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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
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<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
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<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
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.
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Score ProducerMusic Scoring Mixer
David BuckleyNick Glennie-SmithHarry Gregson-WilliamsMalcolm Luker
ComposerAdditional ArrangementsScore ProducerMusic Scoring Mixer
The Forbidden Kingdom
Label: Lionsgate Records
Length: 67'00
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 (15454 votes)
  1. The Mountain Of Fruit & Flowers (1:43)
  2. The Peach Banquet (1:46)
  3. Monkey Business (4:31)
  4. China Begins (4:11)
  5. Hops' Shop (3:07)
  6. J&J Temple Fight (5:34)
  7. The Legend Of The Temple Staff (1:59)
  8. Two Tigers - Two Masters (2:49)
  9. Tea House Fight (5:07)
  10. The Tyranny Of War (5:23)
  11. Don't Forget To Breathe (0:52)
  12. Ni Chang & Her Cult Killers (4:35)
  13. Drunken Master Wounded (3:40)
  14. The Seeker Of The Prophecy (5:05)
  15. Let The Journey Begin (2:37)
  16. Monkey King Released (2:27)
  17. Battle Of The Bride (3:01)
  18. Her Destiny Was Written (4:12)
  19. As One Tale Ends... (2:46)
  20. ... Another Tale Begins (1:35)
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Knight reply Replies: 1 || 2019-04-12 07:46:06
Checked ASCAP and BMI, this is what I found:

Buckley, Nick Glennie-Smith

Monkey King and Warlord, Part 2
Training Montage
Sparrow Dies

and apparently Halli Cauthery helped write Let the Journey Begin


Knight2019-04-12 08:16:14
Any idea if Nick's contributions are on album, Hybrid?

Bayhem reply Replies: 9 || 2018-10-30 15:28:15
Such a beautiful and layered score. David Buckley deserves as much hype as Lorne. They're both the same age, started at pretty much the same time, they're both pretty active now, yet no one seems to talk about Buckley. While "Lorne talk" is all over the place.

Buckley deserves more recognition. And I would even argue that when it comes to more emotional cues, he's better than Lorne. It's like he took the best from Zimmer and Powell. My opinion....


bildchen2018-10-30 17:48:44
mhm, interesting. i have to admit, i never heard to any of his scores. will start with this one. do you have any more tips for me?


Mephariel2018-10-30 22:30:45
The Forbidden Kingdom is much better than anything Lorne Balfe ever scored. No joke. It is actually one of the best RCP scores of that decade.


Michael2018-10-31 15:54:12
“Better than Lorne Balfe”

HA!!!!!!!!!

Thats why Balfes gets big movies and Buckley doesn’t then is it ? Exactly


Mephariel2018-10-31 16:21:44
Getting big movies doesn't mean better composer.

Balfe also arguably gets bigger films than Carter Burwell, Patrick Doyle, and John Debney.


...2018-10-31 17:57:58
This year Balfe got bigger movies than Zimmer himself... does that make Balfe better than Zimmer lol


Hybrid Soldier2018-10-31 19:20:29
If you keep going the route you're dangerously taking, I'm simply erasing this conversation.


superultramegaa2018-10-31 20:38:51
Lorne Balfe is better than Howard Shore... because he gets more big movies in this period of time. Nice logic, Michael.


Anonymous2018-11-01 01:39:47
wow Hybrid Soldier. dictator much?


Hybrid Soldier2018-11-01 18:45:10
Yes, very much.

punisher reply Replies: 0 || 2010-10-26 00:00:00
i am from egypt i love this song to mutch
salam alikom

punisher reply Replies: 0 || 2010-10-26 00:00:00
i love this movie i love china

oyea reply Replies: 0 || 2010-10-04 00:00:00
:>

Anonymous reply Replies: 0 || 2010-06-15 00:00:00
The Seeker of The Prophecy

anhuynh reply Replies: 0 || 2010-04-01 00:00:00
i have been lookinf for this. TY

Ravi Krishna reply Replies: 0 || 2009-10-01 00:00:00
A very good score, this one. David's a really talented composer! :)

Levente reply Replies: 0 || 2009-10-01 00:00:00
More credits:

Karen Han - Erhu (she aslo worked on POTC 3)
Hugh Marsh - Violin

julystrom reply Replies: 0 || 2009-07-29 00:00:00
thanks for download i can find many music that i like

Anonymous reply Replies: 0 || 2009-07-01 00:00:00
i love this musick!

Rojay reply Replies: 0 || 2009-04-18 00:00:00
Music is great! Too bad the movie was not that good.

sekura reply Replies: 0 || 2009-02-26 00:00:00
This soundtrack was perfect for the film! I love it!

The movie was great too ... thoroughly enjoyable to watch and to listen too!

Anonymous reply Replies: 0 || 2009-01-12 00:00:00
salut

Danny reply Replies: 0 || 2008-12-19 00:00:00
Magnificent score!

It's great to see how the future always look great at Remote Control Productions with now David Buckley making a great one of his own after the likes of Zimmer, Mancina, the Gregson-Williams brothers, Glennie-Smith, Dooley, Jablonsky and co. made it before him from the same studio.

Jade Sharp reply Replies: 0 || 2008-11-06 00:00:00
I have completely fell in love with this film to the point of obsession and watch it at least once every weekend.. i am 23 and think i may have a problem.. LOL Jet Li is to hot, Love the sound track another tale is my fav..absolutly fab film love it love it love it

tibo vertessen reply Replies: 0 || 2008-10-13 00:00:00
cool

joshua reply Replies: 0 || 2008-08-27 00:00:00
what would you compare this score to.

cheese reply Replies: 0 || 2008-08-25 00:00:00
oh!! i cant wait to buy the soundtrack! is it released worldwide??

konstantinos kalas reply Replies: 0 || 2008-08-22 00:00:00
great movie great music.

Pete reply Replies: 0 || 2008-08-17 00:00:00
Incredible soundtrack -- I love it !!! thank you Mr Buckley , you made a guy happy for the year :)

krazie835 reply Replies: 0 || 2008-08-04 00:00:00
It's possible, but some of Harry Gregson-Williams material pops up in this score too.

JT83 reply Replies: 0 || 2008-08-03 00:00:00
Nevermind. For some reason they put it as the album's *last* track. Weird, but acceptable.

Sylvos reply Replies: 0 || 2008-08-03 00:00:00
Excellent score. It sure deserves the wait. It's rich with thematic ideas and ethnic elements, the sound quality is crisp and clear and the mix is superb. It's very hard to believe they were on the narrowest of budgets when recording this thing, when you compare it with some of the big budget scores that's coming out these days.

This one is highly addictive for those who, like me, love exotic/ethnic film scores. Can't wait for David's future works now!

JT83 reply Replies: 0 || 2008-08-03 00:00:00
Listening to the CD, very happy. But no 'Title track' theme? :(

Sylvos reply Replies: 0 || 2008-08-03 00:00:00
You're not wrong dude. But that's the only moment of the whole score where a Batman flavored tune is heard and I assume this is the reason that Hybrid Soldier chose this one for the samples.

Anonymous reply Replies: 0 || 2008-08-03 00:00:00
Maybe David Buckley was a ghostwriter on The Dark Knight. lol

Klaas reply Replies: 0 || 2008-08-03 00:00:00
Perhaps I'm entirely wrong, but to me it seems that the beginning of the extract (Track 19) sounds extremely similar to the extracts I heard from 'The Dark Knight'. Anyone else noticed this? I was wondering because for as far as I know these two scores have nothing to see with eachother...

(But as I said, perhaps I'm totally wrong. I don't have both scores on cd yet, this is purely based on some extracts.)

Staroc reply Replies: 0 || 2008-07-31 00:00:00
Well I do of course realize that CD Audio Quality is superior to 'crappy' iTunes, but I happen to be fine with the quality offered, without having to have another CD lying around the house. I simply prefer digital downloads, since I listen to them on my iPod at work most of the times anyways. So there: I am no audio quality affectionato, but I am a guy who's willing to pay good money for this soundtrack, because I seriously like what I heard so far. Well I can't, which in the end is of course not anyone's problem but mine. However I'd still like to at least know if and when there is potentially a way to obtain the soundtrack in Germany and be it 'just' as a CD release that I can buy from the German Amazon (though I'd still prefer iTunes) :)

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The Forbidden Kingdom soundtrack - David Buckley 2008