NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
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 timei 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, can’t argue there lol<br><br>And is it me or does “Calypso Must Be Released” 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>That’s totally fine, everyone has their own favorite HZ scores, which is awesome!<br><br>It’s funny though, I feel like DMC is far more schizophrenic than AWE. Now don’t get me wrong, I absolutely love DMC. It’s 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 “rock’n’roll” 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.Thanks guys, will check out these cues.Hmm, aside from "The Guardian Suite' I don't think I've heard any other tracks from this score. And I have a feeling I'm not the only one....lol.<br><br>Speaking of.........I would most definitely put "The Guardian Suite' right up there next to "Now We Are Free" and "My Name is Lincoln". It's *that* good and powerful. Shame that the movie is not as popular as The Island and Gladiator. If it was, that suite would've been one of the most popular film score tracks with millions of views on YouTube. It certainly deserves it.Very underrated score. As already pointed out by a couple of reviewers, it's a nice, little throwback to MV/RC's Golden Years and Trevor's own scores from 1997 to 2002. Give it a listen if you can. It's not long and it's worth it.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





 .
Comments (2)   
See More...  
 LATEST RELEASES
 NEWS
  2003, February 28
Lisa GERRARD au sommet !

Après la sortie annoncée de "Whale Rider" et de "Tears Of The Sun"‚ la muse de Hans ZIMMER prévoit la sortie d'un disque en collaboration avec Patrick CASSIDY intitulé "Immortal Memory". La date de sortie reste actuellement inconnue.

Whale Rider Edition CD Again

Nous vous annoncions la sortie imminente du dernier score de Lisa GERRARD ; c'est désormais chose faite‚ mais celle-ci ne concerne pour le moment qu'un seul pays... Patience.
voir détails

Heitor Compositeur...

Après le très remarqué "Spy Kids" dont certaines pistes étaient composées par le talentueux guitariste médiaventureux et ex-"Simple Mind"‚ mais dans Real Women Have Curves‚ c'est à un Heitor Pereira solo que nous devons le score... Carrière à suivre.



  2003, February 26
Whale Rider Edition CD

Une sortie CD du dernier Score de Lisa Gerrard est bien programmée pour les mois à venir. D'ici là‚ vous pouvez consulter l'interview "Making Of" de Lisa donnée dans Mixonline.com

Andreas Vollenweider ; un grand compositeur au service d'un autre...

Découvrez la vie et l'oeuvre de ce compositeur suisse qui a collaboré avec ZIMMER‚ Lebo M. et Lisa GERRARD à la partition de "Tears Of The Sun". www.vollenweider.net


  2003, February 21
Edition Cd de "Tears Of The Sun"

La sortie du CD est prévue pour le 18 Mars 2003
Varèse annonce enfin la parution de la dernière composition de Zimmer‚ 10 jours après la sortie sur les écrans US.
On y retrouvera Lebo M. et Lisa GERRARD pour un score qui s'annonce comme étant un de ses plus énergiques de ces dernières années.
En savoir plus...

Gladiator à Londres

Le Royal Philarmonic Orchestra organisera sur deux jours à Londres au Royal Festival Hall ( Samedi 5 et Dimanche 6 Juillet 2003) deux concerts thématiques consacrés à la musique de films. Si la première partie sera dévolue aux compositeurs (présents sur scène) ayant ?uvré pour les plus grands succès du box office britannique‚ la seconde partie programmée le dimanche 6 juillet consacrera l?entière partie de son déroulement aux compositeurs plus représentatifs des vingt dernières années.Le listing du programme paraît alléchant en octroyant une part de choix au film GLADIATOR. Si la première représentation live par l?orchestre du Festival du film de Flandres à Gand avait pu décevoir les puristes‚ gageons que la maîtrise de l?orchestre britannique devrait enfin permettre de jouir d?un moment rare dans la carrière d?un compositeur : la réactualisation de son vivant d?une de ses ?uvre.


  2003, February 12



Bientôt au cinéma (en France)‚ "Equilibrium"‚ drame futuriste produit par Jan De Bont‚ tourné à Berlin et rélisé par Kurt Wimmer. Situé entre Matrix et Minority Report‚ le film se déroule dans une société furturiste où les citoyens sont tenus de prendre une dose quotidienne de drogue annihilant toutes leurs émotions. Mis en Musique par Klaus Badelt‚ Ramin Djawadi (musique additionnelle) et Geoff Zanelli (musique additionnelle)‚ l'édition du score n'est toujours pas prévue mais vous en découvrirez bientôt un aperçu sur notre site.

Sortie du DVD zone 1 le 13/05/2003 aux USA.

Oscars 2003

Aucun score‚ ni aucune chansons de Hans Zimmer ne sont en lice pour les catégories musicales de la compétition. Seul lot de consolation pour l'équipe de "Spirit"‚ une nomination dans la catégorie meilleur film d'animation de l'année.
Néanmoins‚ la statuette n'est pas gagnée ; en effet‚ fâce à eux se trouve Hayao Miyasaki et son Voyage de Chihiro‚ Chris Wedge pour Ice AgeLilo et Stich de Chris Sanders et enfin La planête aux Trésors de Ron Clemens.
 
Reste que les nominés pour la catégorie Meilleur compositeur de l'année sont ;
John Williams - "Catch Me If You Can"
Elmer Bernstein - "Far From Heaven"
Elliot Goldenthal - "Frida"
Philip Glass - "The Hours"
Thomas Newman - "Road To Perdition"
 
Dans la catégorie Meilleure chanson:
Fred Ebb‚ John Kander - "Chicago"
Eminem‚ Bass‚ Jeff(III)‚ Luis Resto - "8 Mile"
Julie Taymor‚ Elliot Goldenthal - "Frida"
Bono‚ The Edge‚ Adam Clayton(I)‚ Larry Mullen Jr. - "Gangs Of New York"
Paul Simon (I) - "The Wild Thornberrys Movie"


  2003, February 10

Nouvelle Critique


The Ring (Hans Zimmer(2002))+ Nouvel extrait (additionnal Music By Henning Lohner)
 
Le nouveau numéro édité par l'association LEITMOTIV vient de paraître



 HANS-ZIMMER.com© 2001-2017 OST 
Stephane Vidali / Antas - Nicolas Cabarrou