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you added credits! finnaly we can see at least who was working on it, hopefully there will be releaseAND "Monza 1976".... <br><br>Holy shit! What an awesome cue!Looks like "Need You Busting My Balls - Main On Ends" is on YouTube. Sounds pretty legit to me :DTo each his own.This is an awesome collection, but does anyone out there know how to rearrange these tracks chronologically, especially Combines Assault?
Were did you heared that? I want to listen to it too... I hope that you say is true.mpolonest123 I totally agree with you. It's not that I don't like Gladiator (is an awesome score) but I think The Last Samurai is one of Zimmer's most underrated scores and for me is one of his bests'Goldsmith's original is epic, this is boring and generic crap.It's some kind of arabic, I can verify that theory myself. It's Deshi Basar'a, Go Quickly! or Rise Quickly!Well here is my last response... this is beyond absurd... & I feel Mr MK is somebody with a weird agenda posing as a fan.  Yes, I AM THE REAL PEDRO EUSTACHE [not somebody "posing" for me] & I truly think this is useless... specially with people impossible to exchange honest, constructive opinions with... Please, whoever MK is, please, before you "tear me down" do your homework, & check out what God has blessed me with [yes, even if you don't believe in him, he is real tome... WHEN I ALMOST COMMITTED SUICIDED AFTER MY DAUGHTER—THREE-YEARS OF AGE— DIED OF BRAIN CANCER, JESUS SAVED MY LIVE, SIR!!  YES, HE IS THAT REAL TO ME... IN SPITE OF YOUR MOCKERY & DISRESPECTFUL SARCASM... you might be surprised… I have composed & performed a 47 minute long, 12 movement concerto for 21 solo wind instruments of the world with Mtro. Gustavo Dudamel & his extraordinary orchestra, for example, in which I perform Raga Todi in a unique 15-hole bansuri built by myself, or when I mix a fugue Bach-style with Spanish “Bulería” Flamenca, or use a “mirror-form” in the Armenian piece in which the actual musical orchestral score—literally!—‘draws’ the silhouette of mount Ararat, the symbol of Armenia, or a 21/8 piece for the Easter-European section that starts with 12 upright basses slapping & doing ‘pizzicato Bartok’, or etc… you get the picture!!…] or recording three times with Mtro John Williams [missed the fourth time just now: “Star Wars VIII” due to being in world tour w Hans,,, (recordings where in May 2 & 4)—besides MANY other movie scores with Hans, John Powell, John Debney, James-Newton Howard, etc... or building more than 100 instruments, including unique instruments that nobody else in the world has, after doing research in acoustics with highly specialized Ph, D’s in flute & wind acoustics like Dr. John Coltman & Dr. Peter Hoekje, for example… & etc, ETC… My point: this is ridiculous!! I do not have to defend myself from such absurdity... Ah, forgot to mention: I just finished a 242 pages long book on "How to Write our Own Cadenzas in Mozart Style", or my studies of “Musical Phenomenology” with Mtro Markand Thakar--disciple of the genius Sergiu Celibidache--or that I have more than 7 years of Symphonic experience, studied Indian classical music with luminaries like Pnd Ravi Shankar—yes, THE legendary, iconic, irreplaceable & historic Ravi Shankar!— & Pndt. Hariprasad Chaurasia... but wait... I'm wasting my time!!… Mr MK might not even know who these geniuses are!… He just thinks I am a "jazz player”… such rubbish!! …And concerning your mockery of the Creator, please do not make public your ignorance in such an obvious way... THE GREATEST MUSICIAN IN ALL HISTORY: J.S. BACH SAID THAT MUSIC EXISTS TO "GLORIFY GOD & TO SUBLIMATE THE HUMAN SOUL'... but of course, you might not even know who J. S. Bach is… So, I will refrain from honoring your absurdly useless, empty, & strangely biased criticism... And no, sorry, I love Hans, BUT HE IS NOT GOD... He is a wonderful human being with great talent & wonderful heart... Only God is GOD--whether you believe on Him or not--May GOD BLESS YOU sir!! I will not waist more of my time in this... Blessings to all!!
It's feel like they all look like images they use for merchandise books and magazine's, also the posters look like they are for a movie for children. But that's my opinion. The postes for all other films were fantastic, these feel like a big downgrade. Maybe that's why I don't like them.Great!Hi, how long is the average concert? Specifically the one in the Qudos Bank Aetna, Sydney Olympic Park.The first trailer had a bit of Tessa's music at the start, the second a bit of Lockdown's theme, the big kinda orchestral bit, instead of the electronic braaaaams.Got a special chance to hear a part of salazar's theme, sounds like a varied version of blackbeard's theme but it fits appropriately, very evil. You all should like it.
Woops! Made a typo. <br><br>What was used in the final trailer *wasn't* exactly what ended up being used in the film ;)Sounds like a suite<br><br>And wasn't it only the final trailer that used material from the actual score? It was Lockdown's theme. But what was used in the trailer was exactly what ended up being used in the film.@MrTweedy <br>That is true, and you do get the guitars in "Barbarian Horde" (not sure where else though).<br><br>I have to admit, as revolutionary as Gladiator was at the time, I think it's one of Zimmer's more overrated scores. Not that I necessarily think it's bad, but IMO both Last Samurai and King Arthur show a much stronger balance of themes and action writing, yet unfortunately were never as recognized by the mainstream the same way Gladiator was.That synth in the main theme! I didn't expect that. It's really good.@mpolonest123<br>Actually, there's a small hint at the "spaniard" guitar theme after the sequence where he escapes his execution (track "Homecoming" on the More Music album).
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  2013, September 27updated by Antas 
Hans Zimmer plays the piano of the future



Hans Zimmer, the creative force behind some of Hollywood's best loved film music, including the Oscar-winning Lion King score, adjusts his chair in front of a sleek black instrument that looks something like the control panel of a stealth bomber.

He raises his hands to the monochrome keyboard and presses gently. A familiar strain emerges from it: the opening lines of the Dark Knight theme, but today it sounds unlike it has ever sounded before.

More here : http://edition.cnn.com/2013/09/27/tech/innovation/hans-zimmer-seaboard-future-piano/index.html


Comments (37)

  2013, September 23updated by Hybrid Soldier 
HANS ZIMMER by HANS ZIMMER


"I didn't start in Germany. I could never get a job there since I hadn't gone to music school, and they wanted to see references from an Akademie.

I was playing in bands in England - pups, colleges, workingmen's clubs, strip-joints. Always late with the rent, and worse - always ran out of shillings for the electricity meter. Makes it a bit hard on the electronic wunderwerk when it all gets dark in the middle of a riff.

Lived mainly off the kindness of friends (it is important, as a musician, to be entertaining enough that people take you out on a regular basis for expensive dinners). Always owed the bank money - but the bank manager sort of believed in me, and let me overdraw. Borrowed synth from the good people at Argent's Keyboards and Syco Systems. Fell in with the jingle crowd, which was a regular check (I used to do two or three a week, sometimes as a composer, sometimes as a synth programmer for other composers)

Started working with an equally poor Trevor Horn and Geoff Downes. Made a song we couldn't give away. Went to number one the week before my twenty-first birthday. Still waiting for the royalties.

Got fed up with the world of rock 'n' roll. Started working with Stanley Myers (The Deer Hunter) as his assistant. He showed me how the orchestra worked, I made excellent espresso. Fair deal.

It was actually quite good not to be on the road anymore. I used every second to get better with equipment. I would loiter at the studio after I was done with my session and learn from engineers like Geoff Emerick, Flood, Hugh Padgham (actually, he was the bass player in my first band).

Built a studio in London with Stanley. It was tiny, but sounded great. Soul To Soul, a lot of KLF and other experimental stuff, endless disco... Learned what a "hook" is. Beethoven knew... Mozart and the Stones knew...

And the commercial directors where starting to make TV movies. Our friends Tim Bevan and Sarah Radcliffe started a film company called "Working Title". No money, but a vision. Suddenly we where doing movies. Our movies where edgy and funny and usually under-financed before we even started. Mostly cut above strip joints or brothels in London's Soho. It was all just a different form of the world of entertainment, and the rent was cheap. Still owed the bank a fortune. I kept telling them that a synth could buy a house, not the other way round. That One idea, One tune would make the difference between ruin and being able to pay the banks back. And since I had no other qualifications, they didn't really have a choice.

But I knew my stuff. It was limited - I was into electronica - but I could go up to any synth, any mixing console and work with it. I never took a day off. I was glued to all the synthporn magazines, hung out for years at Syco systems, who sold the Fairlight and the Linn, and eventually was offered a movie in L.A.

And while we - due to lack of money - had really made what little technology we had (ok, I had a Fairlight by then... don't ask how we got it or paid for it. Sometimes you have to be lucky. Thank You, Stanley Kubrick!) work for us brilliantly, Hollywood wasn't at all the technological fab place I imagined it to be. It was very talented people writing on paper, with their arrangers and orchestrators in some dingy back room with neon lighting and cottage cheese ceilings. Not really my thing. Stained, cracked linoleum floors and water-damaged ceilings ("but that's where Orson Welles cut 'Citizen Kane'!", yeah, great, but can you at least change the lightbulb?") So I built myself another studio and other people wanted to be part of it, like Mark Mancina, Harry G-W, John Powell... and because we had all that rather cool, yet primitive technology, directors actually liked coming over and hearing mock-ups of a score, discuss the music to picture without a hundred piece orchestra waiting outside. And we had an excellent drinks cupboard.

But the main thing was - we all had an insane work ethic (I remember feeling guilty leaving at 4am one morning, because everybody else's car was still there.). We surrounded ourselves with the greatest music editors like Adam Smalley and Bob Badami (look up their credits!) and changed their way of working to be more like record producers. We got recording engineers like Alan Meyerson, who could effortlessly move between orchestra and fuzz-box.

If we had an idea, we'd build it. We still build our own samplers, put unfair pressure onto companies like Steinberg and Avid (Logic is too corporate now. It's not how long it took to get this last update. When do you think the next one is coming out?)

We very much worked like a firm of architects. One main designer, with us all helping each other out. People are still confused about the "additional music" credits. If it sounds like me, it's probably me. Head Architect. But how can my collaborators ever get a career going if they are just "Ghosts"? If it sounds like John Powell, it's probably him... same rules apply.

Personally, I couldn't give a flying f@&$ about credits. I'm in it for the process. That's the part I love. I have a deal with one film company where they pay me next to nothing for the music, but a shitload of money for doing press. Press is hard work, parties scare the living day lights out of me, and premieres are only great for being in amongst a big audience for whom, ultimately we made it, and enjoying the movie with them. The party after is just some sort of Irish wake, where we say good bye to the joy we had making the thing.

The only thing between you and a career is singleminded stubbornness, hard work and sweat, tempered with social graces and a true compassion for your poor director, good ideas, recklessness, humility and an insane work ethic. You have to have talent in all of these fields, plus, obviously, music and story telling. You need to be a proud servant of the film, and be respectful and a little bit in love with and of your audience. I'm not big on awards. They usually get it wrong. "Shawshank Redemption" should have won the Oscar, in my opinion. My learned and generous peers obviously had a different opinion and gave it to me for "Lion King". Made no difference to my career, or the trajectory I was on.

The only true compliment I feel is, when someone goes out and spends their hard earned money on one of my movies or soundtrack. Real people, who have a choice, wanting to be entertained and moved and think I can do that. The only thing I'm interested in is that I'm having some weird ongoing dialogue through my music with people I've never met, who are moved or provoked by my music, that something from my heart resonates with their emotion or brain - all over the world, whatever culture. And I'm interested that some guy with no education from Frankfurt can make it in Hollywood. Because that means anybody can."

Hans Zimmer (from VI Control)


Comments (17)

  2013, September 22updated by Nicolas 
NEW Hans ZIMMER's INTERVIEW

Hans Zimmer is talking on his Rush Soundtrack, Oscar Nominations & 'Man Of Steel 2'

Read more at the Huffingtonpost.com


Comments (0)

  2013, September 13updated by Hybrid Soldier 
Hans Zimmer Interview about RUSH





Comments (3)

  2013, September 12updated by Antas 


Comments (18)

  2013, September 08updated by Nicolas 
The Legend Of Shalimar

Have a look on the new TV spot from Guerlain
featuring music from The Da Vinci Code (2006) (By Hans)



A film by Bruno Aveillan
With Natalia Vodianova & Willy Cartier
France
Release date : 2013/08/28


Comments (1)

  2013, September 07updated by Nicolas 
Listen To Some Tracks From Rush Soundtrack HERE



  2013, September 04updated by Nicolas 
Batman vs. Superman



‘Batman vs. Superman’
Hans Zimmer On Whether He’ll Score the ‘Man of Steel’ Sequel


Hans Zimmer’s drum-tastic score for Man of Steel ranks among his most impressive work in recent memory, but there’s been some doubt surrounding his potential return to provide the music for the Man of Steel sequel – not least of all, because the movie will include Batman, who’s a comic book character that Zimmer previously helped bring to life when he scored director .

Read more HERE


Comments (15)

  2013, September 03updated by Hybrid Soldier 
Hans Zimmer Interview at RUSH Premiere





Comments (18)


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