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@Knight<br>Yeah I really can’t argue there. As much as I love Mortal Engines even I have to admit that recording was kind of awful, particularly with the studio noise filtering through.Ditto on the recordings, Mortal Engines was awful in this regard with the harsh mix and on top of that, an unforgiveable amount of session noise/chatter.I’ve been giving this score a few more shakes lately, if only to see if my initial opinion had changed. The biggest issue for me is the lack of a strong set of themes. Alita’s Theme, for example, works well enough in context but hasn’t really left any impression on me. Mortal Engines has about 7 primary themes, all of which are really strong. <br><br>Where I will praise Tom the most is the recording. Everything sounds crisp and clear, as opposed to his usual overmixed style. Here’s hoping that he sticks with this type of recording from now on. <br>And one other plus, the woodwinds! It’s so refreshing to hear the woodwinds play a prominent role here, especially in the almost classical way they are utilized.It seems the Japanese exclusive tracks are available on deezer, but not on any other platform. And weirdly enough, I couldn't find any download link anywhere.Lieber Herr Zimmer,<br><br>würde über Ihre kurze Meldung über mein Stück freuen.<br><br>Liebe Grüße<br>Irakli Shermazanashvili<br><br>https://www.youtube.com/watch?v=a-FWQaMm4p8
"BBC Studios has announced that Hans Zimmer, Jacob Shea and Jasha Klebe will compose the theme and score for the upcoming BBC Earth natural history series One Planet, Seven Worlds. The show is presented and executive produced by Sir David Attenborough and will reveal how each distinct continent has shaped the unique animal life found there. Each of the series’ seven episodes will transport viewers to a single continent and tell the story of its spectacular wildlife and iconic landscapes. Zimmer, Shea and Klebe have previously composed music for BBC’s Planet Earth II and Blue Planet II (for Bleeding Fingers Music). One Planet, Seven Worlds will premiere later this year on BBC One in the UK and on BBC America in the U.S."<br><br>From filmmusicreporter.com<br><br>I wonder if its like no way its ever going to be released or there is a small chance we will see it one day.<br><br>Can anyone recall any scores for directors cut being released?Hello!<br>Have you any Informations for a Relaease to "PAGAN PEAK"? German TV Series "Der Pass" from Jacob Shea, Produced by Hans Zimmer?also was really good fantastic score IMHO his best since Mad Max.Just saw the film Music was hitting on point in all the right spots.
Don't know where else to put this... How much music did Hans + co. write for The Last Face? I know the movie flopped so it will probably never get released, but the 15 or so minutes that I've heard between YouTube and Andrew K's soundcloud is really pretty good. It's like Interstellar + The Lion King + Woman in Gold.Dear Hans Zimmer.<br><br>I have no idea if you ever read this, but i just want to thank you for all the amazing music you have create through the years.<br>You are truly a gifted man.<br>I hope you along your life had time to teach young talents so they will be able to create such amazing music as you in the future.<br>I dont know you, but i think you have a love for music and to experiment with music and be the best you can be.<br>I enjoy your music for movies and impressed how you created the music for "interstellar" with old fashion church ovel/pipes. I think this show you are great and special when you think out of the box and play and experiement with music due to creative talent.<br>( ps.. i cant even play an instrument my self, but i love your music ).<br><br>I wish you the very best, and peace and quiet during old age and hope you will continue to create music as long as you live. Please teach other talented young people to step in your place.<br><br>Thank you for everyting amazing work.<br><br>A fan  ;-)7m4!!! The BEST cue from Hans since years!!!Whoa, that's right, I forgot a Gladiator sequel was being made. But I feel like something would have to shake Heaven and Earth before Hans worked on a Ridley Scott movie again. But then, Powell reunited with Greengrass for Jason Bourne (however uninspired that score was). So I guess anything's possible.I got them from a japanse store after an hour going through hoops VPN paypal and google translate.<br><br>Very strange cause this are one of the best tracks of the entire score<br><br>Very weird the score or the movie havent attracted much attention at all.
Hope Zimmer comes back to do Gladiator 2.Currently the only way I know to get it from is Japanese iTunes.well aren’t u special. it’s gonna leak so on account of so many ppl having it. myself included.Where can I listen to I see church?<br><br>I cannot find it anywhere and even YouTube doesn't have it.<br>1M01 Logos & Backstory Montage<br>1M04 Sneaking In<br>1M07 Jake Finds Scrapper<br>1M08-09 Scrapper Chase<br>1M11 Not Again<br>2M01 Shatterdome Arrial<br>2M02 Amara is Amazed<br>2M05 Pentecost<br>2M07 Simulation Fail<br>2M08 Could Have Been Great<br>2M09 Gottlieb Greets Newt Pt.1<br>2M09 Gottlieb Greets Newt Pt.2<br>3M01A Unwelcome Yager<br>3M01B Are You Reading This?<br>3M02A Mak-Morial<br>3M03 Flashback<br>3M07 Get It Done<br>3M09 Alice<br>4M02 Family Fight<br>4M03 It Isn't Something<br>4M04B What is That?<br>4M05 A Kaiju Brain<br>4M06 Shao Industries Suspected<br>5M01 Shatterdome Attacked<br>5M02B Help Me Help You<br>5M08-09 Aftermath<br>6M01 Battle Speech<br>6M03Y Yagers Land<br>6M06 Rippers<br>6M07 SEQ<br>7M01A Mega On the Move<br>7M01B Stay With Me<br>7M02 Amara Joins Jake<br>7M03B End Game<br>7M04<br>7M04C Celebrate<br>7M05 Victory<br>7M07 Main On End
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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


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  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


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





Comments (3)

  2013, September 12updated by Antas 


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  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


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





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