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They all respected the theme of Courage, but each new composer brought a different sub-theme to the franchise.<br>@James  I don't know what you are referring to exactly, but I think that Horner's score in Star Trek II is a great example of a follow up movie score within the same universe. <br>I think all of those movies use the Alexander Courage theme for the original series but they still have some original material of their own and that's what Elfman should have done if he wanted to use the old themes for Batman and Superman. He could have used those in some moments but also keeping some material from BvS and MoS and creating new themes for the new characters and the League.What?! Did Mothersbaugh use a ghost writer?! he he heThis is a kind of Chappie mixed with Arcade of MoS.Hallo,<br>ich hätte eine Frage zu "Man of Steel", Track 2: "Oil Rig".<br>Da ist bei meiner Kaufversion (Download bei google) eine Stimme zu hören bei Sekunde 17 Bevor der Beat losgeht. Es hört sich an wie eine Kinderstimme die "O...O..." ruft. Ich finde es witzig, wüsste aber gerne wie die Stimme da rein kommt.<br>War das Absicht, gibt es eine Story dazu, oder ist es eine Fehler in der Aufnahme?<br>Weiß jemand was dazu?<br><br>LG
cd may have been shipped but ups tracking refrence shows up nothing on there site anyone got an ideas at to why this may be many thanksThe track is unreleased yeah, part of the movie's climax<br>chronologically it goes between Devils Anus and 'Asgard is a People'The Sierra Leone track Andrew K posted (link below)...I almost wonder if that's how 2010s Zimmer would redo The Lion King. More bass, more minimalist, more Interstellar...but still with an African flare.Horner and many others with Star Trek is a good example too.Huh. Well, the music Andrew posted is nice.
"Don't believe everything you hear, son."what do you gyus think about this? <br><br>www . youtube.com/watch?v=9riigqWjovMHallo,<br><br>Der 'Gladiator' ist schon langsam in die Jahre gekommen, die Musik ist aber nicht älter geworden. Genial.<br><br>Gruß  <br><br>Not bad score.<br><br>But I prefer the other oneIsn’t that ironic that DC is abandoning the continuity while Marvel is finally embracing it?<br><br>For any electronic fans out there, this score is definitely a must listen, there are some badass 80’s beats (with a dash of Tron legacy) in here.
I'm so mad at DC right now I'd rather promote Marvel !! lol<br><br><br>Well jokes aside I add cause Andrew worked on it. And btw he posted another 5 min cue on his Soundcloud, dunno if it's unreleased, there'll better specialists of that score than me !Yeah, I happen to have seen the film and the score is not really "coherent", it's more like many different cues put together...Okay, thanks for clearing that up. The Tracks released were kind of interesting, a kind of mix of soundsAnyone else think Hans knew about all the studio meddling during pre-production, the rewrites etc and walked away ? I mean, when I heard Elfman's score I thought it was generic and wouldn't fit the movie. Then I watched the movie and it fits well. The movie is just as bland as the music in the background.I don't have to ask, that movie was a failure that barely got distributed... No one had any interest in releasing this score...
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  2010, January 25


  2010, January 20
Composer Zimmer on 'Holmes,' Oscar's Troubling Taste



Robert Downey Jr.’s brash, spirited performance in the title role of the Guy Ritchie film “Sherlock Holmes” may have taken home a Golden Globe on Sunday night, but a different – but equally bold – aspect of the film has a better chance to draw attention from the Academy. Hans Zimmer’s score turns action-movie music on its head, using a small group of acoustic musicians to whip up a playful, dynamic, inventive folk-based sound that plays a dominant role in the film as it trashes and reinvents the conventions for this kind of movie.

The German-born composer talked to theWrap about the film in his Santa Monica studio, where he composes in a remarkable room that manages to combine thick carpeting, plush red couches and dark carved wood bookcases with a huge array of computers, synthesizers and recording equipment.

The conversation was interrupted several times by urgent conversations about music the prolific composer had written for an upcoming episode of “The Simpsons,” which apparently hadn’t quite passed muster with that show’s producers.


Complete interview at : www.thewrap.com


Comments (8)

  2010, January 18
Composer Zimmer Talks Sherlock Holmes, Inception, Dark Knight, It’s Complicated


In many ways, the best thing about Sherlock Holmes is its score (released January 12), featuring exotic Hungarian and gypsy instruments. It’s one of about a hundred movie scores delivered by prolific German composer Hans Zimmer, who has earned six Oscar nominations; he won for The Lion King in 1994.

Articulate and charming, Zimmer invited me to his lair in Santa Monica, a sprawling complex housing other composers as well as rooms crammed with synthesizers, computers and towers of servers. He’s currently working on Inception for Chris Nolan, for whom he composed the score for The Dark Knight. He gave me a tour, showed me where and how he composes and explained his working process on the scores for Sherlock Holmes, It’s Complicated, Gladiator, and The Dark Knight. He even plays a bit.


More at : blogs.indiewire.com


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  2010, January 09
Meet The Musicians



Hans Zimmer recorded the score with featured soloists Lorne Balfe, Ann Marie Calhoun, Tina Guo, Aleksey Igudesman, Davey Johnstone, and Diego Stocco on a triple-neck double-bass he himself built.

Zimmer contrasted an opulent sounding chamber orchestra with these soloists and a Salvation Army Brass Band; infusing Doyle’s orderly, Victorian world with the unorthodox.

Get to know these diverse talented musicians and learn how they became involved with this project in the videos below.

> watertower-music.com/sherlockholmes/musicians/


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  2010, January 08
AUDIO: On The Score With Hans Zimmer

Daniel Schweiger interviews HANS ZIMMER about the romantic samba of IT’S COMPLICATED, and an off-the-wall score for SHERLOCK HOLMES.

> More at www.filmmusicmag.com


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  2010, January 05
Despicable Me Project



Hans Zimmer & The Neptunes


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