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The FYC score was complete. And it's out since november last yearIs there a complete score out there? If not, don't be surprised there's nothing here yet. Sometimes it takes years before a complete score listing pops on this site.Why no listing here for the complete score?Because they didn't work direcly in this score, but their material from the previous one was reused.Does anyone know why some of the composer names are in brackets? Thanks!
thanks4:05 of "STEALTH" some of the best soulful action music I've heard from a Zimmer score. I wonder who wrote that particular section. This the type of stuff I would play trying to rush a pregnant woman to the hospitalIn case he's visiting this site, I wanna say 'Thank You' to Ashton Gleckman who does the 'Behind the Score' episodes on YouTube. I loved the 1-hour episode for the Transformers scores and I actually learned a lot. Very educational. I found the video by accident and now I plan on watching his other videos as well.<br><br>Job well done, my friend.@Hybrid <br>You don't add anymore Trevor Morris things ?Probably for chronological purposes<br>even though the movie uses a shortened version of Romanian Wind at that time
i saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene.<br>===============================<br><br><br>I agree. <br><br>And I think at the end of the day the movie itself is not the type of movie that could win people over with its score. No matter how successful and popular it is and no matter how good the score is. I Am Number 4 was part of the YA craze that took over Hollywood a few years back (we all know how people feel about those movies), and even the most successful YA movies (like Twilight) are not exactly known for their scores.<br><br>People - even film critics who are supposed to talk about all aspects of the movie - were too busy talking about half-naked characters and Kristen Stewart's acting..... and completely ignoring the good work done by Alexandre Desplat.<br><br>It was pretty much the same with I Am Number Four...<br><br>It's not that Trevor created a "bad" score, it's simply a case of a nice, little score that went under the radar. No one bothered to talk about it..... Just like his score for Torque, which as far as I'm concerned is one of his best scores.I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.<br>===========================<br><br><br>I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks. <br><br>But why most people don't think like us?<br><br>The reason I think is because those "big tracks" are presented - most of the time - during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.<br><br>While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.<br><br>The subtle tracks simply can't win against that. Sadly....<br><br>By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.<br>Why is Romanian Wind not sequenced after Case Re-Opened? Is not the former 7M48 and the latter 7M47?Yeah that is true, canít argue there lol<br><br>And is it me or does ďCalypso Must Be ReleasedĒ sound like Black Hawk Down?To be fair there is a lot of King Arthur in At World's End too. Just the general feeling you get from the action tracks in both scores is virtually identical. Hell, one of the main themes from King Arthur even appears when Bootstrap Bill remembers that Will is his son.
@MrTweedy<br>Thatís totally fine, everyone has their own favorite HZ scores, which is awesome!<br><br>Itís funny though, I feel like DMC is far more schizophrenic than AWE. Now donít get me wrong, I absolutely love DMC. Itís the score that got me into Hans Zimmer. But still, I feel like a major part of that score is note-for-note reprises of cues/themes from COTBP. Not to mention the temp tracking of King Arthur.<br><br>AWE always felt far more original to me, especially considering that the entire tone of the music shifts from the ďrockínírollĒ sound of the first two to a more traditional score (at least by Hans Zimmer standards lol)@MrTweedy<br><br>Just curious, what scores do you considered to be Zimmer's best?The Pinnacle of Hans' career?<br>Although I really like this score, I don't agree. But hey, I know it's just a matter of opinion, okay? ;)<br><br>Of course it shows Hans strengths in almost every area (action, drama, romance, comedy...) but for me it's too much of a medley of previous works, without much personality.<br>It feels a bit like a palette with too many colors. From the action sequences borrowed from Drop Zone, to the Morricone inspirations for Jack's Sequences, to Gladiator's duduk that ended up there with no real reason, to a beautiful Love Theme that brings another new shape to the sonic identity... it's like the score sometimes goes schizophrenic.<br><br>Though each individual idea is really enjoyable to listen to, I think Hans has made scores that are much more cohesive and enjoyable as a whole!i also think it is an underrated score. especially the action music has a couple of nice touches. i saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene. the emotional music is nothing ground breaking, but a lovely listen.Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores. <br><br><br>I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that. <br><br><br>Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme. <br><br><br>Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion. <br><br><br>Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.
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Additional MusicAdditional MusicAdditional Music
Ramin DjawadiGeoff ZanelliBobby TahouriNoah Sorota
ComposerAdditional MusicAdditional MusicAdditional Music
Clash Of The Titans
Label: WaterTower Music
Length: 75'18
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 (16425 votes)
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  1. The Storm That Brought Me To You (4:50)
    Tina Dico, Neil Davidge, Ramin Djawadi
  2. There Is A God In You (1:38)
    Ramin Djawadi
  3. Perseus (6:33)
    Ramin Djawadi
  4. You Can't Hide From Hades (3:30)
    Ramin Djawadi, Noah Sorota
  5. Medusa (4:07)
    Ramin Djawadi
  6. Scorpiox (3:23)
    Ramin Djawadi, Noah Sorota
  7. Argos (1:53)
    Ramin Djawadi
  8. You Fall, You Die (1:14)
    Ramin Djawadi
  9. Written In The Stars (2:54)
    Ramin Djawadi
  10. Pegasus (2:22)
    Ramin Djawadi
  11. Bring Everything (But The Owl) (1:47)
    Ramin Djawadi
  12. Killed By A God (1:50)
    Ramin Djawadi
  13. Djinn (1:56)
    Ramin Djawadi, Bobby Tahouri
  14. Eyes Down (4:19)
    Ramin Djawadi, Dominic Lewis
  15. You Were Saved For A Reason (1:20)
    Ramin Djawadi
  16. Redemption Through Blood (2:14)
    Ramin Djawadi, Noah Sorota
  17. I Have Everything I Need (3:15)
    Ramin Djawadi
  18. King Acrisius (2:27)
    Ramin Djawadi
  19. It's Expensive Where You're Going (2:50)
    Ramin Djawadi, Dominic Lewis
  20. Be My Weapon (10:09)
    Neil Davidge, Bobby Tahouri
  21. The Best Of Both (1:29)
    Ramin Djawadi
  22. Release The Kraken (6:03)
    Ramin Djawadi, Geoff Zanelli
  23. It's Almost Human Of You (3:15)
    Ramin Djawadi
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mpolonest123 reply Replies: 14 || 2018-03-23 13:28:13
After hearing Lorne Balfeís new Pacific Rim score (and some of the latest RCP action efforts) I couldnít help but returning to both the original Pacific Rim and this.

When Clash first came out I remember hearing it in the theater and thinking, what is this generic, Hans Zimmer ripoff shit? Gradually I fell in love with it though, and comparing it to some of todaysí scores; itís a masterpiece. There are at least 7 themes which receive development, a variety of musical styles (power anthem, ethnic, hard rock, choral, etc.) and a clear narrative. Is it original? Hell no, but much like Transformers it takes what exists and does something fun and interesting with it. Same thing with Pacific Rim, there is more intelligence and effort in that score than you would expect.

Thatís why it is so disappointing to hear scores recently which are so bland and forgettable. In some ways they all are starting to feel one note. Of course thatís not to say everything, but this has been a disappointing start to the year on RCPís end.


Edmund Meinerts2018-03-23 13:57:11
It makes you wonder whether in a few years' time we'll bemoan the bland, forgettable music of 2024 and look back fondly on the good old days of Hurricane Heist and Tomb Raider. Now there's a pretty terrifying thought. (Although I never thought this particular score was all that bad ;) )


mpolonest1232018-03-23 14:07:56
That is a scary thought lol

Honestly though, I think film music will probably start going back to the more thematic roots in the coming years. Even studios are starting to notice it. Most of the marketing for major films feature score elements, something you wouldn't see years ago. The problem at the moment are directors who overlook music when working on a film, and fall in love with their temp tracks. Even the latest Star Wars score suffered from this.


MrZimmerFan2018-03-23 14:23:44
COTT was a very enjoyable effort by Djawadi, also Pacific Rim (two weeks have to make this score, i'm refering COTT).

But dosen't make the next scores bad: in 2017, we have a lot of works by RCP's guys are good indeed or just fun and entertaining.

If your a refering only Tomb Raider (wich a like a lot, and dosen't make me a fanboy) or Hurricane Heist (this is bad, really), i lament don't agree with your statement,


MrZimmerFan2018-03-23 14:30:22
Also you refering Star Wars... John Williams compose WITHOUT temptracks.


mpolonest1232018-03-23 14:33:56
@mrzimmerfan

Everyone has different opinions of course, obviously you like Tomb Raider which is great. Even I'll say that the "Becoming The Tomb Raider" track is somewhat fun.

But I still do not think it is a good score. Functional, yes. Could more have been done with it? YES! Of course this isn't JXL's fault, simply it is what the director/studio asked for. But when the end result is a blend of sound design and percussion with a vague power anthem on top, I can't help but expect more out of my music. Especially knowing what kind of scores he can write.

Go back and listen to both Run All Night and Mad Max from 2015. There are plenty of ambient, sound design cues mixed with harsh percussion and electronics. But that is offset by long stretches of thematic material and some powerful, emotional cues. There is more variety and effort in those two scores than in Tomb Raider.


MrZimmerFan2018-03-23 14:46:51
@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.

But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.

And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.


MrZimmerFan2018-03-23 14:46:54
@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.

But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.

And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.


mpolonest123 2018-03-23 14:52:28
@mrzimmerfan

I completely agree with you. Tomb Raider definitely didnít need a traditional score at all. And I love all the scores youíve mentioned. I even donít have a problem with the approach he took.

But I just donít like the score as is. We just have to agree to disagree, no harm done. :-)


Edmund Meinerts2018-03-23 15:23:39
I feel like I see/have this kind of conversation on film music boards all the time. The approach isn't the problem, it's the execution. For example, when Man of Steel came out:

me: "I'm a bit disappointed by Man of Steel, it has its moments but I don't think it's a very good score overall"
fanboys: "JOHN WILLIAMS WAS YESTERDAY, ZIMMER IS TODAY, THIS IS A DIFFERENT SUPERMAN BLAH BLAH BLAH GET OVER IT"
me: "...did I mention Williams?"

or else Mad Max: Fury Road

me: "Mad Max is a decent score but I feel like the film deserved much more"
fanboys: "THERE'S LITERALLY A DUDE ON A DRUM CAR WITH A FLAMETHROWER GUITAR WHAT DID YOU EXPECT"
me: "...a composer who does more interesting things with those drums and that guitar?"

All over the place. It was really aggravating. This is a similar situation A talented film composer can write interesting, engaging music in all sorts of styles, for all sorts of films and under all sorts of directorial conditions. My issue with Tomb Raider isn't that it's not a traditional Jerry Goldsmith adventure score. I never expected that from this film, and certainly not from this composer. It's just not a very interesting or intelligent or enjoyable version of what it's trying to be, and that's the bottom line.


Ds2018-03-23 16:20:19
Edmund: I see your point, and if everyone could become 100% objective it would be actually true. But in practice, our personal tastes play a heavy role in deciding whether a score is interesting or fun or creative or intelligent or enjoyable. Some people like very classical, orchestral music more than anything else; even if JXL was creating the craziest soundtrack ever, his sound palette and synthetic approach alone would be enough to make these people dislike the score and say it's rubbish. The level of detail he put in Tomb Raider is astonishing, but sadly it'll only be noticed by people who are not upset by this style of brutal and synthetic environment. Of course it also works the other way, dry orchestral scores like Giacchino frequently writes do nothing to me, I don't particularly like this kind of sound, so I never spent a lot of time listening to them. As a consequence, I never was able to dissect them to discover all their (I guess) richness, subtleties, etc. So from my point of view, almost all Giacchino scores sound the same way and are not interesting, and I don't understand how and why he keeps getting all those major assignments. That's to say, our personal preferences will always interfere with our judgment, even if we honestly try to be fair.


Ds2018-03-23 16:26:36
mpolonest123: it's difficult to compare scores that are 10 years old and that you had plenty of time to digest, with brand new scores you've only heard a couple of times.

You said it yourself, when Clash of the Titans came out you thought it was generic and forgettable. It's only later that you noticed all these themes and all the work Djawadi put into it.

And actually it works like that with any new album released by any major artist. Fans are always like "it sucks, I prefer their previous albums". And yet 5 years later they love all these songs and know them by heart. :-p


FaresTdkr2018-03-23 16:39:58
@Edmund @Ds totally agree! This days the only composer that convince me is Steven Price.


mpolonest1232018-03-23 16:51:47
@DS

You are absolutely right, and it was something that I did think about while I was writing the post, I just never clarified it.

But that also has the opposite effect as well. I've had plenty of scores/songs which originally I liked that I gradually grew to dislike or simply lose interest. One of the most recent ones is BvS, which I enjoyed when it came out but looking back is probably one of my least favorite Zimmer scores.


MrZimmerFan2018-03-23 20:13:15
@mpolonest: I'm the opposite side: BvS grown each time i listened.

Not the same for MoS ;D

Waymann reply Replies: 0 || 2017-08-29 13:19:35
What a great score, the closest to the sound of Game of Thrones and probably also the one that got Ramin Djawadi the scoring job for Thrones.

Imagine if the theme in "There is a God in You" was used in Game of Thrones for Daenerys and her dragons. How awesome would that be!

Mr. Charles reply Replies: 2 || 2012-01-26 17:39:39
I'm disappointed Ramin Djawadi isn't returning to score Wrath of the Titans. Instead, Javier Navarrett is scoring the film. Hopefully some of Djawadi's themes remain in there, but I also look forward to some new material


Edmund Meinerts2012-01-26 23:29:35
True, but it's also a good chance for Navarrete to get his big break. He had some pretty good fantasy stuff on Pan's Labyrinth and Inkheart, so it'll be cool to hear what he comes up with on a big-budget blockbuster. Unfortunately, I doubt he'll keep Djawadi's themes in there...not sure why, but it just seems unlikely.

Also, it gives Djawadi more time to work on A Clash of Kings (or Game of Thrones Season 2, what have you). I thought the first one could have been Djawadi's best score if there had been less underscore and the synth orchestra didn't sound quite so crappy (hopefully HBO gives him a bigger budget this time around).


Mr. Charles2012-01-26 23:56:46
I have the same feeling about Navarrette not keeping Djawadi's theme in there. I never heard Game of Thrones, I've never even seen it as I don't have HBO or Showtime or whatever channel it's on.

Felix reply Replies: 5 || 2011-11-06 23:14:02
i've listen from an expanded score with 2cd's


Areozz2011-11-06 23:27:17
Good for you.


Per2011-11-07 00:03:39
Let me guess, the OST + Zanelli cues from his website ...and perhaps the Armstrong thingy ripped from the end credits, eh ?


Areozz2011-11-07 01:12:37
I don't know a thing about this OST or what extra material is available for it, but it sure as hell was not difficult for someone to take what little expanded material we had from Inception and turn it into a "2CD expanded score". It was 88 minutes long, and the typical CD holds like 80 minutes, so yeah, I can see why you'd have to call it 2CD but it was hardly expanded--just the iTunes bonus tracks, the end credits ripped from the DVD, and that JunkieXL remix track. Ooh, big fancy bootleg score--something special! NOT!!

So, yeah, you're probably about right on that one, Per.


Anonymous2011-11-07 01:50:47
Areozz, noone called it big and fancy. If a bootleg has extra music, its expanded, if its a little amount of music or not. Why get so fucking pissed off about it? Jesus Christ.


Areozz2011-11-07 02:22:46
What I was saying is that the 2CD expanded bootleg of Inception was not incredibly expanded. I consider something expanded when it contains material that was not available prior to its release or leaking. At the time that bootleg came out, everything that was on it was already available elsewhere. All someone did was rearrange the OST and add in the other tracks I mentioned before.

And why do people have to get so mad? Slinging around bad words like you do is a sign of weakness. I can have a perfectly civilized and effective argument with someone without uttering a single bad word. People think those words mean something. They used to, but they don't anymore because of people like you. Go watch a few videos by the Angry Video Game Nerd and then tell me what you think. Meaningless, eh?--And a sign of weakness!

Good day to you all!

////// reply Replies: 0 || 2011-10-27 01:54:41
Where can we find all of these cues?

Arrival of the Sword and Pegasus
Calibos Forest Fight
Djinn Arrival
Djinn Together
Hades Arrival
Hades Venom
Harpies Attack Into Hades
I Do it as a Man
Io Dies
Io in Woods
Io Stabbed & Calibos
Kracken Destruction
Leaving Argos
Opening Stars
Medusa
Mudusa Suite (End Titles 3)
Medusa's Lair
Mount Olympus
Perseus
Perseus Makes His Decision
Perseus Suite (End Titles 2)
Redemption Through Blood
Release The Kraken
Release The Kraken pt 2
Scorpiox
Scorpiox Fight
Scorpiox Journey
Stygian Mountain
To Argos

And yes Hybrid, I'm sure these are old and that there's plenty more before you tell me and rub it in my face. I love this score, I want more of it

Dakota reply Replies: 12 || 2011-05-28 07:58:14
Is this topic really opened back up again? Is it because the site got a make-over? Well, whatever the reason is - I'm glad. I LOVE this score, it's awesome. I can't believe how many people trash-talked it, it's insulting. Happy it's opened up again, this way I can ask the moderators who did each track =)


Ele2011-05-28 09:54:31
Release the Kraken is Zanelli :)


Dakota2011-05-28 10:10:17
Why, thank you sir. Anything else you know?


Bondo2011-05-28 10:24:27
You Can Hide From Perseus - Noah Sorota
Bring Everything But the Owl - Dom Lewis
Scorpiox - Noah Sorota
Djinn - Bobby Tahouri
Redemption Through Blood - Noah Sorota
It's Expensive Where You're Going - Dom Lewis
Eyes Down - Dom Lewis
The Stygian Witches - Geoff Zanelli



Dakota2011-05-28 10:33:31
Thanks Bondo. The Stygian witches isn't on here, did you find that from the ASCAP or something?


Hybrid Soldier2011-05-28 10:48:34
It was on Geoff Zanelli's website back then... Now the site is down... :S


SB2011-05-28 12:19:22
I'm almost certain that the choral theme for Io that appears in "The Best of Both" and towards the end of "It's Almost Human of You" is Craig Armstrong's contribution.


Adrian2011-05-28 12:51:26
One should listen the end credits completely too, at the end is ''Io's Theme'', composed by Armstrong. It's nice to see that the directer indeed appreciated Craaig's contributions.

Thanks for the tip SB, gonna check the tracks out!


Hybrid Soldier2011-05-28 12:52:18
No it's not. There's nothing Armstrong in this release...

But the last part of the End Credits is an Armonstrong theme (and not bad !) !

:)


Jeason2011-05-28 15:38:29
Well, regardless of what people say. There is a god in you is awesome! Also, when you guys refer to the last part of the end credits, supposedly Armstrong's, is it that vocal motif that is also featured in the track Perseus? I really love that theme, I think it is the best of the album, shame it's so short :(


Hybrid Soldier2011-05-28 16:32:24
Once again, there's not any single second of Armstrong's work in this CD...


SB2011-05-28 22:27:59
well I wouldn't expect there to be any of Armstrong's work on the disk (and the official score credits only list his only surviving contribution as being in the end credits), but the film itself *does* credit him for composing "Io's Theme," and the music that plays whenever it shows Io is that choral piece... Plus it just sounds very similar to some of Craig Armstrong's music. I think he was fired before he was able to actually record any of what he wrote, so maybe it's possible that it's just a Djawadi arrangement of his theme?


Adrian2011-05-29 10:11:20
SB, that's not very likely if you compare styles.
Io features not much synths, but a lot of violins and horns/flutes (whatever they are called). If you know some Armstrong scores, you'll hear it's his entirely and no Djawadi arrangement or something.

Takehiro reply Replies: 2 || 2011-05-28 18:28:57
Why did Armstrong leave the project?


Hybrid Soldier2011-05-28 18:32:43
He was simply fired by the producers...

Life is tough !


Dakota2011-05-29 07:07:56
Nothing against Craig Armstrong, but I'm glad Ramin was hired to do it. I love this score! I always think what only would have become of Pirates if Alan Silvestri had stayed on as composer.

Cloud reply Replies: 0 || 2010-04-29 00:00:00
Nicolas, I'm surprised anybody comes to this site with that attitude.

Stop acting like a snob, this score sucks and that's that.

Plus, why attack Lasse too? You're a dick for doing that dude.

Paul reply Replies: 0 || 2010-04-29 00:00:00
Whoa, calm down people! Just let bygones be bygones, some love this score, most hate it.

That's life.

Lasse reply Replies: 0 || 2010-04-29 00:00:00
@Nicolas

no hard fealings , i like the socre of clash of the titans.
But there is no reason to write comments like that to Ryan. We are all here to talk and discuss soundtrack in a good way. i dont like when people attack each other for having a diffrent opinion.
film score is something beautiful and fantastic so its sad that people are gonna fight against each other over a score.

sorry for my bad english but i hope you understand what i mean. and as i said no hard fealings.

Adrian reply Replies: 0 || 2010-04-29 00:00:00
No one seems to understand that director Louis Leterier wanted this music, because Craig Armstrong was fired. So don't fire off Ramin, then do Louis. But it's his film, they are in the business for a reason, everyone here is not, and I think that's for a perfectly good reason too.

Now we got a Clash here too, and Zeus has just entered the ring... :-)

Bou reply Replies: 0 || 2010-04-29 00:00:00
the problem is simply because this site comment section is like Fu... Youtube , this is not a forum with edit functions or moderators so anybody can post craps comments like "this score sucks" without explanation or "OMG luv u hans zimmer" , "you're the best" , "Ramind Dajwadi is a hack" , "worst score ever" or sh... like that.

Jeff Valino reply Replies: 0 || 2010-04-29 00:00:00
I don't see what the problem is.

90% of the people find this a bad soundtrack and lot's of people motivated in a constructive way. There is no need to punish then for pointing out their opinion.

Also a lot of people seem to say 'it is not original but hey it is fun to listen to'. For me personally I think that some of the Remote Control composers are the Britney Spears of soundtracks.

It's been done thousands time before, it sounds fun to listen to and after a month no one except the fans remember anything about it...

Luckily Remote Control has other and better composers.

Nicolas, Webmaster reply Replies: 0 || 2010-04-29 00:00:00
What's more, Clash Of Titans is one of the Album the most requested on our Webradio... Looking error !

Lasse reply Replies: 0 || 2010-04-29 00:00:00
in fact like i said before : I cant understand how people could not like this score. i thin its pretty enjoyable :)

Enrico reply Replies: 0 || 2010-04-29 00:00:00
For people that sau that this score is good, listen to score of Zimmer, or Williams, or others and listen THE music, not this bad noise...

Lasse reply Replies: 0 || 2010-04-29 00:00:00
im a huge fan of hans zimmer, marc streitenfeld , james horner and vangelis.
but i still think this is a great and enjoyable soundtrack.

Antas, Webmaster reply Replies: 0 || 2010-04-29 00:00:00
Bou said :
'the problem is simply because this site comment section is like Fu... Youtube , this is not a forum with edit functions or moderators so anybody can post craps comments like 'this score sucks' without explanation or 'OMG luv u hans zimmer' , 'you're the best' , 'Ramind Dajwadi is a hack' , 'worst score ever' or sh... like that.'

The latest stupid post by Enrico is a good example...

That's precisely the main reason I close this topic.

ps: there are moderators [Nicolas & myself] and be sure we have lot's of work !

Nicolas, Webmaster reply Replies: 0 || 2010-04-29 00:00:00
We just thought that people could be reasonable enough to write constructives things... We're not on youtube where everybody from all worlds come and post. We're on a very specific website with people liking Film music, a pre-selection has been made ; they don't come and post here accidentally...
But not, witness this last stupid comment "Remote Control has other and better composers" ; you don't know how to express kindly your opinion, a sad finding...

This comment section will be closed tonight, only for Clash Of The Titans, some IP will be banned, and i will have a look more often on those sections as you people can't control yourself... Maybe the return to censorship with some posts erased... Too bad...

Just 1 question ;
If you had Ramin Djawadi (and consider writing in this section is almost the same) in front of you, would you use terms like "crap", "shit" or "luckily, there are better composers than you in RCProds" ?
I don't think so, then i put that behaviour on stupidity & cowardice to be hide behind your anonymity. It's poor, it's human, what could ask more from you ?
And i really do hope you're so demanding in your own job than you're demanding to others in so nice words...

And I really thank to 80% others that post constructives comments to make this section live in harmony. It's hard to be just a responsible person today...

Nicolas, Webmaster reply Replies: 0 || 2010-04-28 00:00:00
All critics are welcome on this website, but you could choose words or arguments more nices and constructives. What's more, names of the mixer are written in the credits above, then start and buy glasses for yourself...

Ryan reply Replies: 0 || 2010-04-28 00:00:00
I might have been able to enjoy this score, if the mix hadn't been so utterly crap.

Who the hell mixed this thing? It sounds jumbled and overly compressed most of the time!

Buy the mixing guy a hearing aid somebody.

Ryan reply Replies: 0 || 2010-04-28 00:00:00
I missed it! A mistake of myself.

Okay then...

Alan Meyerson needs a hearing aid!

Ryan reply Replies: 0 || 2010-04-28 00:00:00
What's more, you tell me to be nice and constructive, then you go and act like a smart ass by implying I need glasses?

That's what I call a hypocrite Nicolas. Don't worry I won't waste my time posting here again.

Goodbye.

Lasse reply Replies: 0 || 2010-04-28 00:00:00
@ Ryan

please dont care about what Nicolas said, it was a shitty comment he made.

Oliver reply Replies: 0 || 2010-04-28 00:00:00
@Ryan

I can see your frustration, it's been reported on some Soundtrack websites. I don't know whether you will read this, but here you go anyway. If not the others here can read this too.

From Filmtracks:

All of the composers' most unique instrumental elements are drowned out by the orchestra's mix. The "Medusa" cue is the most blatant example of an instance where someone absolutely butchers the mix of a score to render its solo performances moot. How can an organization like Remote Control have so many recording and engineering gurus and manage to provide a score so incompetently mixed and/or mastered for album?

http://www.filmtracks.com/titles/clash_titans.html

Nicolas, Webmaster reply Replies: 0 || 2010-04-28 00:00:00
I begin beeing upset by comment on this soundtrack ! You have perfectly the right no to like it, but i can't understand guys who think that their stupid comments can bring something constructive to their opinion. Just be adult, try to think there's a job behind this music, a composer, a team who worked a lot of days/month, and try to have a respectful opinion considering that. I just don't want my website to become a playground for people who don't know how to be noticed by others.
So if you wan't to leave, please do, we will be on holiday... And others (like Lasse) who can't understand that elementary opinion, just go away too. I'm fed up with all the stupid things i read on this "Clash Of The Titans" page...
Respect, do i ask too much ???

Lukas reply Replies: 0 || 2010-04-27 00:00:00
A very good Score!!!!

ahmed reply Replies: 0 || 2010-04-27 00:00:00
hanz zimmer u rock

snah remmiz reply Replies: 0 || 2010-04-27 00:00:00
I think this score is not such good though it had a big orchestra sound.

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