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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.
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<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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Composer, Album Producer, Performer : SynthesizerAdditional Music - Musician : Violin
Hans ZimmerHenry JackmanMatthew MargesonNoah Sorota
ComposerComposerAdditional MusicAdditional Music
Henri 4
Label: Sony Classical
Length: 61'19 (Score: 52'33)
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 (13613 votes)
  1. A Destiny Revealed (3:46)
  2. The Huguenots (5:36)
  3. Belle Qui Tiens Ma Vie - Thoinot Arbeau (1:11)
  4. Journey To Paris (1:53)
  5. The Louvre (5:52)
  6. Margot De Valois (2:19)
  7. Bourrée D'Avignonez - Philidor (1:18)
  8. The Wedding (2:27)
  9. The Massacre (1:32)
  10. Mortal Tristura - Le Concert Des Nations (1:45)
  11. Henri's Escape (2:15)
  12. Man Of The People (1:09)
  13. The Edict Of Nantes (5:11)
  14. Te Deum - La Capella Reial De Catalunya (1:34)
  15. Gabrielle D'Estrées (2:57)
  16. The Murder Of Guise (2:24)
  17. Freedom Regained (2:08)
  18. Sarabande & Tambourin - Kassel (1:17)
  19. The King Is Dead, Long Live The King (2:36)
  20. Farewell To A Friend (2:07)
  21. Rosny's Confession (1:50)
  22. Requiem Sequentia - Christobal De Morales (1:39)
  23. Let Reason Rule (2:22)
  24. Marie De Medici (1:10)
  25. A Prophecy Fulfilled (3:01)
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Hybrid Soldier reply Replies: 1 || 2010-05-19 00:00:00
Jackman said he wrote "most of it".

So I guess HZ did some sort of Themes Suite and then let Henry do the score...


Mike (OTM)2018-02-27 19:43:58
This is an old post, and your more recent comment says HZ didn't write anything.....but End Titles is on his page...so which is it? I'm curious.

Pete reply Replies: 4 || 2013-12-26 20:04:14
how many tracks Hans did for this movie or which one? Thank you!!


Hybrid Soldier2013-12-26 20:11:39
None !

He produced the score... Jackman did it with help by Matt Margeson & Noah Sorota ! :)

Yeah I agree putting his name on the cover wasn't bright LOL... Actually in the movie itself the credit is composer for Henry & producer for Hans... ;)


Pete2013-12-26 20:14:26
Oh, thank you very much, Hybrid!! :)


Edmund Meinerts2013-12-27 01:17:38
How long before MacArthur claims that actually, most of it was probably done by Hans?


MacArthur2013-12-27 05:25:24
I won't!

Cause I know that this one wasn't.

Oh wait...Zimmer did All of it. lol. :)

MacArthur reply Replies: 1 || 2013-08-02 00:33:51
I Thought Zimmer did this music with Henry Jackman as credited


MacArthur2013-09-05 22:02:20
I thought Zimmer Did this Music as well

ToddL reply Replies: 0 || 2012-11-02 05:38:59
I was just thinking about new trailer music to Superman, and could just imagine a temp track with Track #1 from this score. From the beginning, scenes of a baby Superman, Kal-El, traveling to Earth, his arrival, discovering abilities, scenes of destruction, him arriving in Metropolis and, towards the end of the track, when the heroic theme kicks in, Superman ripping open his shirt to show the symbol. Great stuff, I think.

Hybrid, what say u? :)

Norm reply Replies: 0 || 2011-03-16 00:00:00
Watched the movie yesterday. The Score itself isn't that outstanding but it was fitting the pictures perfectly! Good Work

Anonymous reply Replies: 0 || 2011-02-19 00:00:00
Piece of cr*p

Mikel Siw (a fan from Spain) reply Replies: 0 || 2010-08-14 00:00:00
50 / 100 with 91 votes?? i dont know why, dudes. For me is a great score. I really love it.
Terrific music! :__: !
Great work Hans!! & Great work Henry!!

Anonymous reply Replies: 0 || 2010-08-03 00:00:00
FYI there's a 2CD complete promo going around, 40 tracks on CD1, 26 tracks on CD2

Cloud reply Replies: 0 || 2010-05-19 00:00:00
I'd really like to know if any of this was actually composed or at least co-composed by Zimmer, 'cause the detailed track info inside the booklet lists all tracks under Henry Jackman. I bet Hans is on this in name only, as he was with HGW's The Whole Wide World and who knows what else...

Alex reply Replies: 0 || 2010-05-11 00:00:00
Hybrid- Do you know what the official itunes release date for Kick-Ass is and is it a definite ?

Joshua reply Replies: 0 || 2010-05-06 00:00:00
Awesome Hybrid, thanks man! I trust your word over all the bogus info on the net.

Joshua reply Replies: 0 || 2010-05-05 00:00:00
I didnt know where else to ask this, but Hybrid do you know if Henry's score for kick-ass is going to be released?

Hybrid Soldier reply Replies: 0 || 2010-05-05 00:00:00
Joshua, it will, the album is ready... We just don't know about the exact date... :S

Bou reply Replies: 0 || 2010-05-05 00:00:00
The score for KICK ASS was supposed to be released on itunes by may 3 but as usual they screwed us...

Xiao C Lee reply Replies: 0 || 2010-04-18 00:00:00
I too worship Hans ZIMMER it!

fabien reply Replies: 0 || 2010-03-11 00:00:00
not a too bad score.
Very nice first and last tracks !!!

Adrian reply Replies: 0 || 2010-03-11 00:00:00
@ Guru,

That's a strange method of releasing... But it sounds like very good marketing!

Guru reply Replies: 0 || 2010-03-11 00:00:00
Hans an Henry worked together on each track

Guru reply Replies: 0 || 2010-03-11 00:00:00
Its a cinema-TV-Hybrid! It´s shown in france on TV first, then in cinema theaters...

phony baloney reply Replies: 0 || 2010-03-07 00:00:00
the absence of thematic material is a shame, but it is great listening. There's not one bad track and some really beautiful moments. the medieval additional music is a real treat as well. Well done Hans and Henry.

zimm44 reply Replies: 0 || 2010-03-07 00:00:00
I'm a little interested who wrote what but what's more interesting is that Henri 4 takes us to the past not only because of the subject matter! The film was shown on European Film Market on February 7th 2009 which means that the music was composed as early as in 2008 while Zimmer experiments with more soloists, less orchestra started with Angels and Demons in 2009. In that way it IS music from the past;)

OKKU reply Replies: 0 || 2010-03-07 00:00:00
7-Bourrée D'avignonez (Philador Mss.)
17 - Freedom Regained

Tracks is nice!
Thanks Hans

Sato (from Japan) reply Replies: 0 || 2010-03-07 00:00:00
Good !

Ele reply Replies: 0 || 2010-03-07 00:00:00
Great score. "A Destiny Revealed" and "A Prophecy Fulfilled" are more than awesome :)

Meridius reply Replies: 0 || 2010-03-07 00:00:00
"A Prophecy Fulfilled" is awesome!

Enrico reply Replies: 0 || 2010-03-07 00:00:00
Is there someone that knows what has been composed by Zimmer and what by Jackman please?!
Can you do a list of the tracks? Thanks!

  Your name :   

Please enter number: 935 

Ravi Krishna reply Replies: 0 || 2010-03-06 00:00:00
I hear some similarities to Da-Vinci Code too, listen to the string ostinatos in the second half of the first tracks. :-)

I'm liking the score BTW! "Henri's Escape" is by far the best action track so far.

John Connor reply Replies: 0 || 2010-03-06 00:00:00
i'm hearing at it right now :) the action-cues are not that good, but those slow passages with the guitar and very slow waving strings... beautiful!

Henry Tucker reply Replies: 0 || 2010-03-06 00:00:00
Listening now and lovin' it!!

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Henri 4 soundtrack - Hans Zimmer - Henry Jackman 2010