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He has a studio at RCP but mostly work from his own home studio. His business is "Sacred Tiger Music."<br>Does Henry actually work for HZ at RCP or does he have his own film score company now like HGW?Why filmtracks always behave very Aggressive about hans zimmer and always trys to make his scores worthless ??!! Its odd for meAw Hell...<br><br>I guess it never did freeze over.Sorry, I should've been more specific. This is a comment I had originally posted on the Filmtracks forum, NOT from a Christian Clemmensen review. My bad.
Referring to the previous comment (how did it not reply to the the previous message?)That's not the actual review. The length is a pretty big giveaway. Also, I'm fairly certain he's still given some RCP efforts some good scores.WOW....color me impressed at Filmtracks. I thought that site was anti-Zimmer in all aspects far, wide, near and dear.Copied from Filmtracks:<br><br>Excellent score - a little slow in the middle third*, but some really stirring fantasy-adventure elsewhere. "The Internet" is Cue of the Year material. Although it's odd how little synth there is here, particularly in the finale, where the orchestra seems to completely take over; this isn't too bad of a thing because Jackman's orchestral skills are downright breathtaking at times. The references to other Disney scores/musicals (yes, including Star Wars) left a big dumb grin on my face.<br><br>*I get the sense that this movie might be too long (1 hour and 52 minutes).No you're not. I think Jackman has made some great score over the last through years.<br>And I think this is one of them. Both tracks with or without electronics
So I guess I'm the only one who likes less-electronic-Henry?Henry has been removing electronics for 4 years now...Listen to<br><br>A Big Strong Man In Need Of Rescuing.<br><br>That whole track is a damn easter eggI haven't seen the movie yet but I like the score more with each listen. Not a classic Zimmer by any means but still an enjoyable listen at its short running time. Looking forward to the movie as well.This is me or Henry Jackman removed the electronics this year it could be affect to the predator score because I was thinking about the predator score affect him to remove electronics and turned serious & dramatic. That's weird when Henry Jackman used a lot electronics & fun since 2009 to 2017 with his scores.
The Henry Jackman I know died out after Civil War and Kingsman 2. After that you can hear faint fizzles of his electronic greatness, but nothing more. <br><br>But hey maybe he just doesn't wanna do that crap anymore...so..eh.Hard to believe this is a follow up to Wreck-It Ralph. Did he remove the electronics from this one too? Sounds too serious and at times dark and dramatic for a kid's movie score. Whatever happened to the fun?Imperial March and Luke's theme are in it!Widows is actually a pretty interesting score. Not one of Zimmer's best from for an isolated listening experience standpoint, but as a textual score, I was engaged for the most part. The score effectively builds momentum throughout from beginning to end and I could feel the movie just by listening to the music.Tracklist:<br><br>01. Imagine Dragons – Zero (3:32)<br>02. Sarah Silverman, Gal Gadot, Cast – Ralph Breaks the Internet – A Place Called Slaughter Race (3:28)<br>03. Julia Michaels – In This Place (3:21)<br>04. Karol Sevilla – El lugar (3:21)<br>05. Best Friends (2:53)<br>06. Circuit Breaker (2:22)<br>07. Pulling the Plug (1:14)<br>08. On the Rooftop (1:04)<br>09. The Big Idea (1:16)<br>10. The Internet (2:47)<br>11. KnowsMore & Spamley (1:18)<br>12. Site Seeing (1:30)<br>13. Checkout Fiasco (1:33)<br>14. Get Rich Quick (1:43)<br>15. Shank (3:03)<br>16. Hangin’ Out (1:03)<br>17. BuzzzTube (1:42)<br>18. Overnight Sensation (2:52)<br>19. Separate Ways (1:04)<br>20. Vanellope’s March (0:46)<br>21. Desperate Measures (1:20)<br>22. Don’t Read the Comments (1:49)<br>23. Growing Pains (1:35)<br>24. Double Dan (3:36)<br>25. Scanning for Insecurities (1:54)<br>26. Breaking Up (2:46)<br>27. Replicate-It-Ralph (1:21)<br>28. Operation Pied Piper (2:38)<br>29. Kling Kong (3:39)<br>30. The Meaning of Friendship (2:16)<br>31. A Big Strong Man in Need of Rescuing (1:55)<br>32. Letting Go (1:49)<br>33. Comfort Zone (1:33)<br>34. Worlds Apart (1:22)<br>35. Alan Menken, Phil Johnston, Tom MacDougall – A Place Called Slaughter Race (Instrumental) (3:28)<br>36. Alan Menken, Phil Johnston, Tom MacDougall – In This Place (Instrumental) (3:20)
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  2010, October 17
Hans ZIMMER



RAIN MAN Official Complete Release
Limited 2000 copies


Buy this item Here


Comments (18)

  2010, October 12
Oscar Watch: Hans Zimmer Talks Inception Score



Christopher Nolan’s Inception, which has crossed the $800-million mark worldwide, certainly will be one of this year’s ten best picture Oscar nominees. Warner Bros. will bring the movie back into the public eye when it promos the DVD release in early December. One key contributor to the film’s success is composer Hans Zimmer, who has been consistently strong of late (Sherlock Holmes marked his seventh Oscar nomination; he won for The Lion King). Released on iTunes July 9, the Inception soundtrack was a top ten bestseller.
> Read more : http://blogs.indiewire.com/thompsononhollywood/2010/10/10/zimmer/#


Comments (15)

  2010, October 09
Marc Streitenfeld



Welcome To The Rileys
John Powell



Fair Game


  2010, October 09
In this audio interview Ramin Djawadi talks about his recent score to the newest game in the Medal Of Honor franchise.
Special thanks to Ramin, Ray Costa and Sarah Grace at Costa Communications.



Comments (1)

  2010, October 06
Composer Interview: Going To Town With David Buckley



"I got a chance to once more ask Dave a few questions about his recent collaboration with Harry Gregson-Williams on the new Ben Affleck film The Town. David talks about the collaborative process, using electronics as an instrument and much more."
> Read More


Comments (1)

  2010, October 04
Interview with Nick Glennie-Smith


Nicolas de Villiers (The park's president), Nick Glennie-Smith et Philippe de Villiers (The park's founder)

How did you discover the Puy Du Fou ?
They actually discovered me after hearing the Iron Mask score which I composed. After a few meetings between Los Angeles and Vendée, we eventually worked together. I immediately loved the concept of the show and the people working there.
How did you manage ?
We worked together for three years. I started from videos, scripts. Nicolas and Philippe de Villiers told me the story and gave me the color and the feeling. I personally added the orchestral music with a rock"n roll background.
Tell us about your career...
I have been working with a park for the one and unique time. I usually compose for the cinema. For example, I wrote the "Pirates of the Caribbean", "Da Vinci Code", "The Iron Mask" scores. It's more or less the same universe as the cinema, with an addition of thirteen thousand spectators. After a film, the show is over whereas, in a park, it goes on. It's more lively.
What are your projects ?
We are working on the 2011 Cinéscénie. We will have to recompose some musics. The show will be recorded with the London or Los Angeles symphonic orchestra. A Vendean musician, Laurent Tixier, is working with us.

Interview by Linda Benotmane (Ouest-France)
Thanks to Dominique Michonneau
Translation by Béatrice Cabarrou


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  2010, October 01
Hans Zimmer & Lorne Balfe



Megamind



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