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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.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=112
You 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 premierI 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 Rozman
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Hans ZimmerLorne BalfeAndrew ZackBob Badami
ComposerAdditional MusicScore CoordinatorMusic Supervisor
Sherlock Holmes
Label: WaterTower Music
Length: 54'40
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 (26995 votes)
  1. Discombobulate (2:25)
    Hans Zimmer, Lorne Balfe
  2. Is It Poison, Nanny? (2:53)
    Lorne Balfe
  3. I Never Woke Up In Handcuffs Before (1:44)
    Hans Zimmer
  4. My Mind Rebels At Stagnation (4:31)
    Hans Zimmer, Lorne Balfe
  5. Data, Data, Data (2:15)
    Hans Zimmer
  6. He's Killed The Dog Again (3:15)
    Hans Zimmer, Lorne Balfe
  7. Marital Sabotage (3:44)
    Hans Zimmer
  8. Not In Blood, But In Bond (2:13)
    Hans Zimmer
  9. Ah, Putrefaction (1:50)
    Hans Zimmer, Lorne Balfe
  10. Panic, Shear Bloody Panic (2:38)
    Hans Zimmer, Lorne Balfe
  11. Psychological Recovery... 6 Months (18:18)
    Hans Zimmer, Lorne Balfe
  12. Catatonic (6:44)
    Hans Zimmer, Lorne Balfe
  13. Holmes (Hans 'n' Guy Version) (2:14) *
    Hans Zimmer
*Buy tickets in advance for Sherlock Holmes and receive a free exclusive of the song Holmes (Hans 'n' Guy Version) by Hans Zimmer on iTunes.
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Brad reply Replies: 0 || 2009-12-23 00:00:00
@Jaweco:
Whoa, whoa, whoa! I'm not discarding or trying to disrespect the score to Sherlock Holmes at all! I too think it's a great score, though not the easiest listen. I like the Zimmer tried something different, he stepped away from anything that sounded like The Dark Knight and even something that sounded similar to Pirates Of The Caribbean (though Sherlock's theme is similar to Jack's theme from Dead Man's Chest). It puts Zimmer on an even higher level than James Horner for instance whose scores sound exactly the same every single time. But for me I love true Zimmer scores, long, brooding strings movements and/or epic action music. And on Sherlock there's only two or three true Zimmer cues, the chief of which is Psychological Recovery...6 Months. Thats why I, for me, MW2 was a better listen. I enjoyed it more. But to each his own, thats just my humble opinion.

Adrian reply Replies: 0 || 2009-12-22 00:00:00
@ Ele

I wondered the same thing... Perhaps it has something to do with Tina Guo's looks!

fabien reply Replies: 0 || 2009-12-22 00:00:00
The themes are from genius. I can't wait to see the movie to appreciate other sounds and other themes for this new character hans has so well described : Sherlock holmes!

Enrico reply Replies: 0 || 2009-12-22 00:00:00
Now I already hope for a sequel...It'd be wonderful to see more themes from Zimmer!!!

Enrico reply Replies: 0 || 2009-12-22 00:00:00
However great score...fantastic themes and fantastic istrumentation!!!
Now, what do you think? Is better this or MW2?

Brad reply Replies: 0 || 2009-12-22 00:00:00
Oh by far Modern Warfare 2 gets my vote! It the typical sound of a Remote Control score but the interpretations of the themes and the power of the orchestra was felt more in MW2. It had elements from previous scores that Zimmer has done, especially from Black Hawk Down, but almost better renditions of the cues. The 44-track complete score that has surfaced is a true gem of a find and if you have the chance to nab, jump on it! It's truly a fantastic listen! MW2 over Sherlock any day of the week! No offense Zimmer and Balfe, just my humble opinion.

Ele reply Replies: 0 || 2009-12-22 00:00:00
@Adrian

I checked google images: Tina Guo... and it's just... wow. But I don't find her solos better than Martin ones.

Ele reply Replies: 0 || 2009-12-22 00:00:00
@Brad

You know MW2 is synth-only but percussion, violin and guitar?

Adrian reply Replies: 0 || 2009-12-22 00:00:00
@ Ele,

Indeed, a ''wow'' is in it's place!
Musically, I don't know... She is very good too, I can't hear the difference so much actually... In what way is Martin better ?

Brad reply Replies: 0 || 2009-12-22 00:00:00
@Ele:

Yeah mostly. But I really think that Hans Zimmer and Lorne Balfe did a better job in MW2 than in Sherlock. Plus how can you go wrong with the composers from Two Steps From Hell giving you some additional music? You have the motion picture score genius himself, Zimmer, and probably the premiere motion picture advertising artist, TSFH, both working in unison on a video game! It doesn't get more epic than that...just listen to the score!

Enrico reply Replies: 0 || 2009-12-21 00:00:00
I agree with Jaweco, aeven if I didn't hear it yet...Is beautiful when we hear something that sounds new, fresh and...absolutely good!!!

Enrico reply Replies: 0 || 2009-12-21 00:00:00
In Sherlock Holmes soundtrack we can hear a kind of violin solos...was these made by Aleksey Igudesman?!

Ravi Krishna reply Replies: 0 || 2009-12-21 00:00:00
Those are cello solos, done by Tina Guo.

Ele reply Replies: 0 || 2009-12-21 00:00:00
What happened to Martin Tillman then?

Anonymous reply Replies: 0 || 2009-12-21 00:00:00
damn it...not till january I can get my phyisical CD?? oh well...

BadGuy reply Replies: 0 || 2009-12-21 00:00:00
The "Discombobulate" track remembers me to Ennio Morricone's sound, for example... "Once upon a time in the west"... the theme for Cheyenne... and, of course, any sound of "Once upon a time in America"... So, this soundtrack is "homenage" to Morricone... I guess... =S

Brad reply Replies: 0 || 2009-12-20 00:00:00
Ok, at first I really did not care for this score. I thought that it was too quirky and weird. The instrumentation and the thematic elements were over the top and kinda too far removed from what I was used to hearing in a Hans Zimmer score. But this is another score that just grows on you. I'm listening to it again right now and the funky instruments and the themes eventually start to stick in your head and you find yourself humming them. I appreciate the fresh take on a movie score, because this is really nothing like he's ever done before. There are tinges and there's definite inspiration from his previous action scores in some of the later cues, but this is truly an original score, which is quite a refreshing change from Mr. Zimmer. Great score...now I'm looking forward to "Inception" and the 3rd "Dark Knight" Sequel...those will be fantastic!

Jaweco reply Replies: 0 || 2009-12-20 00:00:00
I listened to the score a few more times, I'm beginning to really enjoy it ! Sure it's a bit crazy, but so much fresher than Angels & Demons ! Maybe it isn't as "easy listening" as the former, but well, it sounds new and original (even if there are some good old Zimmerian action sequences, fans be reassured). Might be discombobulating (:p) at first, but in the long run I prefer such a score, quite daring in its way, trying new ideas... Good stuff !

hansbatmanzimmer reply Replies: 0 || 2009-12-20 00:00:00
I like this score.

Antas, Webmaster reply Replies: 0 || 2009-12-19 00:00:00
The Irish Times - Friday, December 18, 2009
Joeclyn Clarke looks at soundtrack of the week

HANS ZIMMER - Sherlock Holmes Watertower Music ****

Hans Zimmer’s score for Guy Ritchie’s new take on the famous detective is kind of marvellous. With a taut pulse running through it, the maverick composer of The Thin Red Line, Gladiator and The Dark Knight ) has written a dynamic score that bounces between rollicking action, sly comedy and urgent drama, deftly combining pounding rhythms and elegant melodies with idiosyncratic instrumentation (balaika, fiddle, tablas, double bass, dulcimer, banjo), spare orchestration and brooding electronica. Zimmer mixes European folk traditions (jig, waltz, polka, klezmer) and late 19th- century romanticism (Dvorák, Mahler), and juxtaposes exquisite lyricism with gleeful sturm und drang . The score teems with stylistic invention and visceral energy, as well as a surprising emotional power, notably on the 18-minute-long super cue Psychological Recovery . . . Six Months . Sherlock Holmes is both masterful and mercurial. www.water tower-music.com

Adrian reply Replies: 0 || 2009-12-19 00:00:00
I don't see a reason for all the negativity... However, I don't know what to say about it... I'll say nothing and instead I'm going to listen again :-)

Jaweco reply Replies: 0 || 2009-12-19 00:00:00
I listened the album, well, I can't say much about it. In fact, I don't know what to think of it. Not bad, but weird and twisted... without images in front of your eyes, it's difficult to guess if it does indeed work well in the film or not. And... er... well, I'm not that interested in the film, I don't recognize the spirit of Holmes at all in the trailers, seems way too much modern. I don't know if I'll go see it, but if I don't, well, this score's lost on me. I'll give it another listen though, maybe I'll end up really liking it anyway. At least it sounds completely unique in its own way, Zimmer's gone back to experimenting after a comfortable Angels and Demons which was not that original.

Enrico reply Replies: 0 || 2009-12-19 00:00:00
Is there someone that could translate the interview please? I'm Italian and as lots of International fan we can't understand very well English...
Thank you very much!!!

James reply Replies: 0 || 2009-12-18 00:00:00
Guys you may hate me forever but this is score is a big disappointment . As a zimmer fan , Its hard to believe he has wrote this !

The score lacks a defining theme through out the entire track list , Sounds noisy and and rough to ears .

I admire zimmer works alot , and he is my favorite composer of all times but I didnt like this score at all .

Anonymous reply Replies: 0 || 2009-12-18 00:00:00
Didn't not like this one at all. To bad, at least Angels and MW2 are good.

Feared reply Replies: 0 || 2009-12-18 00:00:00
As a hardcore Zimmer fan, I'm a little bit disappointed with Holmes.
It has it's moments, but nothing memorable. Any RC student could have written this.
Angels and Demons was a masterpiece, this is a rather mediocre effort, with interesting instrumentation.

Sylvos reply Replies: 0 || 2009-12-18 00:00:00
I agree that this is not a killer album from the composer(s) that brought us scores like Angels & Demons but still even though the sample sound clips from Amazon initially put me off greatly, the full stream left me pleased overall. The music heard in "Marital Sabotage" and especially the later half of "Catatonictes" is absolutely terrific. Also "I Never Woke Up In Handcuffs Before", despite it's rather nosy mix, makes me smile every time I listen to it. Good stuff!

Zimmer (The Greatest composer ever) reply Replies: 0 || 2009-12-18 00:00:00
Awesome score Hans, Bravo, you can do anything king of kings, for those who don't know, Hans Zimmer's real name is king of kings.

Anonymous reply Replies: 0 || 2009-12-17 00:00:00
It's not even released yet and it has nominations. Perfect.

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Sherlock Holmes soundtrack - Hans Zimmer 2009