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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>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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Additional Music Arranger - Musician : Drum & Guitar
Hans ZimmerLorne BalfeMichael A. LevineTom Holkenborg (Junkie XL)
ComposerComposerAdditional ArrangementsAdditional Arrangements
Label: Lakeshore Records
Length: 48'10 (Score: 32'56) 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 (12874 votes)
  1. Giant Blue Head (4:29)
  2. Tightenville (Hal's Theme) (2:16)
  3. Bad To The Bone - George Thorogood & The Destroyers (4:49)
  4. Stars And Tights (1:26)
  5. Crab Nuggets (2:17)
  6. A Little Less Conversation (Junkie XL Remix) - Elvis Presley (3:32)
  7. Mel-On-Cholly (2:32)
  8. Ollo (3:07)
  9. Roxanne (Love Theme) (2:36)
  10. Alone Again Naturally - Gilbert O'Sullivan (3:37)
  11. Drama Queen (1:47)
  12. Rejection In The Rain (1:45)
  13. Lovin' You - Minnie Riperton (3:23)
  14. Black Mamba (1:13)
  15. Game Over (3:22)
  16. I'm The Bad Guy (2:37)
  17. Evil Lair (3:29)
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Anonymous reply Replies: 0 || 2010-11-11 00:00:00
ah good man! Yep track 9's very good.

Nicolas, Webmaster reply Replies: 0 || 2010-11-11 00:00:00
Sorry, i made a mistake writing "track 3", i wanted to write "track 9" of course : "bad to the bone" was never programed on the webradio, be quite ;-)

Anonymous reply Replies: 0 || 2010-11-11 00:00:00
why why why bad to the bone? we want hans zimmer's awesomeness not some crappy song! Roxanne, stars and tights, evil lair, black mamba, all great tracks

Anonymous reply Replies: 0 || 2010-11-06 00:00:00
what other songs are featured in this movie?

Miles reply Replies: 0 || 2010-11-06 00:00:00
"Welcome to the Jungle" by Guns 'n Roses is featured, but I don't know much more than that. Somebody's going to have to check out its iMBD Soundtrack Listing if they want to find out without seeing the film.

adam reply Replies: 0 || 2010-11-06 00:00:00
I CAN'T WAIT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Anonymous reply Replies: 0 || 2010-11-06 00:00:00
add to webradio!?

Anonymous reply Replies: 0 || 2010-11-03 00:00:00
great soundtrack, new ideas,hahahahha typical zimmer

Anonymous reply Replies: 0 || 2010-11-03 00:00:00
can't believe the lack of comments on this - it's an excellent score!

kameron reply Replies: 0 || 2010-10-28 00:00:00
the cd is on megamind soundtrack

Anonymous reply Replies: 0 || 2010-10-28 00:00:00
the soundtrack reminds me of the sound of BOLT

Anonymous reply Replies: 0 || 2010-10-28 00:00:00
wow I really like this one - the love theme is really good, and the cello setting of it in rejection in the rain is beautiful. Some great brassy action music throughout, funky comedy cues, and the end of evil lair is awesome. It's Hans back to his old colourful fun big orchestra style score for the first time in ages. It doesn't have memorable themes like madagscar and kung fu panda, but it's a very enjoyable listen.

Miles reply Replies: 0 || 2010-10-27 00:00:00
This just in: iTunes has released the soundtrack early! Anyone who wants to buy it or listen to samples can now do so. It seems that the MySpace track we thought was "Crab Nuggets" is actually "Giant Blue Head." Regardless, the score as a whole, based on the samples, certainly sounds interesting. The string work in particular is quite nice, especially on "Rejection in the Rain." I'm going to wait until I see the movie before making a choice, but my interest is definitely aroused.

Anonymous reply Replies: 0 || 2010-10-26 00:00:00
The best composer in the movie industry is german, his names hans zimmer,

Trent Easton Navarro reply Replies: 0 || 2010-10-26 00:00:00
@ Aldan

"British composer is always better than american composer( i'm not racist.i'm from indonesia)."

I don't think I really agree with that statement. Yes, there are plenty of great British composers (Powell, H-GW, David Arnold, Patrick Doyle, John Barry to name a few), but the two arguably greatest film composers are both American: Williams and Goldsmith.

aldan reply Replies: 0 || 2010-10-26 00:00:00
Is up to pixar then. John Powell for Brave. I bet the result will be far better than HTTYD and not just for Brave, but to other Pixar movies in the future. British composer is always better than american composer( i'm not racist.i'm from indonesia).

Bou reply Replies: 0 || 2010-10-26 00:00:00
no doubt for the quality of the score but the character design is UGLY (look at girl...)

Mark reply Replies: 0 || 2010-10-26 00:00:00
I bet Powell will work for Pixar eventually. He already worked for Disney and provided a great score, so I don't imagine why they wouldn't want him back.

And specially after he wins the Oscar for HTTYD, he's gonna become a very hot composer!

Feliz Lombriz reply Replies: 0 || 2010-10-25 00:00:00
Well, it'd be interesting for sure and maybe make a good album, but really I'm not sure how well Zimmer or HGW or the like would fit with Pixar onscreen. I'm not a big Newton fan, but the Toy Story scores melded into the movies perfectly, even if they didn't make incredible stand alone albums. Any other composer might've drawn too much attention to themselves.

And I DID get goosebumps from Giaccino's Up score, just as I did with HTTYD. I didn't think much of the soundtrack before seeing Up, but seeing the montage music, "Married Life," along with the film--that was wonderfully done. I don't think anyone else could've done it better.

I definitely agree with you about John Powell though! I would LOVE to see his efforts scoring something from Pixar. I feel like a project like that could push him to new heights. In the end though I don't pick the projects, I just get to sit back and watch. But we can dream, I suppose. :)

aldan reply Replies: 0 || 2010-10-25 00:00:00
Shrek, Kung fu panda, HTTYD are exceptions. Well the rest , is purely bad. Chicken Run was an Aardman production. Dreamworks( still original DW) just the distributor.

I don't think Randy Newman was a great composer. His score in Toy story 3 was abstractly bad and also i don't get that ghostbump gigling feeling for Up's music as i felt for HTTYD's. Giacchino can stay at pixar, but the newmans must be retired and then, bring powell, zimmer, and harry williams in. Lasseter had worked with powell in bolt( as executive producer, i know ), why he don't want to work together with him again?.
If media venture guys work for pixar's movies, i will guarantee you that they're oscarcontender.( i never trust oscar's pick for best composer. Horton Hears a Who and KFP score were really oscar worthy at that time). The point is, Bring media venture guys to pixar( looking to you Zimmer, the root of the problem is you. You refused Stanton's invitation to work in FD and then for DWA for to not letting zimmer's guys to work with pixar)

Miles reply Replies: 0 || 2010-10-20 00:00:00
I don't think Zimmer and Powell were wasted on Kung Fu Panda, or Powell and Gregson-Williams on Chicken Run.

Bou reply Replies: 0 || 2010-10-18 00:00:00
why media venture's composer always compose the music of DWA's movies? why they don't compose music for pixar movies?" : pehraps because Pixar works with some of the best composers like Michael Giacchino and Randy Newman and because it works very well (Oscar for Up score)

aldan reply Replies: 0 || 2010-10-18 00:00:00
why media venture's composer always compose the music of DWA's movies? why they don't compose music for pixar movies?

their talent was wasted.( except for HTTYD).
anyway, do you think Powell is a perfect fit for pixar's celtic based movie, brave?

Jo reply Replies: 0 || 2010-10-09 00:00:00
It all depends on taste in the end. I know for my personal taste that I never like Hans' soundtracks for romantic comedies or animated movies. They might work with the movie, but I don't enjoy to listen to them by themselves. I know it will be the case with this movie as well. But I understand that Hans wants diversity in his job and likes to do different genres, so I'm totally fine with it.

Anonymous reply Replies: 0 || 2010-10-08 00:00:00
you guys who are worshipers need to stop smoking the crack pipe

Miles reply Replies: 0 || 2010-10-07 00:00:00
I don't think I've heard enough to proffer good judgment yet, but the samples sound quite promising--"Crab Nuggets" and "Tightenville (Hal's Theme)" are effective comedic pieces, while "Stars and Tights" segues into a nice heroic motif, and "Mel-On-Cholly" has a good action tempo. Here's hoping the entire score lives up to expectations!

Lasse reply Replies: 0 || 2010-10-06 00:00:00
im sooo agree whit the person who commented before me.

"you guys who are haters need to stop smoking the crack pipe, it sounds like a fun score to me. Of course it sounds like zimmer, he f-ing created the sound. Dig it or get the f out. "

Anonymous reply Replies: 0 || 2010-10-06 00:00:00
you guys who are haters need to stop smoking the crack pipe, it sounds like a fun score to me. Of course it sounds like zimmer, he f-ing created the sound. Dig it or get the f out.

Feliz Lombriz reply Replies: 0 || 2010-10-05 00:00:00
Samples on the soundtrack's Myspace:

The first two samples sound like pretty run-of-the-mill comedy stuff. But Stars and Tights and Mell-On-Cholly both sound promising. Ollo could be good too. I'll have to check this one out.

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Megamind soundtrack - Hans Zimmer - Lorne Balfe 2010