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well the composer confirmed he is working on it to be released very soon<br>"It's funny tho......people always complain how Hollywood plays it safe and how movies don't take chances..........but when a movie with tonal shifts that challenge the viewer and offer something bold shows up, people bitch and complain."<br><br>I didn't think it was possible for a Bay fan of all people to be this insufferably pretentious.<br><br>I thought that was more Snyder fanboy territory.<br><br>But here we are, calling dog-humping, Decepticon testicles, and mommy-on-pot-brownies "challenging the viewer."<br><br>Kudos, man.  Kudos.<br><br>You can hide behind however many fallacies you want.  If "Not to me" and "You do you" didn't give it away early on in this thread, I DIDN'T try to treat my opinions as fact.<br><br>But that doesn't mean I'm going to add a little "IMO" at the end of every goddamn sentence just to coddle you. <br><br>On the flip-side, consistently making appeals to authority and popularity, "B-b-but Spielberg said!", "B-b-but the Forbes poll said!" don't make you objective.<br><br>Y'know, it's funny.  When I listed off better blockbuster examples, you could've very easily just argued against them on the level of the films themselves, and everything would've been fine.<br><br>Sure, you would've just claimed you can't see the action at night sooner, which is rich when you praise the film series that puts the subjects of its action scenes OUT OF FOCUS every other shot, but hey, that's just honest opinions versus honest opinions.<br><br>But using two belated half-assed sequels from different, less talented directors that lost most of the appeal of the first movies, as some sorta litmus test for how well-liked the first movies were, is the biggest bunch of bullshit I've ever heard.  That's not objectivity, that's not even confusing correlation with causation, that's saying 1+2=4.<br><br>That's the real joke here.  Instead of accepting that your love of Bay is nothing more than a opinion, just as my claim that he misses the point of what makes action movies fun is, you turn into an overly-defensive nut, desperately quoting every opinion piece under the sun to pretend your opinion is some statistically-backed fact.  I've seen you do this every time someone talks shit about Bay around here.  It's psychotic.<br><br>Bad movies make money.  Everyone knows that, and everyone knows that's not proof of quality.  But if that's the kinda road you wanna go down, I guess movies like Avatar, The Force Awakens, or all the Avengers movies, are "objectively" better movies in every conceivable way than anything Bay has made in his entire career.  I mean, CLEARLY those films must have a bolder style and push more boundaries.<br><br>Why else would more people watch and rewatch them, right?<br><br>Reasonable causation is for those goshdarn geek journos.<br><br>And by the way, The Last Knight lost money.  Period.  Almost 100M according to Paramount themselves.<br><br>That's not just a domestic bomb, that's a bomb altogether.<br><br>Have a nice day.Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br>==================<br><br>Kinda ironic, coming from you....but I'll take it as a compliment. Thank you! <br><br>And yes, he sides with me because what I say is common sense. For whatever reason, you have these strong negative feelings toward Bay films and those feelings blind you to some pretty obvious truths. <br><br>Have to say tho - for a 'hater' you sure know A LOT about him, his style and his movies. <br><br>Just admit it - you are a huge Bay fan but you just want to score some points with the snobbish internet crowd. <br><br><br><br>============<br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br>============<br><br>Oh, you're one of THOSE people......"Fury Roaaaaaaaaad is DA BEST FILM EVAAAAAAAA".<br><br>Let me guess: you also think that Nolan is the greatest director/person of all time. On par with Jesus himself. <br><br><br><br>==========<br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br>==========<br><br>Which is what Transformers 1 is. <br><br>Which is why the movie connected with audiences. It was - at its heart - a story about a boy and his car. Even the most jaded critics enjoyed that aspect.<br><br><br>=============<br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br>=============<br><br>Excuse? For what?<br><br>My friend, you do realize that Bay in particular is one of the most powerful and successful filmmakers of all time, right? He is the second highest-grossing director of all time (domestically), only behind Spielberg. You can dismiss box office success all you want but you don't get to where Bay is if you're not good at your job. <br><br>Snyder is nowhere near Bay, in terms of success and influence. Personally, I don't care much about him. <br><br><br>P.S. Guy Ritchie (and Edgar Wright) are huge Bay fans. Ask yourself why. <br><br><br>===============<br>They just aren't very good filmmakers on the whole<br>===============<br><br>Your opinion.<br><br>I disagree.Bay walks the lines between being self-serious and comical, but his films aren't well=written enough to serve the former, or witty enough to serve the latter, and the end-result is droll and annoying.<br>====================<br><br>You sure you're not a "writer" for one of those ridiculous geek sites like Collider, Screen Rant or Slash Film? Because you sound a lot like one of those "beloved" writers. <br><br>Anyway......Yes, Bay's movies always walk that line but whether that works or not is........Yes! a matter of opinion. For me, Pain and Gain is one of the best modern satires while for you it is - I'm guessing - "droll and annoying".<br><br>It's funny tho......people always complain how Hollywood plays it safe and how movies don't take chances..........but when a movie with tonal shifts that challenge the viewer and offer something bold shows up, people bitch and complain. <br><br>Some of you folks are indeed very hard to please. <br><br><br>===============<br>The first POTC earns it. The Bad Boys 2 doesn't. Infinity War earns it. TF 1/2/3/4/5 doesn't.<br>==============<br><br>Okay, now that statement is the best joke of the year! Thank you for the good laugh! Really! Oh, and I've definitely argued with you before, my friend. You are clearly one of those ten Bay haters from the IMDb forums who claim to hate everything the man does, yet they have seen EVERYTHING he had done. Why is that, I wonder?<br><br><br>===========<br>Fitting, as Synder and Bay are cut from a very similar cloth. Difference is, unless we're talking Man of Steel, I'd sooner rely on Snyder for consistently good action sequences<br>===========<br><br>Well, I would trust Spielberg on this. Because it was Spielberg who said, and I quote: "Michael (Bay) is one of the greatest action directors. He has the best eye in Hollywood." Spielberg works with a lot of directors. But he never said anything like that about any other director. So clearly he means what he says about Bay. And....you know......unlike most people, Speilberg actually knows a thing or two about filmmaking. <br><br><br>================<br>300 didn't try to start a franchise. It was a one-off adaptation of a graphic novel in the same vein as Sin City, and was successful. They tried to make a cash-grab sequel almost a decade later, without Snyder, and it failed. That's hardly the first film's fault.<br>================<br><br>It is a clear proof that people weren't that excited to visit this world again. And mind you, that happened with the first sequel! Talk about a one-time thing, huh?<br><br>At the same time, Bay made FOUR Transformers movies - with different casts - before there were any signs of audience fatigue. <br><br>That speaks for itself.<br><br>===========<br>Pacific Rim suffered from lackluster marketing, and yet still managed to turn a profit and attract a strong following.<br>==========<br><br>Excuses, excuses, excuses.....So you can display all the excuses in the world for Pac Rim but when it comes to Transformers, you don't accept anything. <br><br>Double standard much?<br><br>P.S. That "strong following" is on the internet. The same following that was supposed to make Scott Pillgrim a huge hit. Everyone knows that internet hype is not real-world hype. I know very well the type of people who act as if Pac Rim is the best thing since sliced bread. Total geeks who are angry that Transformers is much more popular and much more successful than Del Toro's "let's shoot all the robot fights in pitch black so audiences can't see shit" movie.  <br><br>Also, let's not pretend that Pac Rim is a universally beloved film. You know very well that there are A LOT of detractors as well. That's what you get when people can't tell what's going on during the movie because you shot it all at night. Just like that Godzilla movie. <br><br><br>============<br>Versus something like Transformers, which has piggybacked on an established IP, relentless marketing campaigns and tie-ins, and a fairly consistent release schedule. And even then, recycling the same bullshit eventually took its toll.<br>============<br><br><br>Wrong.<br><br>Do you read Forbes? You should. Because it's a place where objective people write. It ain't a stupid militant film geek site like Ain't it Cool News or Screen Rant.<br><br>Forbes published multiple articles explaining in great detail why the Transformers movies were successful EXACTLY because they were directed by Bay. Whether you like it or not, my friend, Bay is a brand. He is an auteur. There were multiple polls before the first two Transformers movies and Bay being the director was one of the main reasons for people to watch the movies. <br><br>But I guess you missed all of that, huh?<br><br>How convenient.<br><br><br>==============<br>Friendly reminder that AoE also relied on China (more pathetically then even Pacific Rim did) to compensate for diminishing domestic returns. To say nothing of TLK outright bombing.<br>==============<br><br>First: according to ACTUAL real data, the only TF movie that was saved by China is.......Bumblebee! Yeah, you better believe it. Go to Deadline and Forbes and read it for yourself.<br><br>Second: TLK bombed domestically, yes. <br>But not internationally. No one with actual knowledge of the situation refers to that movie as an international "bomb". Besides, there were 4 super successful TF movies before TLK. So Bay got nothing to prove. He already created one of the biggfest film franchises in history. <br><br>How many directors can say that?<br><br><br><br>==================<br>I know you like debunking Bay naysayers with "facts and logic," but it helps to not be grossly disingenuous while doing it<br>==================<br><br><br>Goes both ways, my friend. But unlike most naysayers, I don't treat my own personal opinions as facts. And if I'm being "disingenuous" then I don't even know what to say about some Bay haters who refuse to accept even the most obvious facts and truths.nope
You realize there is a very easy and free method to get the music from that site, dont you?Random thought but this got me thinking about Zanelli's history with fantasy.<br><br>Whatever happened to his score for Delgo?  I know it's been accused of being super derivative of his other works anyways but still, it's weird to see a RCP score just drop off the face of the Earth like that.There's just something really charming about seeing a prototype for a famous future theme showing up in an old score.<br><br>Or in PotC's case, SCORES.The only ones I've seen properly confirmed are the cues Badelt had listed on his website. The issue with everything else is that there's certain themes that's been associated with certain people, but aren't credited for every appearance. Not to mention that I've never really seen much official credits elsewhere, so I take any that I've seen with a grain of salt.This comment was made before that was properly confirmed, so he was likely going to do it solo at the time.
I thought Hans was collaborating with Faltermayer For Top Gun 2From both ASCAP and GEMACan these be accessed anywhere?The dream is collapsing... :oHoly f*ck, just listened to "Too Many Notes..." and its containing pirates theme itself from Pirates of the caribbean
'No Good About Goodbye' was never the intended song for QOS. It was composed after the film was completed using thematic material from the film for Shirley Bassey to perform on her, David Arnold produced album, 'The Performance'Those files are just sitting there.<br><br>Undownloadable.<br><br>Taunting me.@Ds<br>Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br><br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br><br>I already discussed 300 and Pacific Rim.  Clearly deep scripts aren't what I'm aiming for here when I talk about good blockbusters.<br><br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br><br>300's a great example of this, though unfortunately a lot of Snyder's other work isn't, and Bay is close behind.  Their films get bogged with way too much obnoxious bullshit to make the odd sequence worth it.<br><br>The Scorponok sequence from TF1, the warehouse fight from BvS, that's real standout stuff.  Stuff that loses a lot of its luster when surrounded by two-and-a-half, or god forbid THREE, hours of self-serious pretense, lazy humor, and/or annoying characters.<br><br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br><br>They just aren't very good filmmakers on the whole, and need to learn to consolidate their efforts into something that brings out their best and subdues their worst.  Snyder in particular has SERIOUSLY misjudged where his talent is lately.Well, Steve, about the score, says he still working on it.<br><br>I can't wait.A snippet of the verse (at 0:49) also shows up occasionally in the score, in Somebody Wants to Kill You, the end of Greene and Camille, and Field Trip.
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Hans ZimmerJim DooleyLorne BalfeHenry Jackman
ComposerAdditional MusicAdditional MusicAdditional Music
The Simpsons Movie (Complete Score)
Label: Unofficial Release
Length: 76'10
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 (5909 votes)
  1. 1m02v3 (0:32)
  2. 1m03-04v4 (0:24)
  3. 1m05v2 (0:20)
  4. 1m06v11 (0:30)
  5. 1m07s - Green Day Theme (1:24)
  6. 1m03s v2 (0:15)
  7. 1m09s - American Idiot Funeral Version (0:46)
  8. 1m10sv04 c13 (0:20)
  9. 1m11-12v17 (1:11)
  10. 1m13v8.10 (0:38)
  11. 2m14-15v2 (0:54)
  12. 2m16v5.1 ALT (0:31)
  13. 2m18v5.1 (0:50)
  14. 2m19v8FIX (1:11)
  15. 2m20-23v5 (0:47)
  16. 2m21s - Turtles Happy Together (2:57)
  17. 3m24v4.6 (1:21)
  18. 3m26v3 (0:32)
  19. 3m28v3 (0:15)
  20. 3m29v5 (0:24)
  21. 3m30s Town Hall Guitar (0:17)
  22. 3m32 w Whistling (0:19)
  23. 3m33v1 (0:09)
  24. 4m34v1 (0:27)
  25. 4m35v10.0 (1:28)
  26. 4m36v13 (0:27)
  27. 4m37v20 (1:26)
  28. 4m38v3 (0:18)
  29. 4m39v16 (0:48)
  30. 5m40x v3.1 (0:07)
  31. 5m42v3 (0:31)
  32. 5m44v1 (0:08)
  33. 5m46v5 (4:30)
  34. 5m49-50v15 (0:59)
  35. 6m51v2 (0:24)
  36. 6m52v5 (1:29)
  37. 6m53v2 (0:22)
  38. 6m54s Carousel Ride (1:16)
  39. 6m55-56v5 (0:54)
  40. 6m57-58v10 (1:08)
  41. 6m59-60v6 (1:06)
  42. 7m61v6.2 (1:03)
  43. 7m62-63v13 (1:40)
  44. 7m64s Grand Canyon AD (1:44)
  45. 7m66v3.1 (0:51)
  46. 7m67as v4 (0:24)
  47. 7m67bs v1 (0:06)
  48. 7m68v1.2 (0:42)
  49. 7m69s - Carpenter Close To You (3:42)
  50. 7m70v1.2 (0:31)
  51. 8m72-73v6 (2:22)
  52. Spiderpig v1.7 (1:06)
  53. 8m74v3.1 (0:36)
  54. 8m75-76v3 (0:35)
  55. 8m78v1.6 (0:25)
  56. 8m79s Sax (0:16)
  57. 8m80v5 (0:56)
  58. 8m81v3.1 (0:07)
  59. 8m82v1.2 (0:15)
  60. 8m83v2 (0:34)
  61. 9m84-86v1.10 (0:36)
  62. 9m85s Harmonica v3 Dry (0:07)
  63. Untitled Track 18 (0:51)
  64. 9m87-89v6 (1:39)
  65. 9m90v91v.1.8 (0:48)
  66. 9m92v1.14 (2:28)
  67. 10m93v7 (0:41)
  68. 10m93v8 (0:43)
  69. 10m94v3 (1:51)
  70. Homer v3 (5:08)
  71. Giddyup v1.1 (3:08)
  72. Theme v2.0 (4:57)
  73. Springfield Anthem (Cast) (0:40)
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mpolonest123 reply Replies: 2 || 2018-08-11 20:20:24
This might be one of the FEW rare instances where the album is actually better than the complete score. While I get that the film needed shorter cues to coincide with the comedic timing/pacing it’s still frustrating to see suite ideas completely shortchanged. “Giddyup” in particular...
In film the score does work very well though.


Edmund Meinerts2018-08-12 14:13:49
Yeah it's weird how little overlap there is between the complete score and the album. I think over half of the music on the album didn't end up in the movie, at least not verbatim. I agree it makes for a much better listen, although in my version I've added a few of the better/more substantial cues from the complete score (like the cool Angels & Demons-style "Church Prophecy"/1m11-12v17, which I'm almost positive is an Atli Örvarsson contribution).


mpolonest1232018-08-12 20:08:05
I think a big part of it is that half of the cues written for the film are 30 seconds or less (or even 10 seconds in some cases). It’s almost impossible to have thematic development when you are constrained like that, so I do understand. Still, it’s hilarious hearing Zimmer give the Simpsons theme “Lion King” treatment in the main theme suite, shame that wasn’t used at all in film.

As far as the shorter cues go though, the Church Prophecy is pretty cool, and I personally love the Green Day organ cues. That was genius on whoever’s part decided to do it...

vced reply Replies: 9 || 2015-04-19 20:49:37
Great score. But its a pity the credited composer wrote almost none of it.

I know it's a tired debate, but I don't know how people here are so comfortable with the fact he takes full compositional credit for scores like this, Madagascars etc.

Scores like this you can't even earnestly say he wrote the themes like with Pirates. At least there the core of the material is coming from him. Here, the giddy up theme is Lorne, the villain theme and Homer suite are Jackman, the Lisa theme is Alti, etc. etc. Even the main theme arrangement isn't his.

I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him, that's not the problem. Those aren't his strengths, it's not a big deal. Hans is good at what he's good at, simple melodies and interesting sound-scapes. He's also good at organising his talent. The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me.


Hybrid Soldier2015-04-19 20:53:59
Well if you take the cue sheet every composer is credited for every cue on this score...

The name on the film credit is a contract.


I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...


Zimson2015-04-19 22:59:11
Exactly, ghostwriting is very common in the industry. At least his collaborators get credited here.

"Hans is good at what he's good at, simple melodies and interesting sound-scapes."

You're making it seem as if he was some sort of second rate composer, probably unintentionally, but let's not forget that he wrote Gladiator, Lion King and Prince of Egypt almost all on his own and those are considered film score classics. The first one even made it's way into many contemporary classical selections.

It's true that he took a step back in the 2000s focusing more on his role as a producer and this one is probably the prime example. However, his theme suites, especially for potc, are already a very good representation of the score's memorable parts and I'm sure the result wouldn't be very different if he did everything by himself.

And what exactly do mean by "his limitations"? You seem pretty new to Zimmer's music. He can do Powell as well if necessary as shown in Kung Fu Panda 2.


Hybrid Soldier2015-04-19 23:13:32
Don't think Hans can't do anything and needs people to do so... I think it was valid 25 years ago when Shirley Walker was orchestrating & arranging his scores...

But now, not really, he can do anything... He doesn't use add. composer because he HAS to, but because he wants to. Most of the times he starts the cues, gives direction and leads his guys where he wants them to go, and always has the final say...

I'll take an example, Rush... If you check the cuesheet, it's quite a mess, you basically have 0 cue with Hans alone... And yet he wrote most the themes to picture this time, with Ron Howard & Peter Morgan in the room. No theme suites... Then the guys just arranged slightly & added stuff... But a lot of the cues are him in the first place...


Edmund Meinerts2015-04-19 23:14:36
Except that was Powell himself doing Powell in KFP 2 (well, Powell and Palfe). ;)


NM2015-04-20 00:11:30
Palfe? haha... btw Edmund, do you still think "More Cannons" is Powell. I'm pretty sure I hear bits of it in Lorne's (excellent, btw) "Home" score!


Edmund Meinerts2015-04-20 00:35:44
"More Cannons" is Bowell/Palfe. What the weighting is, I don't know, though I'd be inclined to think something like 70-30. Bits of Home sounding like it isn't all that convincing an argument, since a composer doesn't need only to rip off his own repertoire ;) I'm more convinced by the Megamind similarity towards the end of that track.


isildur2015-04-20 22:59:38
"I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him"

LOL. How funny is this statement. Just can't stop laughing. Ignorance is bliss.


Leo2015-04-21 02:29:38
>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...

Now you got me curious...


JamesT2015-04-21 04:43:13
@vced:
"The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me."

Interesting you impress upon this point with this score. Conversely, like Hybrid cites, a contract is a contract. Let us not pretend that Hans kicks and shoves his collaborators -- writers, arrangers, etc -- into a closet never to be mentioned or heard from again. Essentially everything he does is a collaboration, and credited so appropriately, minus an example or so by my observations.

I don't criticize Harry or Powell every time the liner notes from a score don't specifically praise Hans.

Who knows @ the dynamics, influence, inspiration, success of a given cue? Those that work on it. From the idea, to the last note.




rEne. reply Replies: 0 || 2012-09-13 23:12:42
The Simpsons Movie - Complete Score Tracklist ;-
CD 1

01. Moon Landing (0:32)
02. Itchy the Hero (0:24)
03. An Accidental Launch (0:20)
04. Simpsons Theme (0:30)
05. Simpsons Green Day Theme (1:24)
06. Source Cue (0:15)
07. American Idiot Funeral Version (0:46)
08. Church Organ Source (0:20)
09. Church Prophecy (1:11)
10. Homers Chores (0:38)
11. Lisa Goes Door to Door (0:54)
12. Lisa and Colin (0:31)
13. Bart Skates (0:50)
14. Bart Humiliated (1:11)
15. A Twisted Tail (0:47)
16. Turtles Happy Together (2:57)
17. Thats What Snug Is (1:21)
18. Marge Cleans (0:32)
19. Fishing with Flanders (0:15)
20. The Lake (0:24)
21. Town Hall Guitar (0:17)
22. Town Cleanup (0:19)
23. Simpson Home (0:09)
24. Pig Crap (0:27)
25. Homer Takes A Dump (1:28)
26. EPA Arrive (0:27)
27. Operation Dome Drop (1:26)
28. Town Gathers (0:18)
29. Trapped Like Carrots (0:48)
30. Trappuccino Source (0:07)
31. Maggie Outside (0:31)
32. Sandbox (0:08)
33. Lynch Mob (4:30)
34. Outside the Dome (0:59)

CD 2

01. EPA Helicopter (0:24)
02. Homers Solution (1:29)
03. Believe In America (0:22)
04. Carousel Ride (1:16)
05. Homer Speeds Up (0:54)
06. Gas Station (1:08)
07. Alaska (1:06)
08. Homer and Marge (1:03)
09. Town Panics (1:40)
10. Grand Canyon AD (1:44)
11. One Choice (0:51)
12. Grand Theft Walrus Source (0:24)
13. Game Over Source (0:06)
14. Marge and the Kids Leave (0:42)
15. Carpenter Close to You (3:42)
16. Homer Out Cold (0:31)
17. Homers Epiphany (2:22)
18. Spiderpig (1:06)
19. Giddyup (0:36)
20. Must Keep Going-Boob Lady (0:35)
21. Homer Sees Dome (0:25)
22. Lisa Saxophone Source (0:16)
23. Wrecking Ball (0:56)
24. Town in Ruins (0:07)
25. Emperor Moe (0:15)
26. Operation Soaring Eagle (0:34)
27. Homer Climbs the Dome (0:36)
28. Harmonica Source (0:07)
29. Supply Shed-Tricked By An Idiot (0:51)
30. Bart Goes to Church (1:39)
31. Epiphany Tree (0:48)
32. Nice Knowing You Homer (2:28)
33. Cargill Ver. 1 (0:41)
34. Cargill Ver. 2 (0:43)
35. A Happy Ending (1:51)
36. Homer Suite (5:08)
37. Giddyup Suite (3:08)
38. Theme Suite (4:57)
39. Springfield Anthem (Cast) (0:40)

Dakota reply Replies: 0 || 2011-02-20 00:00:00
Ya ok, 1m11-12 Chruch Prophecy definitely belongs with Angels & Demons. I've heard it in the trailer. And you can hear the themes in there.

Dakota reply Replies: 0 || 2010-10-25 00:00:00
@Prott,

Very interesting, didn't even notice that one. It sounds like it belongs in Angels & Demons

Prott reply Replies: 0 || 2010-10-24 00:00:00
1m11-12v17
Source cue for Angels & Demons? :-)

Skyler reply Replies: 0 || 2010-08-28 00:00:00
I didn't realize until listening to this complete version just how much music there is on the commercial release that *wasn't* in the film.

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Mikel Siw (a fan from Spain) reply Replies: 0 || 2010-08-28 00:00:00
Im sure this edition is very cool!! I love the music of the official release. Nice!!

Hybrid Soldier reply Replies: 0 || 2010-08-28 00:00:00
What, spending hours to create pages for this site ? Yeah that'd be me !!! :D

Anonymous reply Replies: 0 || 2010-08-28 00:00:00
is this your doing, hybrid soldier?

Hybrid Soldier reply Replies: 0 || 2010-08-27 00:00:00
And here we are (again) !

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The Simpsons Movie (Complete Score) soundtrack - Hans Zimmer 2007