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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.
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 LATEST RELEASES
 NEWS
  2003, May 30
Steve Jablonsky assurera la musique du nouveau film d'animation de Katsuhiro Otomo (Akira)Steamboy. Un projet vieux de 10 ans qui a eu beaucoup de mal à voir le jour‚ le tout pour un budget conséquent de 20 millions d'euros‚ mettant en péril la société productrice Bandai‚ qui espère un succès au moins équivalent à celui de Princess Mononoke.
Sortie prévue en octobre 2003 au Japon‚ novembre 2003 aux USA.
 
Teaser (divx - 4Mo - 24 sec) disponible en bas et à droite de cette page (faites défiler)
En savoir plus...


  2003, May 24
Ajout de la page consacrée à Lisa GERRARD
Fiche technique et extrait de "Whalerider"
Fiche technique de "Immortal Memory"


Heitor PEREIRA est actuellement en tournée en Bolivie et au Chili jusqu'à la mi-juillet. Ce dernier enregistre du matériel musical pour le prochain film de Harry GREGSON-WILLIAMS‚ Welcome To The Jungle dont il assurera la musique additionnelle.


  2003, May 19
L'album Immortal Memory‚ fruit d'une collaboration entre Lisa GERRARD et Patrick CASSIDY vient d'être achevé. Une édition CD est prévue pour septembre 2003.


Varèse annonce la sortie en CD du nouveau John POWELLThe Italian Job‚ pour le 24 Juin prochain‚ soit presque un mois après la sortie du film sur les écrans US (le 30 Mai). Pas plus de détails pour le moment...


Hans Zimmer est l'invité de la Goethe Institut Los Angeles mercredi 21 mai à 19h. Il y tiendra une conférence sur les différents aspects de la composition pour le cinéma en l'illustrant de clips sur sur les plus grands films qu'il a mis en musique.
En savoir plus...


  2003, May 17
Après le succés de l'épisode 2‚ c'est bien Harry GREGSON-WILLIAMS qui compose la musique du jeu Metal Gear Solid 3 (fiche technique & movie trailer (11 minutes). Pas de nouvelles concernant une potentielle édition CD...
Remerciements à Thez



Ajout de la biographie de Ofra HAZA (1957-2000)


  2003, May 16
Nouveaux Teaser de The Last Samourai
Nouveaux Teaser de Metal gear Solid 3
 


(Ajout des discographies de Steve JablonskyJames S. LevineMel WessonRamin Djawadi et Graham Preskett)


  2003, May 14
Nouvelle discographie consacrée à Rupert Gregson-Williams


 


 

 
LE SUJET :
Se situant dans la mer des Caraïbes au 17ème siècle‚ l'histoire est celle de Jack Sparrow(Johnny Depp)‚ pirate "gentleman"‚ faisant alliance avec la fille du gouverneur pour stopper une bande de terribles pirates menés par le Capitaine Blackheart(Geoffrey Rush). Ces derniers ont pour projet de mettre en oeuvre une ancienne malédiction qui les transformeraient en morts-vivants‚ la lune reflétant leurs squelettes.
 


 
The Lion King 1.5
 
Le 4 Février 2004‚ sortira directement en DVD zone 1 The Lion King 1.5 : Hakuna Matata‚ en chantier depuis plus de trois ans maintenant... L'action se déroule au même moment que The Lion King‚ mais nous est contée du point de vue de Timon et Pumba‚ avant leur rencontre avec Simba et pendant son enfance avec eux.
Au niveau musical‚ "Wharthog Rhapsody" a été réenregistré sous le nom de "Meerkat Rhapsody"‚ et Lebo M. a composé de nouvelles chansons originales...
Une édition pour laquelle Disney nous promet de nombreux bonus (dont une vidéo musicale)...


  2003, May 11
Nouveau teaser de The Last Samouraï

  2003, May 10
John POWELL remplace Carter BURWELL sur GIGLI (Martin BREST)
Une information Filmscoremonthly.com concernant le prochain film de Ben AFFLECK & Jennifer LOPEZ (précédemment intitulé Tough Love). Pour anecdote‚ ce serait donc la deuxième fois que John Powell remplace Carter Burwell‚ après The Bourne Identity
 


A propos de Matchstick Men...
 
Dans une interview donnée pour l'occasion de la remise du Henry Mancini Lifetime Achievement‚ ZIMMER évoqua parmi les désormais légendaires anecdotes sur ses débuts peu concluants dans le monde de la musique classique‚ ses affinités avec Stanley Myers‚ son arrivée à Hollywood ... ses rapports avec Ridley Scott durant The Matchstick Men.
Y a t'il parmi les nombreux projets auxquels vous avez participé une déception ou satisfaction majeure ?
HZ : Je ne sais pas. Je travaille en ce moment avec Ridley Scott sur Matchstick Men et Ridley m'a dit quelque chose que je pense n'avoir jamais entendu de la part d'un réalisateur.
"Regarde‚ si nous n'avons pas un accordéon dans ce film‚ le film ne tient pas."
Et cela vient de l'homme qui nous a apporté Alien‚ Gladiator et Blade Runner.
La chose la plus fameuse est que vous ne savez jamais ce qui vous attend au détour du chemin.


  2003, May 10
ASCAP ; Remise du prix Henri MANCINI à Hans ZIMMER
Détails de la cérémonie
Extraits Vidéos


  2003, May 07
Le Site Soundtracknet annonce que Hans ZIMMER et Klaus BADELT co-composeraient le score de Pirate of the Caribbean‚ remplaçant Alan SILVESTRI qui avait travaillé dessus jusque là.

Un choix qui s'imposait à l'esprit et ne saurait nous surprendre :

1 - Le style Zimmer est le synonyme musical des grosses productions Brukheimer
2 - Grand retour vers ce style après le somptueux Muppet Treasure Island en 1996
3 - Gore Verbinski vient de travailler avec Zimmer sur The Ring

Une info qui reste cependant à confirmer...


  2003, May 07
Klaus Badelt



Ned Kelly


  2003, May 05
Hans ZIMMER compose pour Robbie WILLIAMS
Johnny ENGLISH
 
Téléchargez la Bande-annonce de Sinbad : Legend Of The Seven Seas


  2003, May 05
Inspiration (Maybach commercial)



  2003, May 01
Nouvelle Animation Flash disponible

Réalisée par Yann
Music By... Devinez :-)


  2003, May 01
La publicité Airwaves actuellement diffusée sur les chaînes françaises (mettant en scène Frankenstein) contient une musique provenant duDirectors Cut Chiller


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