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Wow! Stephen Barton worked on a lot of the important cues here, huh?I'm with Edmund in that I'd love for Hans to win more Oscars, but not this score. I feel like even Blade Runner 2049 is more deserving of an award than this. Sure, it works great in the film, but that shouldn't be reason enough for an Oscar. I feel like Desplat's nominated score is more deserving than this one. <br><br>"But this one has a unique sound and recording!"<br><br>Okay... a lot of scores have that. A lot of Zimmer's work has that. Doesn't make them all masterpieces.<br><br>"But we have to spite those evil reviewers who hate this score!"<br><br>Why do you let their opinion get in the way of your enjoyment? If you love it enough, the critics' opinions should only make you enjoy it more because you see something in it they don't. <br><br>I agree with George in that Hans needs to go back to a melodic sound. I don't think whether this score wins or not will change Hans' mind on that, but I do want his next Oscar winner to mean something other than, "Oh cool! I won this award because I made weird sounds!" (Which by the way, involves things like programming and a lot of other technical adjustments that have nothing to do with Hans' composing ability)."The thing that I'm proudest about Dunkirk is you can't separate it from the film."<br>- Hans Zimmer, GQI understand, but it does not make sense.<br>You're arguing that the score for a movie released in January this year was produced before of the score of a movie that went to theaters in July. If Balfe started working on "12 strong" a year before the movie release, the same can be said of Dunkirk. It is easy to infer that the Dunkirk's score has been working since the middle of 2016! Or even before, because of the tours that Zimmer has done.<br>The music/sound design, even being simple, was not made and recorded between January and May of last year.Olive  that is when it was announced !!! Not when he did it
Balfe's hiring came out in May, when Dunkirk's production was already at the end. No contest.<br><br><br>filmmusicreporter.  com/ <br> 2017/05/24/lorne-balfe-to-score-horse-soldiers/Hans finished the bulk of the score before he went on tour, you could find an interview where he himself says so. <br>Ben worked solely on Variation 15. <br>Scroll down on this page and you'll find the full cuesheet with the credits. <br>Edmund - how do you think Zimmer wrote Dunkirk when he was on a world tour !!!Congratulations to Ben, Lorne also .Edmund - the release dates do not matter . Check out Balfe’s Facebook page and you will see he was recording 12 Strong early last year .I've only heard the suite Hybrid made. The only similarity I was aware of is the siren-like sound. <br><br>People don't realize how difficult scoring Dunkirk was. Just because you love Interstellar (I do too - it's my favorite HZ score) but that doesn't mean Dunkirk doesn't deserve to win. <br>
Edmund, in all honesty what are the similarities between 12 Strong and Dunkirk? I know both scores and fail to see how they connect.Doesn't deserve an Oscar. Hans Zimmer is my favorite composer but if he didn't win for Interstellar, he shouldn't win for this. <br><br>I can seriously say that I object this score winning based on that principle. This winning over Interstellar just isn't right.Well, the credits say that Supermarine or the oil are pure Zimmer, and also the 3 first track I think. So Balfe helped him to develop some ideas during his tour but the majority of the score is Hans' work.<br>And it does deserve an Oscar. I never heard a score like that.. If you have a problem with the score I think it comes from the script. A classical melodical music wouldn t work for this film i think.Source? I find that hard to believe considering the release dates. Even if it is true, Balfe might have been concurrently working on Dunkirk and brought over some of the ideas. I find it spectacularly improbably that he and Hans just HAPPENED to come up with the same ideas at the same time.Edmund - gets you facts right please . 12 Strong was written before Dunkirk
Here's an interesting opinion: I want Hans to win this one so that he DOESN'T continue making music like this. Sure its functional, but if he could reinvent the melodic score again and get back to writing memorable melodies I'd be pretty happy. He won for Lion King and then essentially abandoned that tone of music which transitioned into the Crimson Tide/The Rock sound... so maybe, just maybe, if he wins this year he'll completely reinvent his sound again and give us something both melodically memorable but also be a total game changer in terms of modern scores.I hope it doesn't win if for no other reason than so we don't have to go through 5 years of Dunkirk temp tracks (although if 12 Strong is anything to go by, too late).@Ahmad i only need "The Oil (Film Version)" :D Then i'll be happy :D*That was a thumbs up but it didn't work :D<br><br>^This how I feel lol.I hope Dunkirk wins just to make the so-called "reviewers" and those who say it isn't music, more frustrated and annoyed.
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Hans ZimmerJohn PowellJeff RonaMartin Tillman
Composer : Main ThemeComposerComposerMusician
High Incident
Label: Unofficial Release
Length: 36'03
HZimmer.com rating:        3/5
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 (2437 votes)
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  1. Main Title '96 (0:44)
  2. Militia (2:49)
  3. Corbusier (2:43)
  4. B.R.A.D. (2:12)
  5. Into Tunnel (3:02)
  6. Tino (1:50)
  7. Santa Chase (1:36)
  8. Warehouse AM (3:34)
  9. Bomb (1:51)
  10. Dark Angel (1:01)
  11. The Stalkin' (1:31)
  12. War (3:49)
  13. Angel Rald (4:15)
  14. The Sting (4:19)
  15. Main Title '97 (0:41)
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Edmund Meinerts reply Replies: 3 || 2017-02-16 23:49:04
Okay, so sorry for sounding a bit like Poleschuk on this one, but I have a couple questions about High Incident.

Basically I have heard two different boots: this one, and a second one with 10 tracks running about 21 minutes. This first one sounds to me mostly like John Powell in very early I-don't-really-have-a-style-yet MV mode. The second one is a lot calmer and more melodic (and better!), and it uses the "Main Title '97" theme a lot. But it doesn't sound much like Powell at all. Is that one by Jeff Rona? From the little I've heard by him, it sounds like it might be.

Also, about those themes - who wrote them? Was it really Hans? The more upbeat "Main Title '96" sounds very much like Powell, to me. "Main Title '97" with the trumpet solo could be Hans, I suppose, but I could easily believe it being Powell or Rona as well.

Any clues, Hybrid?


Michael Poleschuck2017-02-17 03:17:54
There are a few episodes of this show on YouTube.

And interesting thing: on the main titles of the Pilot - "Main Title '96". On the end titles of the Pilot - "Main Title' 97".

And other interesting thing: "Main Title' 97" are on the 9th minute of the Pilot (night talking of the cops). So, maybe, this main theme was originally Zimmer's hand.


Michael Poleschuck2017-02-17 03:20:58
Maybe, the second boot is a score for Pilot?


rockhound2017-02-17 07:28:13
the more emotional music, which also uses the Main Title 97 theme often, is by jeff rona. you will find many tracks on his website. it has bit of his music for Chicago Hope. i remember, that the Main Title 97 was also used in the first season as the end title. i dont know know why they changed it in the second season. the Main Title 96 was perfect for opening credits. But i think both of them are by hans with trumpet performances by mark isham. at least i always saw his name in the opening credits.

Vandit reply Replies: 0 || 2008-08-05 00:00:00
The score for Hi-Incident is sooo great. I wish they show would be available either on DVD or on TV in Austria. I really love the soundtracks from Hans Zimmer especially the ones for Babylon 5 and for High Incident. Keep up the great work. Weiter so!!!

Greetz from Austria
Vandit

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High Incident soundtrack - John Powell - Jeff Rona 1996