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I'd love to see Hans do another historical epic, for the record. I'm sure he'd say he's moved on from that sound, but personally, I miss it. That being said, Harry Gregson-Williams did good work here. Even if he then copied and pasted whole sections for Narnia. lol.Music editors loved their Gladiator temp too muchWhat was the reason of their swap? Why did Hans Zimmer quit Kigdom of HeavenHybrid wrote somewhere here that something happened between Streitenfeld and Ridley during Prometheus,and that was why HG-W was brought on for some rescoringI was wondering about this too. Like all of a sudden, after a couple of Ridley Scott collaborations, he disappeared.
Streitenfeld's score for "All I See Is You" isn't added to this site. Does it mean, that Marc left the company?Extremely pleased with the release, remastering, and liner booklet notes.  Nice to finally have all of this music.  Sure, some things could have been done differently, like anything else.  I'll be enjoying a thorough listen this weekend, and may watch the film again, as it's been years.Jasha just released a neat little piano album!<br>Go check it out: https://itunes.apple .com/no/album/time-lapse-ep/1452867752My only real gripes left with the score is the somewhat uninspired choral writing (and the fact that the choir sounds like samples in a lot of moments) and the reused percussion samples from every JXL action score ever since Mad Max.After repeated listens of the score and seeing the film 3 times, I'd say now that the score is MUCH better than I initially gave it credit for.<br>Alita's theme (the 4 notes first heard at 1:53 in A Discovery) is used many times throughout the score in many instrumental varieties and variations, and used to great effect in emotional scenes<br>(I Don't Even Know My Own Name, What's Your Dream?, In Time You'll Remember, With Me, I'd Give You My Heart, What Did You Do), In the Clouds especially)<br>And do yourself a favor and get I See Church from somewhere, it's the 2nd best action track of the score after Motorball.<br>--------------------<br>In short, I would now give it a 4.5 / 5 from my previous 3 / 5
Hybrid, what's the story with Finale vs. Safe Now? On this page Finale is listed as Jackman and Zimmer. On the OST page, it's Jackman, Zimmer, & Jasha Klebe. The two versions are different too. Finale has a longer intro and a big outro that makes the Time thing even more obvious. So are they two different tracks with different credits, or is Safe Now just Finale clipped short?Oh man, that's a tough question...I haven't listened to Curse of the Black Pearl in a while.... He's credited on almost every track for themes used... "Fog Bound" is the big Klaus Badelt cue from that movie (the real, 5-minute one in the movie is pretty much all Klaus I believe). <br><br>But Hans appears almost everywhere in POTC 1. Sometimes it's arrangements of his themes by the other guys, sometimes it's parts of the tunes that he wrote put directly in like he wrote them... The following scenes are pretty much directly Hans, if I remember right (this is the list I'm referencing — but as you can see, Zimmer's name is almost everywhere hans-zimmer . com/index.php?rub=disco&id=1128): <br><br>3. Captain Jack Sparrow (Hans wrote the big theme here, as well as the Jack Sparrow stuff at the end)<br>8. Breaking the Chains (more Jack Sparrow theme...) <br>17. Boarding the Dauntless (Jack Sparrow theme...)<br>24. Moonlight Serenade (Zimmer said he wrote this scene like Cinderella walking into a Metallica concert)<br> <br>Aaaaand a lot of the final fighting music is lifted directly out of the suite Zimmer wrote, so it's 90% him. But once again, his themes as arranged by other people appear everywhere. Hybrid can answer way more about all this than I can.<br>Oh wow! That’s all really interesting. So how much of the OST is really HAnS Zimmer then???Hans was composing The Last Samurai while the first POTC was being made. He had promised Tom Cruise and Edward Zwick (might have even signed a contract) that he would only work on The Last Samurai and no other movies at that time. So while Hans agreed to write the POTC themes for Gore Verbinski, he wasn't allowed to be credited due to his obligations to the Last Samurai. So he wrote a few themes and then handed the score off to Klaus Badelt, who got the "name" credit on the score. But the whole score is really Klaus, Geoff Zanelli, Nick Glennie Smith, Ramin Djawadi, and a few others doing arrangements of the theme that Hans wrote (and Hans writing for a couple scenes incognito, like when Elizabeth first sees the skeleton pirates). Then Klaus did do the dark "Fog Bound/Underwater March" tune, as mentioned.Can’t insult me! I am genuinely curious. What’s this about The Last Samurai???
I'm not saying this to insult David, but it's funny to me that even now, 16 years later, after so many clarifications from HZ and others, people still get confused because of the way POTC 1 got credited. All because Hans had to work on The Last Samurai (which is one of my favorite scores of his, so I guess it was worth the confusion).Saw the film last sunday and loved it. Also loved what Tom Holkenborg did hear. It did not felt nor 300. RoE nor Mad MAx. It's something else and loved it how it worked in context.he is working on the new Terminator movie?! :OCredits for Dua Lipa's single "Swan Song" for the movie:<br>Written by Dua Lipa, Justin Tranter, Kennedi Lykken, Mattias Larsson, Robin Fredriksson & Tom Holkenborg<br>Produced by Mattman & RobinMy definition of a Complete score is somewhat different. My goal is to find and mix everything you hear in the movie. Some things you find, others you don't. That's always an adventure in itself.<br><br>The source cues are not hard to find, sometimes it can be tricky to find the right performance/conductor.<br><br>In the case of TTRL, it's mostly the Beam cues that are difficult to find. Francesco Lupica wrote several pieces of Beam cues specifically for the movie, 5 of them which were used. There's also the 'Concerto for Beam' written by Powell, and there's the 'Sit back & Relax' album that was used. So to me, that's a pretty substantial (and important!) amount of music  that made it into the cut, which hardly anyone ever talks about.<br><br>Anyway, maybe a future project will tackle most of these issues.
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 LATEST RELEASES
 NEWS
  2007, February 27
Silva Screen to release a new Zimmer compilation

Silva Screen Records plans to release a new Hans Zimmer compilation album which will be conducted by James Fitzpatrick and will contain new arrangements on Zimmer famous themes such as "Pirates of the Caribbean", "The Rock", "Driving Miss Daisy", "The Thin Red Line", "Crimson Tide" and "The Da Vinci code".

The news come from tadlowmusic.com


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  2007, February 26
The 79th Academy Award Winners

Gustavo Santaolalla won the Best Original Score Academy Award for his work on Babel. Congratulations to Gustavo as this is his second win after having won for "Brokeback Mountain" last year. The other nominees for the same category this year were Alexandre Desplat with "The Queen", Javier Navarrete with "Pan's Labyrinth", Philip Glass with "Notes on a Scandal", and Thomas Newman for "The Good German".

The Oscar for Best Song went to Melissa Etheridge for "I Need to Wake Up" from An Inconvenient Truth.

Check out the complete winners' list at: oscars.com


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  2007, February 25
IMFCA Awards for 2006 announced

For Immediate Release

JAMES NEWTON HOWARD'S "LADY IN THE WATER" RECEIVES 2006 BEST SCORE HONORS FROM THE INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION

February 23, 2007. The members of the International Film Music Critics Association (IFMCA) have announced the winners of the 3rd Annual IFMCA Awards, honoring achievements in film and television music in 2006.

Hans Zimmer, who led the 2006 nominations with six nods, wins two awards: Best Original Score for an Action Film for Ron Howard's "The DaVinci Code" (Decca Records) and for Best Original Score for a Comedy Film for Nancy Meyers' "The Holiday" (Varese Sarabande), which coincidentally includes a main character played by Jack Black who is a film composer.

The Best Original Score in an Animated Film goes to John Powell's score to the tap-dancing penguin hit, "Happy Feet," directed by George Miller (Atlantic Records).

The complete list:

FILM SCORE OF THE YEAR
Lady in the Water (James Newton Howard)

FILM COMPOSER OF THE YEAR
Alexandre Desplat

BEST NEW COMPOSER OF 2006
Brett Rosenberg (Half Light)

BEST ORIGINAL SCORE FOR A DRAMA FILM
The Black Dahlia (Mark Isham)

BEST ORIGINAL SCORE FOR A COMEDY FILM
The Holiday (Hans Zimmer)

BEST ORIGINAL SCORE FOR AN ANIMATED FILM
Happy Feet (John Powell)

BEST ORIGINAL SCORE FOR AN ACTION/THRILLER FILM
The Da Vinci Code (Hans Zimmer)

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
Lady in the Water (James Newton Howard)

BEST ORIGINAL SCORE FOR TELEVISION
Planet Earth (George Fenton)

BEST SINGLE CUE OF 2006
"The Great Eatlon" from Lady in the Water (James Newton Howard)

FILM MUSIC RECORD LABEL OF THE YEAR
Intrada (Douglass Fake, producer)

For more info, the full press release, IFMCA awards' history, complete members' list and even more, please visit filmmusiccritics.org


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  2007, February 25
Trevor Morris to score HILL HAVE EYES 2

The sequel to the 2006 horror movie "The Hill Have Eyes" which received a score by TomandDandy, will be entitled "Hill have eyes 2" and according to the the Gorfaine-Schwartz Agency and filmmusicweekly.com it will be scored by composer Trevor Morris.

Wes Craven, Peter Locke and Marianne Maddalena produced while Martin Weisz is the director.


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  2007, February 05
John Powell to attend Úbeda

7 times ASCAP award winner and 2007 BAFTA nominee John Powell has further announced his intention to attend this year’s International Film Music Conference – City of Úbeda.

Born in London in 1968, John Powell is best known for his outstanding scores to some of the biggest Hollywood box office hits in the last decade. His scores for films like Shrek, Antz and Chicken Run are nowadays a unique point of reference in the animation genre as is the case with his music for action flicks such as The Bourne Identity, The Bourne Supremacy and X-Men: The Last Stand.

John Powell is currently involved in yet another Jason Bourne movie (The Bourne Ultimatum) as well as in Jimmy Hayward’s adaptation of a Dr. Seuss book Horton Hears a Who.

This years guests include :

JOHN POWELL
JOHN DEBNEY
DAVID ARNOLD
PASCAL GAIGNE
JAVIER NAVARRETE
and more names to be added soon!

Source : congreso.bsospirit.com


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  2007, February 04
The Number 23
Harry Gregson-Williams




  2007, February 03
James Dooley scores new videogames

Composer James Dooley has a couple of exciting new projects in his agenda, namely the upcoming Xbox360 game Def Jam: Icon by Cinematics and Castle Wolfenstein by Activision.

For more info you can visit James Dooley's official website and the Gorfaine-Schwartz Agency.


Comments (0)

  2007, February 03
Harry Gregson-Williams, at the bright nexus between sound and picture, manages to make musical magic for a life on and off the silver screen that sounds like it should: GREAT

Read the full interview at: http://www.eqmag.com/story.asp?storyCode=13266


Comments (1)

  2007, February 02
INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES ITS NOMINEES FOR THE BEST FILM SCORES OF 2006

2 February 2007. The members of the International Film Music Critics Association (IFMCA) have announced their nominees for the 3rd IFMCA Awards, honoring achievements in film and television music in 2006.
The nominees are:

FILM SCORE OF THE YEAR
- The Black Dahlia (Mark Isham)
- The Da Vinci Code (Hans Zimmer)
- The Fountain (Clint Mansell)
- Lady in the Water (James Newton Howard)
- Perfume: The Story of a Murderer (Tom Tykwer, Reinhold Heil and Johnny Klimek)
- X-Men: The Last Stand (John Powell)

FILM COMPOSER OF THE YEAR
- Alexandre Desplat
- James Newton Howard
- Mark Isham
- John Powell
- Hans Zimmer

BEST NEW COMPOSER OF 2006
- Caine Davidson (An American Haunting)
- Nicholas Dodd (Renaissance)
- Mark Orton (Sweet Land)
- Douglas Pipes (Monster House)
- Brett Rosenberg (Half Light)

BEST ORIGINAL SCORE FOR A DRAMA FILM
- The Black Dahlia (Mark Isham)
- The Departed (Howard Shore)
- The Good German (Thomas Newman)
- The Nativity Story (Mychael Danna)
- The Painted Veil (Alexandre Desplat)
- The Queen (Alexandre Desplat)

BEST ORIGINAL SCORE FOR A COMEDY FILM
- The Holiday (Hans Zimmer)
- Little Miss Sunshine (Mychael Danna)
- Miss Potter (Nigel Westlake and Rachel Portman)
- The Pink Panther (Christophe Beck)
- The Shaggy Dog (Alan Menken)

BEST ORIGINAL SCORE FOR AN ANIMATED FILM
- Cars (Randy Newman)
- Charlotte's Web (Danny Elfman)
- The Ant Bully (John Debney)
- Happy Feet (John Powell)
- Ice Age: The Meltdown (John Powell)

BEST ORIGINAL SCORE FOR AN ACTION/THRILLER FILM
- Casino Royale (David Arnold)
- The Da Vinci Code (Hans Zimmer)
- Firewall (Alexandre Desplat)
- Mission: Impossible III (Michael Giacchino)
- Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer)

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
- Eragon (Patrick Doyle)
- The Fountain (Clint Mansell)
- Lady in the Water (James Newton Howard)
- Superman Returns (John Ottman)
- X-Men: The Last Stand (John Powell)

BEST ORIGINAL SCORE FOR TELEVISION
- 24 Season 5 (Sean Callery)
- Battlestar Galactica Season 2/3 (Bear McCreary)
- Lost Season 2/3 (Michael Giacchino)
- Planet Earth (George Fenton)
- The Ten Commandments (Randy Edelman)

BEST SINGLE CUE OF 2006
- "Evey Reborn" from V for Vendetta (Dario Marianelli)
- "The Great Eatlon" from Lady in the Water (James Newton Howard)
- "Chevaliers de Sangreal" from The Da Vinci Code (Hans Zimmer)
- "Eragon" from Eragon (Patrick Doyle)

FILM MUSIC RECORD LABEL OF THE YEAR
- Film Score Monthly (Lukas Kendall, producer)
- Intrada (Douglass Fake, producer)
- La-La Land (MV Gerhard and Matt Verboys, producers)
- MovieScore Media (Mikael Carlsson, producer)
- Varese Sarabande (Robert Townson, producer)

Source : www.soundtrack.net


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