see the problem with his career.


ThePhantasm2018-02-19 21:54:51
Well john powell left RCP as well and he still has a great career, i think Klaus just has a shitty agent, it makes me so angry cause he's so talented and I want to hear more from him but he doesn't get great movies. Or even big summer movies, I don't know about his career going downhill though.


Scorefan2018-02-20 00:21:23
And who's the agent of Klaus?

Bayhem reply Replies: 0 || 2017-06-16 23:14:42
Ok, I love this piece of music, but I don't think it's part of the score album. I can't find it anywhere! It's the music during the "So I'm not just a wandering idiot?" scene. 50 minutes or so into the movie. It's such a nice, sweet melody. Beautiful stuff. Any help would be appreciated, folks.

Aggelos reply Replies: 1 || 2014-06-19 15:02:59
There seems to be some Final mixes on Badelt's newly updated webpage.

klausbadelt.com/


Per2014-06-19 16:17:01
It's the same material as on the old 'expanded' version listed on this very page, and nothing more than that it seems...

Yes, there's more tracks, but it seems to be just repeated tracks. But I'll be glad to stand corrected if any are indeed different.

Per reply Replies: 0 || 2010-09-24 00:00:00
Yes, that is correct, track '11 - Time Travel - Asteroid' listed here is actually Eloi, and yes, it's also different than the one on the soundtrak. It uses the same, or similar, "choir-words" (if that makes any sense) as in 'Godspeed'.

Also, track '14 - Goodnight' is actually 'Time Travel', and should be placed (to place it in a chronlogical order) after track 10. (And so track 11-12-13 would be 12-13-14, respectively)

Some other differences in this other than Eloi, is 'Where The Ghosts Are', which is a slightly different mix with less/no choir (compared to the one on the soundtrack) (the one with less choir is the mix in the film).
And the flute thingy, which can be heard from ca. 4:55 - 5:32 on track 14 on the soundtrack, is not on this version. But if that piece is just a different piece/cue added to that place on the soundtrack, or if it's a revised version of the cue (track '21 - Alex Reconsiders') I don't know.
And of course the Good Night cue (track '13 - Are They Friendly' on this version), is different.

But even though you have two different versions of the 'Good Night' on the soundtrack and this version, none of these are the one in the film, "of course"... But beyond the 'film version' of that cue, there's not much more missing (as heard in the film anyway), other than a short piece (after 'Good Night' and before 'Stone Language' in the film), which I believe to be the same as the last half minute or so of 'Stone Language', only without the percussion !

D reply Replies: 0 || 2010-09-06 00:00:00
Is Time Travel - Asteroid meant to be Eloi (from the retail soundtrack)? The vocal sounds a bit different?

Anonymous reply Replies: 0 || 2010-05-11 00:00:00
@ The_Dimensionalist

It's a bootleg. You're not gonna find it in a store.

The_Dimensionalist reply Replies: 0 || 2010-05-11 00:00:00
What is this? Where is its release date? How are there tracks with times, if this soundtrack does not exist? Can someone explain what is going on?

Slither reply Replies: 0 || 2007-12-04 00:00:00
Quite liked this score but I think the promise is without a dought Badelts best score to date, he was really inspired during his stay in China that he really came out of the experience with a score which tops even Zimmers latest offerings. I cant wait to see a complete release of the promise score, because i have seen the film and there are a lot of great cues missing from the album, one in which features in the trailer.

hans-batman-zimmer reply Replies: 0 || 2007-12-01 00:00:00
Zimmer's sound had a lot effect on POTC1.
So I think this is the best.

(From Japan)

Xxxxxxx Xxxx reply Replies: 0 || 2007-11-30 00:00:00
Im not sure I would agree... POTC1 was alot catchier.... but that's my opinion.

hans-batman-zimmer reply Replies: 0 || 2007-11-27 00:00:00
This is the Badelt's best.

(From Japan)

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The Time Machine (Complete Score) soundtrack - Klaus Badelt 2002