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I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premier
I am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1
You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.
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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   2/5 (32199 votes)
  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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RemoteDead6 reply Replies: 0 || 2008-07-18 00:00:00
dude, your an idiot! van gogh never had any fans, he only sold one painting his entire life.. And by Beethovens 9th symphony he was completely deaf so he wouldnt hear anyone anyways... Why don't read a book once in a while!!

...joker theme, by the way, works great in the movie!

A Sentient Being reply Replies: 0 || 2008-07-17 00:00:00
me: "I want to hear this "real theme" that HZ and JNH had composed for this film and it either didn't make it on the album or wasn't used at all."

Me, the theme you're looking for, i.e. the Batman heroic theme is heard in Track 8: "Like a Dog Chasing Cars", in Track 12: "Introduce a Little Anarchy" and Track 14: "A Dark Knight". Listen to those three tracks one after another and you'll notice it. BTW, the theme is outstanding!

me reply Replies: 0 || 2008-07-17 00:00:00
A Sentient Being, thanks for the info. After listening to those tracks a couple of times, the theme really stood out. The more I listen to it, the more this album is becoming my favorite HZ album, even though he didn't compose all of the pieces solely.

Gr8vel reply Replies: 0 || 2008-07-17 00:00:00
I love what i've heard of the extracts here but, the i'm not a hero track that i've listened to a few times elsewhere in links from this site. is not done justice here. I think it's the one track i really want to hear more of. I can see where zimmer has held back on going all out on a few of tracks, almost like someone has told him, now Mr ZImmer i like your work, i like it a lot, but the things is with this Batman movie, i don't wan't it going all Armageddon on me!! If you know what i mean!! We want people leaving the theatre thinking Batman kicks ass! not Batman saves the day again, isn't he great!!

vanessa reply Replies: 0 || 2008-07-16 00:00:00
zimmer's work is BORING !

he does the same crap for every score !

And now he needs, even more then ever, HUGE teams of collaborators, to do multi-million crap !

Jesse Stipek reply Replies: 0 || 2008-07-16 00:00:00
Track 8 is where it's at! Cool soundtrack :)

Zi Jie reply Replies: 0 || 2008-07-16 00:00:00
The score is rather masterfull, the score captures that inner psycological fued that is seething beneath Bruce Wayne and the city of Gotham. As far as being a bombastic piece that is just fun to listen to it just won't be most people's cup of tea. For those seeking an emotional exploration of your deeper and much darker inner self then this score sounds about right. The score may not stand out for now, but once the movie has been seen I think people will associate the images with the music and thus improve the candor of the "batman" music schema. As the films evolve and the characters in them then the music will follow (as long as it's the same two composers) and enhance the experience. It does appear that Hans Zimmer has been using the same musical elements in his more recent scores, but that just means that soon these ideas will be mastered, whereas if he kept trying to "reinvent" either the musical genre or his own compositional style then we would continually be intrigued but unfulfilled. It still sounds like people are whining because there is no "batman theme" like elfmans...I like this better, my brain gets to do more of it's own work.

DemonStar reply Replies: 0 || 2008-07-16 00:00:00
Well, being a Batman fan since childhood, I feel it fits the tone of the film perfectly and though it may not be as good a listening experience as, say, Elfman's Batman scores (what can you expect if Nolan doesn't WANT it to have a big theme?) but I still get goosebumps listening to parts of it. "Why So Serious", in my very humble opinion, fits the Joker's character perfectly! And "Like a Dog Chasing Cars" is probably one of the best action tracks of the year. The Harvey Dent track is also gorgeous.

Robert reply Replies: 0 || 2008-07-16 00:00:00
Anyone know what is exactly included in the 2-Disc LP set of heavy-weight 180 gram vinyl version, and why it is the most expensive one?

From North Africa reply Replies: 0 || 2008-07-16 00:00:00
vanessa You Look Like a batman and robin fan what a hell are you doing here and who the hell are you to judge on this MASTERPIECE ??????????

This is the most Emotional Score ever Composed

A Dark Knight = The Greatest and Most Emotional Music Ever Composed

I've Said That Already & I Will Say It Again Mr.Zimmer & Mr. Howard Are Angels Because There's No Human With There Talents God Bless Them

OKKU reply Replies: 0 || 2008-07-16 00:00:00
Not to be flash soundtrack in the albüm.

me reply Replies: 0 || 2008-07-16 00:00:00
Okay, lets get this straight. Zimmer's work is by no means boring. He is my favorite composer of all time and I am a huge collector of anything he has a part of. And I don't want an Elfman score for these Batman films. Zimmer/Howard's work fits perfectly in these films and enhances the experience when watching. I guess I'm just greedy, but I want to hear this "real theme" that HZ and JNH had composed for this film and it either didn't make it on the album or wasn't used at all. This is a fantastic score, much better than the first. Like A Dog Chasing Cars is one of the best action pieces ever written. Zimmer's work is amazing and James Newton Howard is fastly becoming one of my favorite composers. Okay, maybe that clears things up.

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Sylvos reply Replies: 0 || 2008-07-15 00:00:00
I'm probably the last person on this board to listen to this one. To me, The Dark Knight is an example of a good score written for the film and not for album. It functions well in its purpose as it emphasizes the film's dark tones but standing alone, it does not make for a memorable listening experience. At least not for me.

Darke Ascension reply Replies: 0 || 2008-07-15 00:00:00
THE DARK KNIGHT OST is great. Love all the themes, all the suites, and all the sweeping scores. A true treasure for any fan of orchestrated original soundtrack music.

=-)

Ronin. reply Replies: 0 || 2008-07-15 00:00:00
I'm going out to get it now.

me reply Replies: 0 || 2008-07-15 00:00:00
Let me say this. It met my expectations, but did not surpass them. If Christopher Nolan desides to do a third Batman film and he signs both Hans Zimmer and James Newton Howard for the score, lets hope they finally use the "theme" that was almost used on this film. Great album, still waiting for that 10/10 album.

RemoteDead6 reply Replies: 0 || 2008-07-15 00:00:00
I hav to agree with Me and Sylvos. Im sure the score is gonna sound great in the film, especially in IMAX, but it isnt enough to stand on its own. And we were promised this full, magnificent theme and all we got are the same two notes as the last album (which Jablonsky used in the Island) the Harvey Dent theme is well done, props to JNH, but the album is already sittin on my shelf... 3 out of 5!

H reply Replies: 0 || 2008-07-14 00:00:00
Why So Serious? sounds like "Heat" from Elliot Goldenthal.

The rest of the score is just average...

DemonStar reply Replies: 0 || 2008-07-14 00:00:00
Just 1 day to go! :D

Feared reply Replies: 0 || 2008-07-14 00:00:00
As far as I know, only the package is different. The music is exactly the same.

Seth reply Replies: 0 || 2008-07-13 00:00:00
Just echoing ronin's question - does anyone know the difference between the standard and limited edition releases yet? Is it just the jewel case vs. digipak, or is there gonna be some extra music? Warner's site doesn't have any extra info yet...

ronin reply Replies: 0 || 2008-07-12 00:00:00
Can someone tell me the differences between the regular north American edition and the deluxe one?
thanks.

Anonymous reply Replies: 0 || 2008-07-12 00:00:00
May i ask you one question Mr.Zimmer????

WHY THE HELL DO YOU HAVE ONLY ONE OSCAR???????
YOU SHOULD BY NOW HAVE 11 OR 12 AND I TALKING SERIOUSLY 13 WITH The Dark Knight

You Are Simply THE BEST COMPOSER EVER

Steve Deneault reply Replies: 0 || 2008-07-11 00:00:00
Oh Momma! Just heard some of the new score for THE DARK KNIGHT. I thought the first one was good. Chills, Mr.Zimmer, you gave me chills.

Peter reply Replies: 0 || 2008-07-11 00:00:00
Track List:

CD/1

01 - batman
02 - legend
03 - are you ready to begin
04 - wayne empire
05 - folletto!...folletto! (from opera mefistofele)
06 - the wayne tragedy & training
07 - revenge
08 - facing fear
09 - bat cave
10 - return of bruce wayne
11 - fox department
12 - base jump
13 - first attack
14 - capture
15 - scarecrow
16 - batsuit
17 - escape
18 - chase
19 - unmasked

CD//2

01 - ...all that's left
02 - immortal
03 - invasion
04 - attack on gotham
05 - train fight
06 - aftermath
07 - final
08 - end credits
09 - medley suite
10 - lasiurus (bonus track)
11 - barbastella (album edit)
12 - macrotus (album edit)
13 - eptesicus (album edit)
14 - preparation
15 - augustus (trailer music #1)
16 - monk with bell (trailer music #2)
17 - nightwatcher (veigar music from the trailer)
18 - backend (veigar music from the TV spot)

Hybrid Soldier reply Replies: 0 || 2008-07-11 00:00:00
@A Sentient Being

Please, stop asking that kind of things, it's not the right place for that...

@Peter

Well, I'm a bit disappointed... It's just an expanded with SFX tracks and lots of useless bonus tracks... :P

A Sentient Being reply Replies: 0 || 2008-07-11 00:00:00
IT'S HIGH TIME SOMEONE MADE A DECENT BATMAN BEGINS COMPLETE SCORE, NOT THIS JUNK WITH SFX!

WE NEED IT BADLY!!!

Shaun reply Replies: 0 || 2008-07-11 00:00:00
Hi there,

This one seems to be the most complete version Ive come across. It must be out there somewhere. Only thing is the sites I found this on only had the artwork/track listing etc

DISC I

01 OPENING TITLE/YOUNG BRUCE
02 MEETING WITH DUCARD
03 TRAVELLING THE WORLD
04 LEAGUE OF SHADOWS
05 GOTHAM
06 FATEFUL NIGHT
07 TRAINING
08 YOUR ANGER GIVES YOU GREAT POWER
09 NOT HOME FOR LONG
10 VENGEANCE PT1
11 VENGEANCE PT II
12 WE DON’T NEED TO SEE THIS
13 THIS CITY IS ROTTING
14 SHAME
15 CONFRONTATION WITH FALCONE
16 TRAVELS
17 THE HEIST
18 WHAT IS NECESSARY
19 COURT
20 BRUCE SEES RACHEL
21 THE CAVE PT1
22 WAYNE ENTERPRISES
23 MEETING WITH LUCIOUS FOX
24 THE CAVE PT II/COSTUME MONTAGE PT I/MEETING WITH GORDON
25 BRUCE SPIES FALCONE/COSTUME MONTAGE PT II
26 “WHERE ARE YOU?”
27 “I’M BATMAN”
28 ATTACK ON RACHEL/FALCONE ARRESTED

DISC II

01 THEFT ON WAYNE ENTERPRISES
02 IT’S WHAT YOU DO THAT DEFINES YOU
03 CRANE & FALCONE
04 ON THE ROOF
05 ONE MORE CONTAINER/THE KID
06 LIGHTEN UP (FILM VERSION)
07 LIGHTEN UP (ALBUM VERSION)
08 HAPPY BIRTHDAY, BRUCE
09 BATMAN PREPARES
10 YOU’RE FIRED
11 RACHEL & CRANE/ESCAPE
12 ASYLUM FIGHT
13 POLICE
14 BACKUP
15 THE CHASE
16 RACHEL IN THE CAVE
17 RA’S AL GHUL AT THE PARTY
18 CONFRONATION WITH RA’S AL GHUL
19 ALFRED SAVES VRUCE
20 YOU STILL HAVEN’T GIVEN UP ON ME?
21 VAPORISATION
22 BATMAN JOINS NARROWS
23 A NARROWS RESCUE
24 TRAIN FIGHT
25 IT’S OVER
26 REBUILDING
27 END CREDITS

Deakins reply Replies: 0 || 2008-07-11 00:00:00
And the site is???
fakkkkkke lol

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