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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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Composer - Musician : Synthesizer - Synth ProgrammingComposer - Musician : Piano
Hans ZimmerJames Newton HowardLorne BalfeHenry Jackman
ComposerComposerAdditional MusicAdditional Arrangements
The Dark Knight
Label: Warner Bros. Records
Length: 73'24
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   3/5 (29275 votes)
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  1. Why So Serious? (9:14)
  2. I'm Not A Hero (6:34)
  3. Harvey Two-Face (6:16)
  4. Aggressive Expansion (4:35)
  5. Always A Catch (1:39)
  6. Blood On My Hands (2:16)
  7. A Little Push (2:42)
  8. Like A Dog Chasing Cars (5:02)
  9. I Am The Batman (1:59)
  10. And I Thought My Jokes Were Bad (2:28)
  11. Agent Of Chaos (6:55)
  12. Introduce A Little Anarchy (3:42)
  13. Watch The World Burn (3:47)
  14. A Dark Knight (16:15)
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Anonymous reply Replies: 0 || 2008-06-17 00:00:00
what a hell are you voting for the score isn't released yet

eliseo gutierrez reply Replies: 0 || 2008-06-16 00:00:00
es muy buenisimo la orquesta de hans y james quisiera ver el expanded score seria buenisimo y la primera parte de la peli fue buenisimo, la segunda lo es mucho mejor, ¡felisidades amigos son los mejores de los sound track!!!!!!!! en serio

Deakins reply Replies: 0 || 2008-06-14 00:00:00
This tracklist promises a better quantity of action cues and good stuff like a "King Arthur" album but defintly more darker!! :) :)

DemonStar reply Replies: 0 || 2008-06-13 00:00:00
I cannot see what's the point of releasing the same soundtrack in different versions differing only in artwork. Unless, of course, they contain bonus tracks ;-)

Cloud reply Replies: 0 || 2008-06-13 00:00:00
The point is to make more money :)

The Dark reply Replies: 0 || 2008-06-13 00:00:00
Warner Bros. Records will release four different configurations of The Dark Knight soundtrack: a standard jewel case CD, a 2 LP set of heavy-weight 180 gram vinyl version, a special edition digipack, and a collector's edition with special artwork to come after release.

Mathieu reply Replies: 0 || 2008-06-12 00:00:00
Warner Bros. Records will release four different configurations of The Dark Knight soundtrack: a standard jewel case CD, a 2 LP set of heavy-weight 180 gram vinyl version, a special edition digipack, and a collector's edition with special artwork to come after release.

mathieu reply Replies: 0 || 2008-06-12 00:00:00
ya t'il des extraits sur le net ???

Mathieu reply Replies: 0 || 2008-06-12 00:00:00
trop hate d'avoir cet album. En plus a ce ki parait il yorai plusieurs versions ki sortiraient: double album,.......

Jaweco reply Replies: 0 || 2008-06-12 00:00:00
Great ! 73'24 is just great ! That's gonna be one of the longest Zimmer album if not THE longest (I can't think of anything else being that long). When I see the length of some tracks (16 minutes for the last one !), I definitely can't wait to hear it ! I was wondering if track titles were going to be bats species again, I did like it in the first score... but those are nice anyway. And the most important is music. ;) Hans Zimmer and James Newton Howard are both great composers, it will be really interesting to hear them work together again. ^^

As Vonner, I wonder what more there is in the special edition...

DemonStar reply Replies: 0 || 2008-06-11 00:00:00
And here comes the tracklisting!! 13 minutes of pleasure more than Batman Begins, dudes! ;-)

Hybrid Soldier reply Replies: 0 || 2008-06-11 00:00:00
Tracklist added ! :D

Danny reply Replies: 0 || 2008-06-11 00:00:00
I hope they actually release lots of score.

teoperseo italian reply Replies: 0 || 2008-06-11 00:00:00
Wow but when ?!!!!!!!! Wow Why so Serius???

Gabriel reply Replies: 0 || 2008-06-11 00:00:00
July 15

hans batman-zimmer reply Replies: 0 || 2008-06-11 00:00:00
Length : 73'24 ?
Wow!!

kim reply Replies: 0 || 2008-06-11 00:00:00
The movie is suppose to come out on July 18th worldwide.

Clém Frenchi reply Replies: 0 || 2008-06-11 00:00:00
I think it will be a wonderfull score how the first ....

eager reply Replies: 0 || 2008-06-11 00:00:00
How about some track samples????? im foamin at the mouth hear.

Vonner reply Replies: 0 || 2008-06-11 00:00:00
Does anyone know what the difference is between the regular edition and the limited edition of The Dark Knight soundtrack?

dan reply Replies: 0 || 2008-06-10 00:00:00
Well, not too emotional because it had some thrills in it.

Go to see this excellent site quickly reply Replies: 0 || 2008-06-10 00:00:00
The Dark Knight is on cineguigui.skyblog.com too !!!

dan reply Replies: 0 || 2008-06-10 00:00:00
I'm very curious about on what Hans is gonna score in two years from now. Hopefully he and Ridley Scott can team up again even though he's been working with another composer for the last couple of years.

hans zimmer reply Replies: 0 || 2008-06-10 00:00:00
Walter Christian Mair is someone neither James or I have ever heard of...nor have we ever heard his music. The only additional music credit is Lorne Balfe...

Anonymous reply Replies: 0 || 2008-06-09 00:00:00
more exciting and emotional?

lol What themes?

hans-batman-zimmer reply Replies: 0 || 2008-06-09 00:00:00
I agree with dan.

dan reply Replies: 0 || 2008-06-09 00:00:00
Zimmer/Howard's themes is more exciting and emotional than Elfman's old themes.

RemoteDead6 reply Replies: 0 || 2008-06-08 00:00:00
pressures on! People are gonna be expecting a huge, memorable theme... one that will top Elfman's... quit frankly i dont think it can be done.. but we shall see!

Anonymous reply Replies: 0 || 2008-06-08 00:00:00
I've already said that and i will say it again elfman is nothing to Zimmer King Of Kings

Zimmer Is The Best Composer EVER

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The Dark Knight soundtrack - Hans Zimmer - James Newton Howard 2008