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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 2
From 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.Ist there any chance for concert in Poland during this tour?
How do I listen to this ?Hybrid, what about any credits for this score?Looking to travel to Berlin for the kickoff. Reckon the concert is in german instead in english?100% agree.<br><br>“You Know My Name”, “Skyfall”, “Goldfinger”, etc. all stand out because they embrace the grander aspects of 007. Having a calm and reflective Bond song can be just as effective though. I feel like “No Time to Die” is basically trying to do what “Writing on the Wall” tried but succeeding much better.I really like the song. It has, I think, a Bangkok Dangerous vibe at first, before the first lyrics. <br>I read some comments on youtube stating its a bad Bond song because its too calm. I disagree. Sure, its less punchy than You Know My Name, but some previous Bond songs, like Tomorrow Never Dies, had the same "mood". <br>This song, No Time to Die, would also have been a prefect choice for the movie Quantum of Solace, which had this melancholic tone. i espacially picture this music during the train bar scene in Quantum of solace, when Bond is drinking thinking about Vesper and the past.
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 LATEST RELEASES
 NEWS
  2004, December 30
SPANGLISH : Hans Zimmer - James L. Brooks collaboration

A short video interview based upon questions asked by fans to director James L. Brooks can be seen atÿSpanglishmovie.com. Just click on Ask the director at the bottom of the page. Then‚ again on the handwrited text at the bottom and you will hear James L. Brooks talk about actors‚ his hopes and collaboration with his composer and friend Hans Zimmer.


  2004, December 17
Spanglish
Hans Zimmer



  2004, December 17
Golden Stellite awards nominations have been announced and this time, it is John Powell turn to be on the list of possible winners for the Best Original Score and Best Original Song.

His collaboration with Dave Stewart and Mick Jagger on ALFIE seems to be more appreciated by people in the business than by fans.

17. Original Score
a. Michael Giacchino - The Incredibles (Disney/Pixar)
b. David A. Stewart, John Powell, Mick Jagger - Alfie (Paramount)
c. HOWARD SHORE - The Aviator (Miramax)
d. Danny Elfman - Spiderman 2 (Columbia)
e. John Swihart - Napoleon Dynamite (Fox Searchlight)
f. Jan A.P. Kaczmarek - Finding Neverland (Miramax)


18. Original Song
a. "Million Voices" - Hotel Rwanda - Wyclef Jean, Jerry ?Wonder? Duplessis & Andrea Guerra
b. "The Book Of Love" - Shall We Dance - Stephen Merritt
c. "Blind Leading the Blind" - Alfie - Mick Jagger & Dave Stewart
d. "Shine Your Light" - Ladder 49 - Robbie Robertson
e. "Learn To Be Lonely" - The Phantom of the Opera - Andrew Lloyd Weber
f. "Believe" - The Polar Express - Glen Ballard & Alan Silvestri


  2004, December 17
Classic Zimmer
by Fabrice Roux


  2004, December 16
METAL GEAR SOLID 3 Interviews at www.music4games.net

Interview with Justin Burnett, Composer for Metal Gear Solid 3: Snake Eater.
Justin Burnett has co-composed the original soundtrack for Metal Gear Solid 3: Snake Eater, along with Harry Gregson-Williams and Norihiko Hibino. His previous game credits include additional music for Metal Gear Solid 2: Sons of Liberty as well as films such as Man On Fire and Dungeons & Dragons: The Movie.
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Interview with Harry Gregson-Williams, Composer for Metal Gear Solid 3: Snake Eater.
Last time we chatted to Harry Gregson-Williams he was based at Hans Zimmer's Media Ventures group and was busy working on the score for the game. Having completed one of this year's most anticipated game scores and established a new studio, we caught up with the composer to discuss his latest adventures with Snake and co.
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  2004, December 13
SPANGLISH on the road

Hans Zimmer received his 6th nomination to the the Golden Globes for the new comedy score he composed for Spanglish, the new James L. Brooks movie, yet director of As Good As It Gets for which Hans Zimmer received an Oscar nomination.

But because Spanglish is not in theatre right now (Official release date : 17th December), people can be surprised by the nomination of the German composer. A true strange thing maybe due to the press-screening already done in order to warm the audience and newspaper writers.

By the way, another good reason the await this score which will close a year of Hans Zimmer filmmusic in a good way.

Golden Globes Original Score nominees
The Aviator Composed by Howard Shore
Finding Neverland Composed by Jan A. P. Kaczmarek
Million Dollar Baby Composed by Clint Eastwood
Sideways Composed by Rolfe Kent
Spanglish Composed by Hans Zimmer

More Infos on The Golden Globes Website


  2004, December 12
Hans ZIMMER to score MADAGASCAR

Hans ZIMMER will score the Dreamworks next animated movie‚ and replaces Harry GREGSON-WILLIAMS who was thought to be on this project until now. Another project for Hans for the year 2005‚ after Ring 2‚ The Weather Man‚ & Batman Begins.


  2004, December 04
Jeff Rona
Earthsea


  2004, December 03
King Arthur DVD
Director's Cut



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