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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 WW1984May know how to downloaddamn it would be kinda awesome and hilarious if Lorne Balfe got Lorne Balfe’d 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 photoHah! 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 tracksWow!!!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 X2
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  2010, December 21
WEBRADIO IS CHANGING FOR A NEW SERVER

Click HERE to listen the new adress. The Webradio page will be updated in a few hours.


  2010, December 19
Daft Punk



Tron Legacy


  2010, December 14
Hans ZIMMER nominated for the Golden Globes Awards

The HFPA nominated the INCEPTION's soundtrack for "BEST ORIGINAL SONG – MOTION PICTURE" category.

Other nominated composers are :

Alexandre DESPLAT (The King's speech)
Danny ELFMAN (Alice In Wonderland)
A.R. RAHMAN (127 Hours)
Trent REZNOR, Atticus ROSS (The Social Netwok)

The show will be broadcast nationwide live on NBC, in HD, Sunday, January 16, 2011 from 5:00-8:00 (PST)/8:00-11:00 (EST) from the Beverly Hilton Hotel.


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  2010, December 14
Sound Byte: Meet the Composer - Disney Epic Mickey's Jim Dooley

James (or Jim) Dooley is an Emmy-award-winning composer who graduated from New York University. (He was also a speaker at this year's PAX, which you can read about here.) In 1999, he began working with Hans Zimmer on Gladiator, which then led him to work on movies such as The Da Vinci Code, Pirates of the Caribbean: The Curse of the Black Pearl, King Arthur, and many more. In addition to having an extensive background in film, he's a prolific composer in other forms of media, including television, where in 2008 he won an Emmy for his music in the hit ABC series Pushing Daisies. When it comes to video games, though, he has worked on Jak and Daxter: The Lost Frontier, a couple of SOCOM games, and, of course, Disney Epic Mickey. Watch our interview below to find out what kinds of challenges he faced when it came to reimagining some of Disney's most famous tunes.

Complete video interview : http://www.gamespot.com/wii/adventure/disneyepicmickey/news.html?sid=6284470


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  2010, December 14
Composers Find New Playgrounds In Video Games

The game, Epic Mickey, has just been released for the Nintendo Wii. The man who wrote the music, Jim Dooley, has worked on some of the biggest TV and movie projects in the past decade. Dooley told All Things Considered host Guy Raz that video games present interesting challenges to the modern day composer.

Read more : http://www.npr.org/blogs/therecord/2010/12/01/131702650/composers-find-new-playgrounds-in-video-games


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  2010, December 14
The Pirates of the Caribbean: The Curse of the Black Pearl
Complete score world premiere live (full symphony Orchestra and chorus)
On 20/21 January 2011




For further informations and/or ticket ordering go to www.artproductions.ch


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  2010, December 13
Matthew Margeson Gets In Line With The Sky

I started banging around on an old organ that my parents had in the house when I was about 4 years old or so. My parents thought it would be a good idea to start some lessons very soon after. When I turned 5... they hired this old, old man to come to our house every week and give lessons. I think he was maybe 72 years old or so when he started teaching me, and he actually was my private instructor for the next 12 years.

Throughout my youth, I was very much involved in musical theatre. I was involved in a lot of community theatre, doing musical direction for performances. During this time, I also had a little part-time job working at a small local video rental store. Because there was very little foot traffic at the store - the employees basically just hung around all day and watched films. I think both of these situations were a good recipe for me to have a strong interest in film music. I watched a lot of movies, I played a lot of music, and had quite a bit of experience performing music live to people acting on stage.

I studied Film Scoring & Composition at Berklee College of Music in Boston, and shortly after - drove out to Los Angeles. That, and a little bit of working with the right people in LA kind of brings us to where I am today.


> Read the complete interview


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  2010, December 07
Hans Zimmer to join Hollywood Walk Of Fame -UPDATED-



Hans Zimmer is to be honoured with a star on Hollywood's Walk of Fame, organizers announced Thursday.

The 53-year-old will receive star number 2426 at an unveiling ceremony tomorrow. Guests are to include director Christopher Nolan, whose recent films Inception, The Dark Knight and Batman Begins are all accompanied by Zimmer's music.

The composer said he would dedicate his star to agent Ronni Chasen who was murdered in Hollywood last month, shot in her car on Sunset Boulevard. Chasen had represented Zimmer for many years.

Hans Zimmer was nominated twice for a Grammy this week, for his work on Sherlock Holmes and Inception.

source : monsterandcritics.com

Here are some pictures and videos from this event...







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  2010, December 03
Hans Zimmer confirmed to score new Pirates movie

Hans Zimmer is set to start scoring the fourth part in the Pirates of the Caribbean series in January of next year. In Pirates of the Caribbean: On Stranger Tides, Jack Sparrow and Barbossa embark on a quest to find the elusive fountain of youth, only to discover that Blackbeard and his daughter are after it too.



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