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Hey man, I'm sure you already know this, but you are awesome! I just watched your Vanity Fair video from two years ago. Your take on life and your music is amazing, keep up the good work!I do really like benjamin wallfisch's new score for the invisible man, which is release today in cinema. I'm a fan of wallfisch's film score since lights out and including other film scores, but i begin to hear the score in spotify & youtube and i do like the score with the full orchestra & electronic music within the film music and there are two themes for the film but there are most motif, like mr.zimmerfan says. <br><br>I just hope that this page can released the soundtrack details of The Invisible man soon and this score is good.The Invisible Man, would be one of the most dark, hard-hearing scores by Wallfisch, by far, multiple people will hate this score -i know, is difficult listening horror scores-, but when is good, is good.<br><br>If you love Lights Out, the two ITs, speacially, A Cure for Wellness, The Invisible Man is for you: dark, unpleasing (the theme for Elisabeth Moss' character is a beautiful melodie, example in 'Denouement', constantly accosed -rightly word- with the sounds of the Invisible Man, he has not theme, more motif and tremendously agresive sound desing, you can here listen in 'Attack') and very Hermann-esque (the score was only recorded with string orchestra, say by Wallfisch).<br><br>Like i said before, is not a score for everyone, but if you love Wallfisch's writing for horror, this one is for youNow, i believe, is one of the best (i was more enganging with this one more than Solo, wich i still found good, but not the best from Powell, sorry) scores written by Powell, still, not has tremendous as the HTTYD trilogy, but one of the most incredible, beautiful and heart-warming scores written by him.<br><br>Powell found himself comfortable with this style of americana/folk (Wake the Girls, is a such good start the album) and combining it with his action/adventure style of writing ('Snowy Climb', the incredible -one of the best cues of the album- 'Buck Takes the Lead', 'Ice Rescue'), but when it comes the emotional -not discover nothing new-, man, Powell is fricking good: 'We Carry Love', 'Finding Bears and Love in the Woods' or 'Come Say Goodbye'.<br><br>One of the best scores of 2020, by far.I found myself more entertaining by this one (after multiple listenings) than with Skyscraper, but not more than TLK or TMNT and TLWH.<br><br>The themes are there, very simplistic, but effective (the melodie for RST twisted in 'Harting', for example or the more melodic and peaceful theme in 'KT'), and yes, the sound design, but in the defense of Jab, he is far more rhytmic than others attepmting it (the element of horror hearing in 'Martin Axe' or the percussive twisted agressive in 'The Tunnel') or the more echoing 'The Island' guitar riffs in 'Ray Garrison', even he reutilizes the percussive timing Decepcticon theme for the motif (i think) for Bloodshot.<br><br>Maybe, i gave him more credit, but in his defense, i was expecting something more electronic (plenty electronic are here), but is more orchestral and melodic i was expecting.
Sadly this one failed to impress in any way for me. I felt like falling asleep for much of this album. Overall too simplistic, ugly, and cliched with very difficult to pin down thematic material, as the melodies are so minimalist.To whom it may concern...<br><br>Is it possible to download or in any other way purchase the Hannibal (Expanded) score somewhere? I have the original motion picture soundtrack, but would LOVE to have them both..<br><br>Best regards<br><br>Nicholas10 and 16 are missing from the store pack.Most probablyI am not a hybrid, i will try to give my opinion. I think, music in 5 season will come out when and 6 season. But I really want to be wrong!!! :)
It's very sad...(((The 'Allentown Brothers' track is pretty damn awesome (find it on YouTube). It's like a mix between gothic Elfman, Desperate Housewives and Transformers. I love it.<br><br>It's one of those scores that people don't talk about much but it's actually pretty cool. <br><br>An awesome venue would be the Opera House in Odessa.Want this so bad!!!Does anyone have a breakdown of this with the official score album?<br>
Hats off to Batu Sener for working on many of the score's best cues though!It all comes to personal preference I think. Personally Iíve moved on from collecting cdís (or anything really) and would rather have everything digital simply to utilize space. <br><br>That being said, I completely understand the appeals of having physical media, it would be sad to see that go away for the people who really love it.It's not only to appreciate the work, its to have something "real" in your hands, for your music collection. I don't like only to have a digital music archive. Of course, i rip all the cds i own to WAV and MP3. But i want to have them in my physical music collection.These day, sure. But we usually get news of the next one by the time he's finished wrapping up the current one.Powell only does 1 score a year.
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Additional Music - Score ProducerAdditional MusicAdditional Music
Ramin DjawadiHans ZimmerClay DuncanLorne Balfe
ComposerAdditional MusicAdditional MusicAdditional Music
Iron Man
Label: Lionsgate Records
Length: 54'02 (Score: 47'36)
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 (13946 votes)
  1. Driving With The Top Down (3:09)
    Ramin Djawadi, Hans Zimmer, Ryeland Allison
  2. Iron Man (2008 Version) (1:05)
    John O'Brien, Rick Boston
  3. Merchant Of Death (2:14)
    Ramin Djawadi, Ryeland Allison
  4. Trinkets To Kill A Prince (3:07)
    Ramin Djawadi, Hans Zimmer
  5. Mark I (3:53)
    Ramin Djawadi
  6. Fireman (2:09)
    Ramin Djawadi, Hans Zimmer, Lorne Balfe
  7. Vacation's Over (3:34)
    Ramin Djawadi, Hans Zimmer, Bobby Tahouri
  8. Golden Egg (4:12)
    Ramin Djawadi, Clay Duncan, Bobby Tahouri
  9. DamnKid (1:12)
    DJ Boborobo
  10. Mark II (2:47)
    Ramin Djawadi, Hans Zimmer
  11. Extra Dry, Extra Olives (1:43)
    Ramin Djawadi
  12. Iron Man (3:30)
    Ramin Djawadi
  13. Gulmira (4:05)
    Ramin Djawadi, Hans Zimmer, Atli ÷rvarsson, Lorne Balfe
  14. Are Those Bullet Holes? (2:00)
    Ramin Djawadi
  15. Section 16 (2:33)
    Ramin Djawadi
  16. Iron Monger (4:45)
    Ramin Djawadi, Hans Zimmer, Lorne Balfe
  17. Arc Reaktor (3:55)
    Ramin Djawadi, Hans Zimmer, Lorne Balfe
  18. Institutionalized (3:49)
    Suicidal Tendencies
  19. Iron Man (0:20)
    Jack Urbont
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inter-activities reply Replies: 0 || 2008-04-18 00:00:00
please visit inter-activities.com and ask your questions at Ramin Djawadi about his work on Iron man! You're welcome.

J reply Replies: 0 || 2008-04-17 00:00:00
Ronan from VNV Nation would've been a better choice.

Mark reply Replies: 0 || 2008-04-17 00:00:00
if Zimmer is on the project, the music will rock!

Danny reply Replies: 0 || 2008-04-17 00:00:00
Hybrid Soldier is right. Laydehawk sucked as a score and it was by some one out side the RC scoring studios. Michael Clayton's Score sucked and that was by James Newton Howard a consistently good composer. And another example is Gustavo Santollala because his stuff always sucks and fanboys say "ThiS Is A WoRXOrZ Of ArT."

Anyways this score sounds really good. It sounds like
Brian Tyler did it.(I bet if the put his name on there instead of Ramin then no one would complain.)

hans-batman-zimmer reply Replies: 0 || 2008-04-17 00:00:00
Thank you for helping me think about the film scoring industry, Espace29.
But...
I agree with Hybrid Soldier.
Why know the others don't do business in the same way?
You know every composer?
Don't judge Zimmer!!

Espace29 reply Replies: 0 || 2008-04-17 00:00:00
I really don't feel the need to argue anymore. I believe what I believe, and you believe what you do. Let's just say we agree to disagree, eh?

Anyways, I never said this score sucked. It's not bad, but it's also nothing great. I'd personally give it a 2/5. It's not the worst score I've ever heard, but I just don't think Ramin is a capable composer. We should give him a little more time, but I don't think he had the experience or capability to provide a good score for this type of material/project. I mean, would you give a guy who's only scored a handful of feature films one of the biggest movies of Summer 2008? The project should have gone to John Debney, but for god knows what reason he wasn't hired. I just don't think Ramin was a good choice, and they could have definitely made a better decision on who to hire. Too much inexperience for a big project such as Iron Man. He just doesn't seem to have the chops of much more capable veteran composers. Now that may come with time, and, granted, we haven't heard much from him, but what I have heard, let's just say I'm not a fan of his. The motif/theme that is present, is, frankly not complex nor memorable, and fits into the same RC/Zimmer mold of action music.

So, it's not horrible, but not great either.

A Sentient Being reply Replies: 0 || 2008-04-17 00:00:00
"would you give a guy who's only scored a handful of feature films one of the biggest movies of Summer 2008?"

Excuse me, Espace29, but if a new guy, who is evidently talented, doesn't get any blockbuster movie to score for the first time in his life, than how you suppose such a composer can make his affirmation? Just remember John Williams pre-Jaws and pre-Star Wars, and you'll know exactly what I mean!

Next, I wouldn't agree that EVERYTHING that comes out of Remote Control is bad. People, just remember TRANSFORMERS!!!!!!!!!! In my opinion, that's THE BEST SCORE OF 2007! The best since The Lord of the Rings, since Star Wars! DIE BESTE (Hans, Ramin and Klaus will know what I just wrote)!

I expect much from IRON MAN. "Fireman" is not the only score music from Iron Man available on Internet. Go see the scene where Tony Stark tries out his repulsor units in his garage and you'll hear a pretty kick-ass, somewhat misterioso, score!

Hybrid Soldier reply Replies: 0 || 2008-04-17 00:00:00
And just for information, Djawadi DID NOT replace Debney !


It was a just a rumor, or at least a contact, but John was never hired...

Espace29 reply Replies: 0 || 2008-04-17 00:00:00
And it is a shame Debney wasn't hired. Look, I'm eagerly anticipating this movie, and I have seen the various scenes/clips online, and I must say I am not impressed at all. The score just doesn't sound that great. I'm all for new composers getting gigs. But that's not what this is about. To give Ramin a job like this, where he's obviously not that qualified (and it shows by the clips of the movie/music). And I'm not saying to "never give him a blockbuster," but for it to happen so early in his career is mind-boggling considering the guy's only done (literally) a HANDFUL of feature films with credit to his name. Everyone knows the only reason he was hired was because of Hans. The only reason most of these guys get hired for anything is because of Hans. What has he done in the past to show he's qualified for a high-profile job like this? I simply do not understand why they hired him. It's puzzling to me and many other film score fans. And that's your opinion about the Transformers score. It was entertaining, but not in the slightest bit original at all. It was the same RC action music for Michael Bay movies that has been done for the past 15 years. And there's nothing wrong with that, but it gets repetitive/annoying after a while.

Anyways, the score for Iron Man just simply doesn't sound that good from what I've heard so far.

Sylvos reply Replies: 0 || 2008-04-17 00:00:00
You know Espace, what you're doing is a waste of time and energy. I second what Hybrid said. If you wanna blame or complain, go and unleash your fury upon the producers and directors for it is them that hire Hans Zimmer and his troops for these films.

This is a FANSITE for those who appreciate these guys' style. We find that magic and creativity you spoke of within these composers' works, whether they're original or borrowed themes we're listening to. This is funny? It suggests a poor level of knowledge of film music? I for one don't care about that. The ultimate goal of this music business is entertainment and everyone should listen to what they find to their liking, not what others think is great.

If you are not finding Iron Man or any other MV/RC scores to your liking, then first, what are you doing here? and second why don't you just go and support those you like? It'd make more sense than what you're into at the moment for it's not going to change a thing.

A Sentient Being reply Replies: 0 || 2008-04-17 00:00:00
Espace, why do you think Ramin is not up to it? I mean, the man graduated music in Berkley. Because of that, I think he's the right guy anyone should expect something great of. Just for the record, HZ is self-educated in music, but, hey, I don't think that means he makes lousy music. I just want to say that, if you keep in mind Ramin's expertise than who do you think is more capable of taking new chances to compose for blockbusters than him?

A Sentient Being reply Replies: 0 || 2008-04-17 00:00:00
Personally, I think "Transformers" is the best score RC did in it's entire history. Now, I know some people accuse Jablonsky for plagiarism, but hey, does anyone expect a composer who follows similar STYLE of another composer, to be a plagiator? I don't, because of, what? STYLE. And, again, I'll repeat: STYYYYYLE... Now, you must admit: don't you recognize Harry Potter: Chamber of Secrets theme in Star Wars Episode II - Attack of the Clones? Or "General Grievous" from SWIII in "War of the Worlds"? Don't you hear a bit of good ol' Goldsmith in Ottman's "Superman Returns", or good ol' JW in Ottman's "Fantastic 4"? I guess you do, but does that mean that JW copies himself, or that Ottman copies JW and Goldsmith? I don't think so. Again, it's all about the STYLE.

John Ottman is the ONLY TRUE successor of John Williams, as well as Steve Jablonsky and Ramin Djawadi are successors of Hans Zimmer. But, are they plagiators because of that? Of course not. They all follow the same or similar style of their role model composers, respectively. Now, you may not like the STYLE of Ramin Djawadi, or even Hans Zimmer to that matter, but you just cannot say Djawadi or any other composer in RC is a plagiator.

Next, the question of commercial music. I guess someone before me nailed it when he/she said directors and producers look for composers, not vice versa. Now, when you play a CD in your HI-FI, do you really think about commerciality of a certain score, or do you care more about the impression, the feeling it gives you? That is the TRUE question you must ask yourself when listening to RC soundtracks, especially TRANSFORMERS.

All the best to everyone here from Serbia! :-D

hans-batman-zimmer reply Replies: 0 || 2008-04-16 00:00:00
I understand what you say.
But music is art.
The value depends on personal sensibility.
So, you can't necesarily say that.

I'm sorry for my bad English.

Espace29 reply Replies: 0 || 2008-04-16 00:00:00
I also think it's funny how some of you see absolutely nothing wrong with the way Remote Control "writes" scores.

hans-batman-zimmer reply Replies: 0 || 2008-04-16 00:00:00
This is not a crap.

Is there any problem?
Why?
Can you compose?

Espace29 reply Replies: 0 || 2008-04-16 00:00:00
Remote Control is single-handedly messing up the film scoring business. They way they do scores as a group is not how film scoring is supposed to be. It's ok for a composer to have help, but to use 12-15 people working on a score is a joke. It's just an assembly line and a factory, and it's ruining the business.

Anyways, this score is decent. Nothing special, but like the previous poster said I would have liked to heard what John Debney would have done, the guy's a genius.

Espace29 reply Replies: 0 || 2008-04-16 00:00:00
And it's obviously just a power-grab for Zimmer. All the projects he can't work on or necessarily doesn't want to are almost always passed down to one of his proteges. He's trying to monopolize the industry.

Koala Lin reply Replies: 0 || 2008-04-16 00:00:00
I agree with Espace29 said.

This is not ART question. It's just a MONEY problem.


Crap is usually done by money's power. Like this "AWESOME" score.

hans-batman-zimmer reply Replies: 0 || 2008-04-16 00:00:00
What?
I know as much.
Money is the strongest power.
That is known worldwide.
There's no use saying that.
I think the subject doesn't have to be argued here.

So, why criticism composers of Remote Control?
Because you don't like the way Remote Control does business?
Are you a child?

Espace29 reply Replies: 0 || 2008-04-16 00:00:00
I'll try and make this as clear as I can. Remote Control is simply a factory for making scores, literally. One composer gets main credit for a score, then has usually about 7-8 (sometimes more) other "composers" (who are mostly MUSIC PROGRAMMERS and NOT film composers) who learn how to "compose" by simply following temp-track and using loops/synth sounds on a computer. Most of these people don't know how to write scores. Period. And this is UNFAIR to other hardworking composers who, for the most part, write scores the traditional way, BY THEMSELVES. Sure, it's okay for a composer, if they have a lot on their plate and possibly if they're working on more than one movie at a time, to have help. That's fine. But to have the same troupe of people working on every single score is not right. That's simply not what composing a score is. I never understood why they don't just do every score as a group, and for the credit, it should just say "Music By: Remote Control Productions." What's wrong with that? Perhaps it would let everyone know how Remote Control works? It would let everyone know how there's not much creativity/innovation at all? It would expose Zimmer and his ways? Of course.

I'm not sure if you were talking to me or Koala, but I'm obviously not a child and please don't try to insult me. I'm just calling Remote Control what it is. A film scoring assembly line. What their doing simply isn't what film scoring is.

Herrmann, Steiner, and Korngold are probably rolling in their graves looking at what film scoring has become.

Espace29 reply Replies: 0 || 2008-04-16 00:00:00
That's always the classic comeback, "oh well, can YOU do it???" I never said I could compose music, let alone film scores, but as a consumer and a fan of film scores/composers, the way Remote Control does business is detrimental to the film scoring industry. Soon enough, there won't be that "magic" and creativity of recording/writing scores with a full orchestra. These types of composers that Remote Control are producing (with the exceptions of a couple: Powell and HGW) are no longer artists, but molds of Hans Zimmer, and follow his temp-tracked music. It all sounds the same. And Iron Man is no different. It's certainly not the worst score I've ever heard, but like I said, nothing special, and I wish a more competent composer such as Debney or someone else who is much better at writing actual music would have gotten a shot, that's all.

Hybrid Soldier reply Replies: 0 || 2008-04-16 00:00:00
"He's trying to monopolize the industry."

LOOOOOOOOOOOOOOOL

Evil Devil Hans Zimmer trying to destroy the industry ! Vade Retro !

There's something you don't understand, "Escape"... The producers, the directors... THEY go to Remote Control ! Hans isn't calling all the producers he knows asking for films ! They do !

And do you know why they do such a thing ?

Because they know that if there's any problem with the music, or not enough time to write it, the right place where they can find talented composers is Remote Control... And even if the guy hired thinks it's too short, there are other guys who can help nearby...

Bruckheimer understood that 12 years ago... Now they all do...

"(who are mostly MUSIC PROGRAMMERS and NOT film composers)"

LOL !

Say what you want, you probably never listened to any of the RC composers' scores (except 2 or 3 clichťs)... ;-)

"They way they do scores as a group is not how film scoring is supposed to be."

Tell me, how "film scoring" is supposed to be ? Is there a law somewhere I do not know ? Keep your Middle Ages conventions for yourself...

1 composer => good ? 2 composers => quite good ? 3 composers => average ? 5 composers => bad ? 15 composers => crap ???

A bad score written by only one guy keeps being a bad score !

If the result is perfect, I don't care about the number of composers... Well, that's not true, I do care, cause I'm very interested in it... But to me, it's not a problem... Sometimes, it's a strength...

I don't ask you to become a RC fan (obviously it's impossible, narrowmind), but if you want to blame someone (if there's someone to blame), blame the producers, directors and blame what they want... If you're disappointed, it seems they are not... ;-)

gabriel reply Replies: 0 || 2008-04-16 00:00:00
Zimmer is businessman. it was long time ago when he was a composer and had created at least something. Now it's only a busines. I am glad that Powell and HGW dosen't work with him anymore. Others should leave too.

Hybrid Soldier reply Replies: 0 || 2008-04-16 00:00:00
gabriel, Powell is co-scoring Kung Fu Panda with him...


And HGW exactly works the same way as Zimmer, with 5 "additional" composers (Barton, Buckley, Cauthery, Chu, Gavin)... :P

Film Buff reply Replies: 0 || 2008-04-15 00:00:00
Garbage in Garbage out! Give us a break from this shite!!!!

NoMore! reply Replies: 0 || 2008-04-15 00:00:00
John Powell should have scored this. What a waste!

The Man reply Replies: 0 || 2008-04-15 00:00:00
More Media Venture garbage!

JN reply Replies: 0 || 2008-04-15 00:00:00
Why couldn't they hire a decent film composer to score this film?

Greg Phillips reply Replies: 0 || 2008-04-15 00:00:00
One of my favourite Marvel characters afflicted by this tuneless, dire drivel. No imagination whatsoever, utterly trite and dull in the extreme - this score will be the weakest part of the movie.

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Iron Man soundtrack - Ramin Djawadi 2008