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Some original cue titles with slates from a music mixing CD-R:<br>1M13 Transactions<br><br>2M16 Jake Gets Stoned<br>2M20A Alley<br>2M21 Rapists Castration<br><br>3M24 My Old Division<br>3M27 Go Fetch Dog<br>3M30 The Freeway<br>3M32 Alonzo Steals Money<br>3M33 Into The Jungle<br><br>4M41 Safety Is First / Busting Into Rogers<br><br>5M46 Helicopter<br>5M48 Sunset / Wet Streets<br>5M51 Jake Gets Beaten<br>5M52 Smiley Calls His Cousin<br><br>6M57 On The Roof<br>6M58 Jake Lands On Car<br><br>7M61 Alonzo Dies<br>7M63 Sun ShotMovie credits:<br><br>Music by Hans Zimmer & David Fleming<br><br>Music Supervisor: Joe Rudge<br><br>Score Produced by Hans Zimmer<br>Supervising Music Editor: Ryan Rubin<br>Music Editor: Nate Underkuffler<br>Music Production Services: Steven Kofsky<br>Additional Music by Ben Powell<br>Featured Guitar Soloist: Derek Trucks<br>Score Mixed by Seth Waldmann<br>Score Mix Assistant: Aldo Arechar<br>Technical Score Engineer: Chuck Choi<br>Technical Assistants: James Grimwade, Aldo Arechar, Steven Doar & Fabio Marks<br>Synth Programming: Hans Zimmer<br>Digital Instrument Design: Mark Wherry<br>Digital Instrument Preparation: Taurees Habib, Raul Vega, David Naroth & Paul Salerno<br>Studio Manager for Remote Control Productions: Shalini Singh<br>Assistant to Hans Zimmer: Cynthia Park<br>Score Mixed at Remote Control Productions, Santa Monica CA<br>Music Clearances: Jessica Dolingerthats trueCan't think of a more meaningless and laughable award than the Oscar.an oscar for this one? nahh...<br>maybe he gets a nomination for dune or bond
Maybe WW1984damn it would be kinda awesome and hilarious if Lorne Balfe got Lorne Balfeíd LOLYeah 100% fake... And there was HJ rumor on Black Widow sometimes last year, so if you do the math...Henry doesn't have an official Instagram. It looks like you are referring to the account "henry0262020" which appears to be a fake account, to the best of my knowledge.Henry Jackman is now Black Widow's composer, apparently in his instagram, posted a photo
Hah! Knew it. FYI, I'm not smoking anything. I don't smoke, and I abhor anyone who does.Oh interesting. When I said "refined his sound," I didn't mean that he was still trying to find his voice. This score absolutely exudes the qualities that make his work so appealing. You simply managed to put what I was trying to say in better terms. I'm definitely happy to give this one more goes in the future, but I remain more partial to some of the other installments.This is easily my favorite X-Men score, but I do agree there is a bit of an...*odd* feel to it sometimes. The impression I get is that Powell was reeeaallly pushing himself to write the most dense and complex and ambitious score he could, and I think he may have overreached a tad. There's definitely a big contrast between this score and the much tighter, more focused sound he was bringing in his action music from a couple years prior, like Paycheck or The Bourne Supremacy. I wouldn't say he "hadn't quite refined his sound yet" - this isn't Face/Off, his voice was pretty well established by this point - but he was trying to develop it a bit faster than it was naturally going to go.<br><br>At the same time, I love how this score goes for broke, and I hate to fault a composer for too much ambition. "Phoned in" is the LAST thing this score is. But Powell would iron out the kinks and by How to Train Your Dragon he was writing a score that was just as complex, but wore the complexity a bit more naturally than X3."There is nothing musically interesting in [Ottman's] X-Men scores except the main titles."<br><br>As if I didn't need a reminder that this place can house some ludicrous opinions sometimes (no offense intended there).<br><br>The Last Stand barely cracks the top 5 of X-Men scores for me, if only because I love the themes and it carries a lot of nostalgia for me. It's pretty clear imo that this score was at a point when Powell hadn't quite refined his sound yet. I wouldn't call it phoned in whatsoever, but it's easy to get lost at points when I'm listening to the full thing. But the highlights are too great for me to call it middling either, so it barely gets a solid grade in my book. <br><br>I'm likely in the minority when I say I actually prefer Dark Phoenix. It's much more solid as a whole product.I like the tracks
Wow!!!Still my favorite score from the X-Men series.Not too stoked on Powell, but the way Ottman's able to squander a good theme makes him close to the bottom of the barrel in my book. There is nothing musically interesting in his X-Men scores except the main titles.I don't know what you're smoking but you need to get off it. In the way is this phoned in, the orchestration and everything about it is perfect. No score for X-men has come close to this one except maybe X2That recording footage makes it all the more baffling to me why the end product sounds the way it does.
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 LATEST RELEASES
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  2006, June 27
VIDEO GAMES LIVE



> Metal Gear Solid Video (divx / 38 Mo) <

This video is copyrighted Videogameslive / IGN


Comments (11)

  2006, June 26


NICK GLENNIE SMITH and JIM DOOLEY to attend SONCINEMAD


Two of the most famous Remote Control Studios composers, Nick Glennie Smith and James Michael Dooley, will also be attending SONCINEMAD - the 1st MADRID INTERNATIONAL FILM MUSIC FESTIVAL, taking in place in Madrid, Spain at June the 30th and July the 1st and 2nd.

For more info, please visit:

http://scoremagacine.com/Noticias_eng_det.php?Codigo=142 http://scoremagacine.com/ http://www.soncinemad.com/home.php


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  2006, June 26


Interview with James Dooley
www.filmzene.net


We've first met James Dooley's name a few years ago as an additional composer. Hans Zimmer's student debuted this year with his first individual motion picture score, written for Simon West' When a Stranger Calls. His latest work is the animated short 'First Flight', which will be shown before Deramworks' 'Over the Hedge'. We asked the young composer about these works and the rest of his career.

> Read more


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  2006, June 25
Q&A: Hans Zimmer on scoring 'The Da Vinci Code'
soundtracks.monstersandcritics.com


Hans Zimmer's studio is dark red. The deep wood panels, flowing thick velvet curtains and the plush couch seem more fit for an 18th-century castle than a building in Santa Monica, Calif.

Zimmer sits at his desk - complete with piano keyboard and numerous computers, and coffee. He spins in his chair. He's excited and overworked. He just finished scoring 'The Da Vinci Code' - a project that consumed two years of his life. And now he is knee deep in 'Pirates of the Caribbean: Dead Man's Chest.'


> Read more


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  2006, June 20
Into The West
Geoff Zanelli


††


  2006, June 19
DEAD MAN's CHEST First listen



Soundtrack.net made a review from the next Hans ZIMMER's CD release, Pirates Of The Caribbean : Dead Man's Chest, with extracts from each track.


Comments (26)

  2006, June 18
Steve Jablonsky scores the TRANSFORMERS theatrical teaser

Soundtrack.net released pictures from the teaser' score recording session. Conducted by Bruce Fowler, with additional ambient music by Mel Wesson, this melody composed by Steve Jablonsky will maybe be present in the next Michael Bay's movie.

You can listen to some of the synth version from this music on the Official Website from the movie


Comments (0)

  2006, June 17
Trevor RABIN scoring SNAKES ON A PLANE

This past week, the Hollywood Studio Symphony recorded the score to one of this summer's most anticipated films: Snakes on a Plane. A 67-piece orchestra was employed to perform the score, written by Trevor Rabin (...)

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  2006, June 15
6 YEARS AFTER...

Hans Zimmer has apparently been sued by the Holst foundation and music publishers ĎJ. Curwen & Sonsí. They claim elements of Zimmerís Gladiator (in fact, a motif used in ĎThe Battleí) borrow directly from Gustav Holsts ĎThe Planetsí, namely ĎMars: Bringer of Warí. Zimmer and his lawyers of course refute this, though the composer has likened parts of his score to Holstís masterpiece, in terms of its musical language, in the past. (...)

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  2006, June 13

Artist TiŽsto to remix the title theme 'He's A Pirate'


To celebrate the release of this summer's blockbuster Pirates of the Caribbean: Dead Man's Chest, Disney invited TiŽsto to remix the title theme 'He's A Pirate' into a progressive epic trance anthem.

TiŽsto was honoured with this invitation and produced a trance anthem as well as an orchestral remix with the original euphoric orchestral break. Death Man's Chest: Remixes cd-single contains the TiŽsto remix, a TiŽsto radio edit and remixes by Friscia & Lamboy, Pelo Verde, Pete n' Red and Chris Joss. Radio edits of TiŽsto and Pete n' Red Jolly Roger remixes are included on the Promotional CD.

You can hear the remix HERE.
Just click on Previously aired shows: 10 juni 2006 and go to minute 27'30...


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  2006, June 13
Musqueteers of Richelieu :
Your opinion interests us


Please take a moment to answer this question in the right margin.
We will submit the result to the Puy du Fou organizer.


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  2006, June 11
Disco Page updated






  2006, June 10
Klaus BADELT working on MIAMI VICE

Klaus BADELT is currently co-scoring the next Michael MANN movie, MIAMI VICE, with composer John MURPHY (Basic Instinct 2).
Starring Colin Farrell & Jamie Foxx.

Release Date


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  2006, June 05
PIRATES OF THE CARRIBEAN 2
starring Hans ZIMMER


wmv file / German with English Subtitles / 13.3 Mos

The German Tv, ZDF, on its prime time news magazine Heute Journal, presented a video reportage from Hans ZIMMER while he was scoring Pirates Of The Carribean : Dead Man's Chest

Subtitled by dlmusic & Sylvos
Thank you Rudi


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