NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback

Olive, if you think Brothers In Arms is nothing more than a RCP power anthem, then you're obviously missing something... To me it's one of the most brilliant action tracks of the last few years.Ola team ! <br>Maybe you do know Joe Kramer won't return to score Mission Impossible 6. And no one seems to know who will.<br>So here's my question : any chance to see someone from RC doing this ? <br><br>Thanks for reading me. Keep goin' your good job here, it's appreciated. :)<br>Wow. Pretty solid! It keeps the core track intact and, somehow, adds even more raw power into it. Thanks for sharing!@MrZimmerFan<br><br><Is better because there is variety and orchestration><br><br>It is not because a score is orchestrated that it is automatically superior to one half orchestrated and half electronic. My problem with JL is that it's a small score for a composer with as many facets as Elfman. The music is uninspired and (taking one or another track) ends as it begins, nothing catches yours ears beyond of the romantic moments and of the new interpretations of the themes for the heroes.<br><br>@mpolonest<br><br><I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force the classic themes.><br><br>Elfman had two paths: Ignore everything and do things his way or respect what Zimmer did and maintain the sound of previous films. What did he do? He made an uninspiring hybrid of both.<br><br>@HybridSoldier<br><br><Leagues above, and yet I doubt Ben will be able to write something like "Brothers In Arms" from Mad Max.><br><br>Everyone in RCP knows how to do a power anthem these days.<br><br>@Mephariel<br><br><I would not have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence.><br><br>Obviously not. It could be in smaller jobs and present some potential for years to come.<br>I think I just sharted myself. Thanks!
I'm surprised to have not seen more discussion of this score; I honestly think it represents some of the best music out of RCP in the past half-decade. Yeah, it still has the Journey to the Line / Time four-chord power anthem thing going on, but outside of those themes you have some really creative material that at times doesn't even feel stylistically RCP, and hell, even those structurally-simplistic themes are unusually well-orchestrated. And there's a real orchestra!Some of you may like this guy's cover of Brothers in Arms! Pretty epic, honestly. <br><br> com/watch?v=LCIY41hopq4This score has improved my mood on more than one occasion. Nancy Meyers needs to make another movie, so Hans can score it. lol.Hello great team of Hans Zimmer,<br><br>I was recently listening to "The Might of Rome" (Gladiator soundtrack) and I am craving to listen the long version of the piece around 2:38 - 2:48 (something like an oriental flute). Does it exist as a standalone composition? Is it inspired from some third party artist, if yes, can you please tell my which one?<br><br>Thanks!@Olive<br><br>Wallfisch's career unquestionably benefited from his involvement with Zimmer. He wouldn't have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence. Wallfisch is a very talented composer, but let's be honest here, his music doesn't immediately strikes anyone as a big action guy. Having Zimmer's name pushing you helps.
Hybrid, what do you admire more: Black Hawk Down or Tears of the Sun?"Elfman's score is like Whedon, horrendous & out of place."<br><br>Out of place, yes. Horrendous, no.Leagues above, and yet I doubt Ben will ever be able to write something like "Brothers In Arms" from Mad Max.<br><br>Comparing people is kinda useless...<br><br>The only who's right is Hans in the end, he knows when to use one and when to use the other... ;)@Edmund<br>I’m in the same boat. When I watch a movie I normally don’t pay attention to the music unless it’s really distinctive. As a stand alone listening experience I usually want to get music that fits a mood and can hold my interest throughout. Take Silvestri’s Avengers score for example. The big statements of the main theme and some of the action cues are excellent. Unfortunately it’s surrounded by generic underscore that slows the album down imo. But then you have TASM2, which constantly has something going on no matter what. I feel like that’s something which does relate to the directors, not so much the talent level of the composers.<br><br>@olive<br>Ben Wallfisch is LEAGUES ahead of JXL as a composer, partly because he’s had years of experience in film composing. Hopefully his recent successes give him more high profile projects.<br><br>As for Justice League, I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force in the classic themes. Had he done his own spin on Zimmer’s material there would a better connection to the previous ones.Elfman's score is like Whedon, horrendous & out of place.
@Olive: Is better because there is variety and orchestration, and i'm not a purist (i liked BvS, there is more complexity in it than in MoS), but Danny Elfman has more integrity in that score than in that two scores.He did!<br><br>The action material in "Do You Bleed?" is by XL! <br>Wallfisch has shown himself to be a superior composer to XL, let's face it. I do not even see why he's running after Zimmer since he's able to run a career himself.<br><br>@TheZimmerFan <br><br><But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)><br><br><br>The music is less simplistic and may please the purists, but, no, MoS and BvS are better by a small margin than JL by one factor: thematic material and characterization of the movie.  Elfman should have had more freedom to work on the themes he and Williams wrote.<br>It's a half-truth to everyone who makes up the RCP team, unfortunately. <br><br>But I honestly doubt that ANYONE wants to work with XL.<br><br>Snyder worked with him 3 times. 300, BvS and Man of Steel. Sometimes I even get the impression that he's always liked Tom's approach more than Zimmer's approach. See all the percussion and synths of all those scores that are far more present in the Xl field than Zimmer's.Got this today..well not my music type so pass it...

Please install Flash®
and turn on Javascript.

Rate those CD:
Top 50

updated by Nicolas 
  2010, February 27
Hans Zimmer - about Henry 4

Comments (2)

  2010, February 27
John Powell

How To Train Your Dragon

  2010, February 25
Sherlock Holmes
Discombobulate Music Video, Composed by Hans Zimmer

Comments (25)

  2010, February 25
Hans Zimmer & Henry Jackman

Henri 4

  2010, February 18

Comments (8)

  2010, February 14
John Powell

Green Zone

  2010, February 12
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.

Read more :

Comments (1)

  2010, February 11
Coca Cola : Hard Times (The Simpsons)

Hard Times features a variety of characters from The Simpsons, most notably greedy billionaire C. Montgomery Burns. As Mr. Burns faces the loss of his fortune and worldly belongings, he learns to appreciate lifes simple pleasures like friends and family. The commercial was first shown during Super Bowl XLIV (44) 2010.

Music By Hans ZIMMER & Michael LEVINE

Thanks to Jens Eriksson

Comments (3)

  2010, February 07
David Buckley

From Paris With Love

  2010, February 04
Hans Zimmer, Academy Award Press Statement

Conan Doyle realized that a successful lead character needs to play the fiddle. I wish all filmmakers did. It makes writing the score so much easier. With Guy's great encouragement we took the orchestra out of the lofty spheres of the concert hall and brought them back to the pub, where they seem right at home. After all, There is no human emotion that has not - at one time or other - been profoundly expressed in a pub, and I'm so grateful that my peers at the Academy have recognized that. This is the year where we pit the humble banjo against the might of the orchestra.

Hans Zimmer

Comments (14)

  2010, February 03
WEBRADIO needs to be updated

Due to technical problems, you must change your current server configuration, and replace previous link by the updated one. Please visit THIS PAGE to make the needed changes.
Thank you

  2010, February 03
The secret lair of Hans Zimmer, from where he inspires the world

Comments (16)

  2010, February 02
Hans ZIMMER nominated for the Oscars ceremony

The Sherlock HOLMES' score composed by Hans ZIMMER is nominated for the Oscars.

Other composers also nominated are James Horner for Avatar, Alexandre Desplat for Fantastic Mr. Fox, Michael Giacchino for Up and Marco Beltrami & Buck Sanders for The Hurt Locker.

Comments (9)

  2010, February 01
Hans Zimmer - Geoff Zanelli - Blake Neely

The Pacific© 2001-2017 OST 
Stephane Vidali / Antas - Nicolas Cabarrou