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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.
<br>
<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.
<br>
<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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Steve JablonskyHans ZimmerLorne BalfeTom Gire
ComposerAdditional MusicAdditional MusicAdditional Music
Transformers - Revenge Of The Fallen
Label: Reprise Records
Length: 43'56
HZimmer.com rating:        Not yet rated
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 (44542 votes)
  1. Prime (2:14)
    Steve Jablonsky
  2. Einstein's Wrong (3:35)
    Steve Jablonsky
  3. Nest (2:08)
    Linkin Park, Steve Jablonsky, Ryeland Allison
  4. The Shard (2:42)
    Steve Jablonsky, Lorne Balfe
  5. The Fallen (4:03)
    Steve Jablonsky
  6. Infinite White (3:58)
    Steve Jablonsky
  7. Heed Our Warning (4:26)
    Steve Jablonsky
  8. The Fallen's Arrival (3:47)
    Steve Jablonsky, Hans Zimmer, Lorne Balfe
  9. Tomb Of The Primes (2:47)
    Steve Jablonsky
  10. Forest Battle (2:04)
    Steve Jablonsky
  11. Precious Cargo (1:38)
    Steve Jablonsky
  12. Matrix Of Leadership (3:50)
    Steve Jablonsky
  13. I Claim Your Sun (3:06)
    Steve Jablonsky
  14. I Rise, You Fall (3:35)
    Steve Jablonsky
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Pages << 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 >>

Damien, Moderator reply Replies: 0 || 2009-06-27 00:00:00
I don't know what you call a rundown, so I have some difficulties to tell you if it could be a problem or not.
If your fear is about some legal aspect, it is better to avoid it.
If it is more because of length of the upcoming post, the forum will perhaps be a better place for such a post.

westfall reply Replies: 0 || 2009-06-27 00:00:00
nothing illegal, i think. basically it's just a list of what music plays in wich scenes, may involve description of the music and scene.

DARTH reply Replies: 0 || 2009-06-27 00:00:00
oups !

@ Westfall : PM me , my name is "darth2602" on the Forum...

Hybrid Soldier reply Replies: 0 || 2009-06-27 00:00:00
No problem for the site, westfall, go ahead if you want to do it !


I'll be interested in this too ! :D

D A R T H reply Replies: 0 || 2009-06-27 00:00:00
@ Westfall : i can help you, contact me fast with the U2U fonction on the Forum...

yoda reply Replies: 0 || 2009-06-27 00:00:00
what is the song playing when the second round of re enforcements arrive the ones that actually help??

Mario Soundtrack reply Replies: 0 || 2009-06-27 00:00:00
Great!! The best songs are:
Prime, a new theme, inused in the film.
Nest, with a action Linkin Park (New Divide) theme.
Infinite White, with a żLisa Gerrard? beautiful vocals.
Tomb of the Primes, with a passage theme, what describes good the place.
Matrix of Leadership, the BEST SONG of album for me, with the scene, the best of the movie.
Forest Battle, with the Optimus fight final theme, a fast version of Autobots theme.
I Rise, you Fall, the classic theme of Transformers. The final of 1rts movie in the 2nd.
^^ The Promo 2 CD's album PLEASE!!!!!!!!
Xaoooooooo

A Sentient Being reply Replies: 0 || 2009-06-26 00:00:00
The movie is fantastic!

The score is the greatest! Steve Jablonsky again made it perfect! The is a ton of themes that didn't made it on the official score, however: Arrival to Earth, Autobots, Scorponok, You're a Soldier Now, Sam at the Lake! Those are the themes I heard in the movie, apart from the new ones.

And now, after watching the movie, I present the track order of the official score that I think is right:

1. NEST (when the NEST team deploys in Shanghai to capture Decepticons)
2. The Fallen (Megatron flies off into space and lands on Mars where he speaks with The Fallen, discussing Optimus Prime)
3. Forest Battle (fight in the woods between Optimus, Megatron, Starscream and Grindor; the Autobots theme is heard when Optimus unleashes hell upon Starscream and Grindor)
4. Prime (heard when Mikaela consoles Sam and tells him there was nothing he could have done to save Optimus)
5. The Fallen's Arrival (this is heard mostly when Soundwave mobilizes the Decepticons, when they land on the aircraft carriers, in Paris, and in other places on Earth)
6. Heed Our Warning (this theme harldy heard in the movie if at all; I guess they wanted to use it when The Fallen adresses the Earthlings regarding Sam Witwicky, but it was cut out from the scene)
7. Einstein's Wrong (heard when Sam, Mikaela, Leo, Simmons and Wheelie try to decipher the markings in Simmons' basement)
8. Precious Cargo (the scene where Galloway informs the Autobots and Lennox to dispand NEST, Optimus' lifeless body is seen on the ground at base)
9. Tomb of the Primes (Sam, Mikaela, Simmons, Leo, Bumblebee, Skids and Mudflap discover the Tomb of Primes in Jordan and Sam takes the Matrix of Leadership)
10. The Shard (heard when Bumblebee faces Rampage and Ravage during the final battle in the desert)
11. Infinite White (Sam i uncounscious, they try to reanimate him, he seeses The Primes and comes back to life)
12. Matrix of Leadership (Sam takes the reformed Matrix and stabs it into Optimus' spark; the "Arrival to Earth" theme from the end of the cue is heard when Optimus comes back to life)
13. I Claim Your Sun (The Fallen and Megatron are on the top of the Pyramid, The Fallen turns on The Harvester, Optimus comes and starts the fight with The Fallen, the theme end when Optimus takes off The Fallen's mask and destroys him)
14. I Rise, You Fall (right after The Fallen is defeated, the aftermath of the battle, leading into "New Divide" song, starting the end credits, identical to "No Sacrifice, No Victory" leading into "What I've Done" in Transformers)

Of the old themes there are the following (names are from the score for the first film)

1. Arrival to Earth (heard twice in the movie, when Optimus jumps from the plane to Shanghai and when Sam, Mikaela, Simmons, Leo and Autobots discover Jetfire in the air museum)
2. Sam at the Lake (Witwicky family prepare to leave the house, Sam is packing)
3. Scorponok
4. You're a Soldier Now

westfall reply Replies: 0 || 2009-06-26 00:00:00
New Divide by Linkin Park

Anonymous reply Replies: 0 || 2009-06-26 00:00:00
whats the name of the song. first song of the ending credits

D A R T H reply Replies: 0 || 2009-06-26 00:00:00
@ Nono : ? ? ?

westfall reply Replies: 0 || 2009-06-26 00:00:00
@ nono

For a moment i thought you had found the complete score.

westfall reply Replies: 0 || 2009-06-26 00:00:00
As promised, here's the movie order of the score tracks. One thing i noticed while making this is that while the 1st scores tracks, although presented in "album version" remained practically the same as in the movie, the ones on this score are heavilly edited in the film.

WARNING BIG S P O I L E R S ! ! !
*
*
*
This 2nd score has 2 tracks that aren't used in the movie in their album form:

- Prime -> Though not used, the main theme is part of many of the tracks of the score;
- Heed Our Warning -> seems to be used in the Alice pursuit scene but it's too edited to be sure;

The tracks on this score are cut and placed all over the film so the rest appear in the movie in edited form, some more than once. I list them in order of appearence:

01 - N.E.S.T. -> NEST deploys in Shanghai, used in other scenes, slightly rearranged;
02 - The Shard -> Arcee and the twins pursue Sideways, used in other scenes, slightly rearranged;
03 - The Fallen -> Megatron meets Sam
04 - Forest Battle - well...title really explains itself, most badass sequence of the film
05 - the fallen's arrival -> Optimus falls, Autobots arrive to cover Sams escape, Lennox is informed of Optimus's death, Megatron pummels Starscream ona rooftop, The Fallen and a group of Decepticons crash into an aircraft carrier, sinking it, other Decepticons crash worldwide.
06 - einstein's wrong -> Sam, Mikaela, Leo and Simmons meet inside the meatlocker,conclusion that the TFs have been on Earth for a looooooong time, Wheelie points the closest Seeker.
07 - infinite white -> Sam and his party find the temple ( only the final segment is played)
08 - tomb of the primes -> breaking the wall of the temple they find the tomb and The Matrix, but it turns to dust, C-17's from NEST arrive
09 - precious cargo -> amidstthe raging battle Lennox and Epps meet with Sam and Mikaela
10 - matrix of leadership -> Sam's near death experience and "meeting" with the primes, matrix reforms and Sam revives Optimus
11 - I Claim Your Sun -> The Fallen steal the Matrix and activates the arvester, Jetfire sacrifices his spark to give his parts to Optimus, Optimus flies to the pyramid and destroys the arvester, Optimus defeats Megatron
12 - i rise, you fall -> Optimus battles The Fallen, Megatron and Starscream escape, final reunion scenes

Re-used tracks from the 1st film are "Sam at the Lake", "Witwicky" (or one of the related themes like "Witwicky House"), "Camaro on the Run". These are the same as in the first film.

1st score themes used in new themes are "Arrival to Earth", "Autobots", "Optimus", "Bumblebee Captured", "Bumblebee"and "Scorponok".

westfall reply Replies: 0 || 2009-06-26 00:00:00
@ A Sentient Being

Seems we had the same idea at the same time. LOL

As for your placement of "Prime", i thought that is where we get the closest rendition of the track but i found it to be too different to list it there. I would call it "Sad Prime" as it is a more subdued and with an overall sadder tone than Prime. That was my take on it. As for "Heed Our Warning" i'll take another listen at that scene.

A Sentient Being reply Replies: 0 || 2009-06-26 00:00:00
@ westfall

Ok, we are close on this. Maybe I didn't hear some of the themes on different places in the film. I just caught the most prominent appearance of the themes. But, I didn't get "Camaro on the Run", "Optimus", and "Bumblebee Captured". When are they heard?

D A R T H reply Replies: 0 || 2009-06-26 00:00:00
I propose :

01 Prime (Openning - Unused in this form)
02 NEST
03 The Fallen
04 The Shard
05 Forrest Battle
06 The Fallen Arrives
07 Heed Our Warning
08 Einstein's Wrong
09 Infinite White
10 Tomb Of The Primes
11 Precious Cargo
12 Matrix Of Leadership
13 I Claim Your Sun
14 I Rise, You Fall

D A R T H reply Replies: 0 || 2009-06-26 00:00:00
One question : the 1st and the 2cd score was composed by Steve Jablonsky itself, why he doesn't use movies theme ? for 1st -> ok, the game devellopment was started before the production of the movie score; for the 2nd game -> ??? he could use the movie 1 themes or alternate but...not

westfall reply Replies: 0 || 2009-06-26 00:00:00
@ A Sentient Being

I'm at work now but when i get home tonight i'll check my notes and let you know. I thought of posting an actual rundown of the music in the film but the at post would be too long. As for the use of Bumblebee Captured", i'll just simplify things and go with "Optimus" instead since "BB Captured" was itself a version of "Optimus".

Badguy reply Replies: 0 || 2009-06-26 00:00:00
the vocal that we listened in INFINITE WHITE... it's of LISA GERRARD?? that's true?

Hybrid Soldier reply Replies: 0 || 2009-06-26 00:00:00
Vocals : Lisbeth Scott


;)

A Sentient Being reply Replies: 0 || 2009-06-25 00:00:00
"Knowing MV. A complete bootleg is not far behind if people want it bad enough."

And, people DO want it badly enough already!!!

snarky reply Replies: 0 || 2009-06-25 00:00:00
@ Danny
I hope you're right lol

Danny reply Replies: 0 || 2009-06-25 00:00:00
Knowing MV. A complete bootleg is not far behind if people want it bad enough.

matthew91 reply Replies: 0 || 2009-06-25 00:00:00
Heed Our Warning??
I didn't hear this in the cinema.

snarky reply Replies: 0 || 2009-06-25 00:00:00
We definitely need the rest of the music to be released I really enjoyed all the revised versions of the old tracks from the first movie. Hopefully they'll be released.

G.T.© reply Replies: 0 || 2009-06-25 00:00:00
Film very very nice....
SoundTrack very nice beautiful...

Starscream reply Replies: 0 || 2009-06-25 00:00:00
I saw the movie and I absolutely loved it! And the score by Steve Jablonsky was awesome. I can't believe all the negativity this film is getting from critics. The critics seem to be alone because everyone that I talk to about the film, say they loved it. Just like the first one. Critics hate it and the people love it. Great job to the whole team that worked on the movie and the score!

A Sentient Being reply Replies: 0 || 2009-06-25 00:00:00
I'm watching this movie tonight! There are no words that can describe my hype bout it!!!

Renegade reply Replies: 0 || 2009-06-25 00:00:00
i watched the movie yesterday and it was awesome.
enjoyed each minute :)
i´m still waiting for the score, hope amazon delivers soon.

there´s an enormous heroic theme when optimus jumps out of the plane over shanghai. does anybody know, if this theme is in the score?

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Transformers - Revenge Of The Fallen soundtrack - Steve Jablonsky 2009