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Yeah, 30-ish seconds into Do You Bleed?"Reminiscent Therapy" is amazing in the way it incorporates a lot of Williams' classic stuff making it feel very natural and organic, like it's part Powell's themes, like he does with "The Adentures of Han".<br><br>This is a really great scoreHe is the chosen one, the one who will bring balance to the film music world...Thats just 'do you bleed?' with a small insert?Haha, It's as the prophecy foretold.
John Powell, the great uniter of film music fans@MrZimmerFan<br><br>I actually like Rogue One, and I do understand why it leans so heavily on the original themes. Here the themes are incorporated more as fan service, but Powell is able to do wonders with interpolating them with his material. <br><br>And something I forgot to mention, this score reminds me so much of Pan in the action sequences. The percussion and brass writing is great lolim surprised how Powell uses his ANTZ percussion in this!<br><br>The track Train Heist, Into The Maw is good example of it.<br><br>This is the only score that will please the gang at JW and HZ alike.When JWFan and HZ.com are discussing the same score....'but not as heavily as Rogue One'<br><br>Because Rogue One have conections with certain aspects or characters from the OT?<br><br>An here you have a track with three themes (or cues) with no conections with the OT, Rogue One have more sense... but the score is fricking awesome :)
So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, itís basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poeís theme from Force Awakens.Letís just say ďReminiscience TherapyĒ.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that Iím guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally Iíve never been in love with Inception. I admire it on a technical level, but outside of ďTimeĒ I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
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 LATEST RELEASES
 NEWS
  2005, June 28
Hans ZIMMER is scoring Ask The Dust

Hans Zimmer is the third composer who has been involved in the project. Initially, James Horner was supposed to have scored the film. A few months ago, Music from the Movies reported that Christopher Young had taken over the scoring assignment and was the new composer onboard. Now, Young has left the project and Hans Zimmer is writing the score for the Robert Towne's film.
Read more..


  2005, June 26
Mr & Mrs Smith



You can listen to samples of each track here : www.amazon.de


  2005, June 24


Into the west is a 6 parts new show scored by Geoff Zanelli and aired every week end on TNT 'till the end of july.


  2005, June 20


Batman Vs. Hans Zimmer and James Newton Howard Part 1

Zimmer discusses how he and Howard tag-teamed the score for Batman Begins.
> Read more

Batman Vs. Hans Zimmer and James Newton Howard Part 2

The conclusion to our interview with Hans Zimmer discussing his and Howard's score for Batman Begins.
> Read more

Thanks to zimm44 for the links !


  2005, June 19
INTERVIEW WITH Ramin DJAWADI



Ramin DJAWADI is one of the best known composers who work closely with Hans ZIMMER. He started out his musical career as a guitar player in numerous bands in Germany. After deciding to move to US to earn a bachelor's degree in Film scoring & guitar performance at the prestigious Berklee College of Music, he became a member of the band My Favourite Relative. Ramin then moved to California in 2000 to join Media Ventures, and began composing and arranging for Klaus Badelt...

> Read more


  2005, June 19
An other interview by Pablo Nieto from www.scoremagacine.com :

RAMIN DJAWADI: THE POWERFUL TALENT

Let's start talking about "Thunderbirds", how did you become involved in this project?
- Hans approached me after we had finished "Pirates". It was roughly 4 months before we actually started working on the score. We sat down together and started gathering ideas and came up with the thematic material.


> Read more


  2005, June 17
A Few News...

Harry GREGSON-WILLIAMS

Back in october 2004, Hans Zimmer was supposed to score August Rush a film by Kirsten Sheridan with Liv Tyler and Robin Williams. According to IMDB.com, it should finally be Harry Gregson-Williams who will.
The movie will hit screens in 2006.

Always at IMDB.com, we learn that Harry will score the newest Metal Gear Solid (number four), ought to be in store in 2007. After MGS 2 et 3, this is his third participation, with Rika Muranaka, for this high profil video game franchise.

Ramin DJAWADI

After his work on Batman Begins, Ramin just finished a short film called Jonathan from Jordan Scott, which is one of the 7 short films from the project Take 7.

Klaus BADELT

MusicFromTheMovies.com announces that Klaus BADELT is involved in the creation of the next big budget action adventure from China : The Promise

John POWELL

You can have a foretaste from the single Mr. & Mrs. Smith's track composed by John Powell, released on the album edited by LAKESHORE RECORDS. Click Here.


  2005, June 13


Yesterday, on AMC Channel for The Sunday Morning Shootout, Hans ZIMMER & James Newton HOWARD were presenting their work on Batman Begins. Thanks to Yahoo!Movies, you can now watch online this interview.
If you encounter problems with the link, just click HERE and search for The Sunday Moring Shootout's link.


  2005, June 12
Hans ZIMMER speaks about BATMAN BEGINS

"There is a guy named Chris Nolan who one day phoned me out of the blue and said ?Would I like to do this movie he was working on?? and after a while he was telling me what it was but the way he was describing it was that it was a small experimental film, just like the way he?s made his movies. And I thought ?Hey, this sounds really good, this is a really interesting angle on the superhero thing? ?cos I don?t know anything about superheroes. So I sort of said ?yes? to him and then the mighty executives at Warner Bros. phoned me and they were using words like ?franchise? and ?industrial?; all those big words that get really scary and I said ?Well I don?t think I can do it because I don?t want to be responsible for ruining a perfectly good franchise, if you see what I mean..."
Read More...

Thanks to Mc Bain ! :-)


  2005, June 12
Recording Sessions from Steve Jablonsky's Island

Dan Goldwasser announces that a soundtrack from THE ISLAND composed by Steve JABLONSKY would be released by Milan in July, around the time of the film's release.
You can read an article with pictures which describes the recording sessions from the score on Soundtrack.net.


  2005, June 10
The Batman Begins Premiere : Pictures from Hans & James
June 6, 2005 - Grauman's Chinese Theatre

      

  

Images by WireImage.com, hosted by IMDB.com


  2005, June 07
Batman Begins first review by Matthew Scheller

After eight long years of anticipation and speculation, another Batman film is finally here. Acclaimed director Christopher Nolan (of Memento fame) has gone back to the roots of the character in order to "reboot" the franchise - a compromised decision made by Warner Bros. in order to apologize for the notorious Batman & Robin. Gone are the neon lights, bat nipples, homo-erotic influences and Joel Schumacher. Another ingredient that has been altered for this restart is the music.

> Read more


  2005, June 06
Hans Zimmer and Wizoo plan Mars Landing

Until now, only some people in the business knew that Oscar-winning Movie composer Hans Zimmer has been a shareholder in Wizoo since May 2004. In this interview Hans and his Partners Peter Gorges and Manfred RĀrup talk about a huge project behind the scenes: the ultimate computer based orchestra system, a cooperation with the London Symphony Orchestra under Hans? auspices.

> Read more


  2005, June 06
John POWELL will score for WATCHMEN

SCOREMAGACINE announces that John POWELL is working with Paul GREENGRASS (The Bourne Supremacy) on his new movie, an adaptation from the Alan Moore's graphic novel.

Thank You Manulder ! :-)


  2005, June 06
On the AMC channel (American Movie Classics), James Netwon-Howard and Hans Zimmer will be featured on the show "Sunday Morning Shootout" on the twelve of this month. Of course, the main line of discusion would be the score they composed for Batman Begins.

Date and Time : 11am EST, June 12th.


  2005, June 05
Batman Begins

New soundclips and 2 complete tracks can be heard here : http://www.batmans.de


  2005, June 02


FROM FSM

This Japanese website is playing some of the “Batman Begins” score over streaming video footage of the movie’s early Japanese premiere the other day!

And (surprise!) it sounds like a mixture of Hans Zimmer and James Newton Howard – some Zimmer-esque action music, and some Howard-like strings and piano. There’s also some really creepy, avant-garde sounds, presumably for the film’s villains. It plays for about 20 minutes non-stop, then there’s voice-over from the announcers until the 36.00 minute mark, and the music picks up again. It’s definitely from the score; the theme at the 36:05 point was in the most recent trailers (and here it has a killer string ostinato underneath it.) Check it out!


URL : http://www.so-net.ne.jp/movie/batmanbegins/


  2005, June 01
Greatest Soundtracks Of All Time

According to a new survey, The Sun Online announces that The Lord Of The Ring (Howard SHORE) arrives in first position, while John WILLIAMS' Star Wars gets the 2nd place. And a composer that we know very well takes the third place : Hans ZIMMER and his GLADIATOR's soundtrack. Good score, but it takes all sorts to make a world...

Thank you Thirdnature ! ;-)



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