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Its Imagine the Fire insertThe Japanese version can be ordered here: http: //www.cdjapan.co.jp/ product/WPCR-18185<br><br>The "Swan Song" is also included on the CD. So it has 3 additional tracks.Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.
So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
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 LATEST RELEASES
 NEWS
  2006, April 27
OVER THE EDGE audio clips

You can listen to audio clips from the latest Rupert GREGSON-WILLIAMS's score on SonyMusicStore.com


  2006, April 25
THE DA VINCI CODE Extracts
(Real Player Needed)




  1. Dies Mercurii I Martus / Extrait 2
  2. L'esprit Des Gabriel
  3. The Paschal Spiral
  4. Fructus Gravis
  5. Ad Arcana
  6. Malleus Maleficarum
  7. Salvete Virgines
  8. Daniel's 9th Cipher
  9. Poisoned Chalice
  10. The Citrine Cross
  11. Ross Of Arimathea
  12. Beneath Alrischa
  13. Chevaliers De Sangreal / Extrait 2
  14. Kyrie For The Magdalene / Extrait 2


  2006, April 19
Scoremagacine team and Soncinemad organizing committee are particularly excited to announce the presence of Hans Zimmer at the Soncinemad filmmusic festival in Madrid, Spain, June the 30th - July the 2nd, 2006.

The composer will be opening the Harry Gregson Williams concert with a formal introduction of Gregson-Williams, concert leader. Additionally, Hans Zimmer will closely follow the festival at its whole duration while participating in selected Soncinemad conferences and activities.

For more info about the event and ticketing, please visit :
Scoremagacine.com


  2006, April 17
The Da Vinci Code

Hans Zimmer recorded the soundtrack at Air Studios on Rosslyn Hill. Of the recording sessions, Ron Howard stated: "They were powerful, fresh and wonderfully effective...Like every other facet of this movie, the score for The Da Vinci Code demanded a range of textures that recognized and reinforced the layers of ideas and emotion, which unfold as the basic story does." Zimmer once again captures the essence of suspense and tension that builds throughout the film. "The inspired Hans Zimmer has given us extraordinarily memorable music to appreciate within the framework of a film or completely on its own, where you can let the sounds carry you on your own private journey," summarized Ron Howard. The two have previously collaborated on Backdraft in 1991.

Source : Iclassics.com


  2006, April 13
New score for Rupert GREGSON-WILLIAMS

Rupert GREGSON-WILLIAMS will score Click. Alan Silvestri was attached to this project but he left due to "creative differences".
Furthermore he is no longer attached to It's A Boy Girl Thing.


  2006, April 12
MARK MANCINA - Asylum

Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.

Source : www.hollywoodreporter.com


  2006, April 12
Blood+
Mark Mancina

   Over The Hedge
Rupert Gregson-Williams / Ben Folds



  2006, April 11


Molussus clip ('30 mp3)


An exclusive track from the Cincinatti Pops "Fantasies" album of the cue Molussus from Batman Begins only available at iTunes
It's interesting to hear it played without all the electronic clutter.

Link : iTunes Music Store


  2006, April 11
RELEASES

X-MEN 3 : THE LAST STAND composed by John POWELL
Label : VARESE SARABANDE
Date : May, the 23th. 2006

POSEIDON composed by Klaus BADELT
Label : Interscope
Date : May, the 9th. 2006


  2006, April 10
Disco page updated



  2006, April 07
DISTURBIA by Geoff ZANELLI

GSA announced the composer will score this next D.J. CARUSO's film on 2007.


  2006, April 06
BMI Film/TV Awards to Honor 'Narnia' Composer Harry GREGSON-WILLIAMS



BMI composer Harry GREGSON-WILLIAMSwill receive the 2006 Richard Kirk Award for Outstanding Career Achievement at the performing right organization's Film & Television Awards slated for Wednesday, May 17 at the Regent Beverly Wilshire Hotel in Beverly Hills. The black-tie, invitation-only dinner will also honor the composers of the past year's top-grossing films, top-rated prime-time network television series and highest-ranking cable network programs.

Read more...


  2006, April 05


A Michael A. LEVINE INTERVIEW


Scoremagacine.com released an interview from the composer/performer, Remote control Studio's member (a studio is currently being built for him in Hans' Santa Monica complex).

By Demetris




  2006, April 04
Harry is back in the Wardrobe

Harry GREGSON-WILLIAMS will score for the NARNIA's sequel : PRINCE CASPIAN


  2006, April 01


The tickets for Soncinemad Symphonic Concerts are now available for purchase. You can acquire the tickets for the Trevor Jones' and Harry Gregson Williams' two different concerts, online via www.telentrada.com, by this phone number 902-10-12-12 or through any Caixa Catalunya branch. Additionally, you can purchase the tickets from www.soncinemad.com.

For Concert Details and more info, please visit:
http://www.scoremagacine.com/Noticias_eng_det.php?Codigo=123


  2006, April 01
March 21st, 2006 : James Dooley is leaving for Prague to record the score to the short animated film "First Flight". The score will be recorded with an 80-piece orchestra in the Czech Philharmonic Hall. The live score will premiere with the film at the Tribeca film festival in NYC at the end of April and early May.

from his official website


  2006, April 01
Harry GREGSON-WILLIAMS to score SERAPHIM FALLS

A lot of projects for this year 2006 for the composer who should score this David VAN ACKEM's film, starring Liam NEESON & Pierce BROSNAN.



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