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I'll try to explain myself more with the scores I wasn't a big fan of. I really like a lot of Gears of War 3. It has a lot of faster paced, melodic action cues, and the cues from Gears of War 2 are improved. Its main problem is it's not very memorable, which Jablonsky is usually able to produce. <br><br>Ender's Game I found to be a bit of a slog. There was a lot of ambient/sound design cues which I found incredibly dull. However, it's possible I was expecting too much, or maybe I was too harsh on it. I'll try to have another listen to that one. <br><br>Gangster Squad was one where I just looked at the comments to see what people thought about it, and the consensus was "it copied every recent Hollywood score", so I just skipped that one. <br><br>TF3 had a lot of good thematic material, and the finale's action music was a lot of fun, but it lacks the memorability and excitement of the first 2, or the subtlety of 5, making it fall in the middle for me. Plus the Inception sound was pretty annoying. <br><br>Gears of War 2 falls into mediocre for me. The main theme is solid, but the action is repetitive and doesn't have much variation. Plus it also wasn't very memorable. It's basically a worse version of Gears 3 to me. <br><br>Transformers 1 and 2 don't really count to me because those were more an RCP effort than a Jablonsky one. Just to clarify, I don't hate that Jablonsky went down this route. I first learned of his existence through the Transformers scores for god's sake. It's just that listening to Steamboy, it makes me sad there wasn't more of this side of Jablonsky. Oh, and honorable mention to TMNT: Out of the Shadows, that was a great superhero score!Gangster Squad was Ok, but i prefer Ender's Game, actually the sound design in that i find it certain interesting.<br><br>In Battleship, yeah, it's nothing original, but for me, is a guilty pleasure, i love the percussion (i'm a big fan of the taiko sound)<br><br>Enderís Game isnít bad at all, there are some cool power anthems and orchestral moments in it. As for Battleship, while I find most of it generic, I genuinely do like the alien ďMRIĒ sound design he incorporated.<br><br>And one of Jablonskyís most underrated scores imo is Gangster Squad. If you want a fun Jablonsky score that strays away (mostly) from the Zimmer sound thatís it. Any score using Antz as a temp track is fine by me!I will disagree with TF3, Ender's Game, Gears of War 2 and 3, there are good scores, altough i'm a massive fan of that guilty pleasure is Battleship ;D<br><br>And A Nightmare on Elm Street was cool.John Powell to receive Henry Mancini Award. <br><br>Look it up at filmmusicreporter.<br><br>Congrats John
Edmund's right. It's really just sad that Jablonsky could have been one of the greatest composers ever, one with more notoriety and respect from the music community, but instead settled for being... a decent composer.<br><br>TF5 was a step in the right direction, D-War was a great monster movie score, Your Highness came close to Steamboy levels, and IDEA felt like Jablonsky's symphony in a lot of ways. But on the other end you have Ender's Game, Transformers 3 and 4, Battleship, Gears of War 2, Gears of War: Judgement, and a few others that range from ok, to flat out awful. Occasionally though you get some decent ones like Gears of War 3, and A Nightmare on Elm Street.<br><br>My point is, we get a composer overridden with bland projects, and musically inept directors, when he had the potential for being Oscar level.This just occurred to me. 1:44-2:10ish in Remember Who You Are kind of sounds like part of Mozartís Ave Verum Corpus...and we know Hans is a fan of that piece...@mpolonest: I'm the opposite side: BvS grown each time i listened.<br><br>Not the same for MoS ;D@DS<br><br>You are absolutely right, and it was something that I did think about while I was writing the post, I just never clarified it. <br><br>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.@Edmund @Ds totally agree! This days the only composer that convince me is Steven Price.
Is there a Balfe score that is not very temped? Every single Balfe score I listened to is basically giving an old score a fresh set of paint.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.<br><br>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.<br><br>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. :-pEdmund: 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.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:<br><br>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"<br>fanboys: "JOHN WILLIAMS WAS YESTERDAY, ZIMMER IS TODAY, THIS IS A DIFFERENT SUPERMAN BLAH BLAH BLAH GET OVER IT"<br>me: "...did I mention Williams?"<br><br>or else Mad Max: Fury Road<br><br>me: "Mad Max is a decent score but I feel like the film deserved much more"<br>fanboys: "THERE'S LITERALLY A DUDE ON A DRUM CAR WITH A FLAMETHROWER GUITAR WHAT DID YOU EXPECT"<br>me: "...a composer who does more interesting things with those drums and that guitar?"<br><br>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.@mrzimmerfan <br><br>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.<br><br>But I just donít like the score as is. We just have to agree to disagree, no harm done. :-)
I don't think he means that, just that it would have been interesting if Jablonsky had gone more into animated movies like Powell did, rather than mostly Michael Bay. I think maybe we got a hint of what that could have been like with Your Highness a few years ago, a score I'll always defend, but yeah...the lack of follow-up to Steamboy is a great tragedy in Jablonsky's career.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>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.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>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.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.I don't think Jablonsky is going to be a new John Powell ;)<br><br>But this one of his most notable efforts, i will said that.This is feels like a very temped soundtrack, only that explains why the score is so generic. I wonder which movies music scenes producer-director used to make lorne do this. <br><br>Track 8 - is Tron legacy (dont know maybe he worked on it, powell was involved maybe he was too)

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  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



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 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
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© 2001-2017 OST 
Stephane Vidali / Antas - Nicolas Cabarrou