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

 FAN COMMENTS
John Paesano is an underrated composer. It's a good choice.I can't play the music, although I did play it before, what happened?And it sounds great! It also seems like the original end titles are included as well.<br><br>One interesting thing, the mix sounds a bit different in the samples. The percussion and brass are both more pronounced I think.I'd love to have Ramin back on this one too, but I'm glad to see Paesano attached to it.. He's a very underrated composer I'd love to see get more opportunities to shine.There's a sample of this cue on their site :)
FUCK! :(Finally, LaLaLand has done it! Many kudos to them!!!! One my holy grails as well. I've been waiting for this for ages!<br>Take my money LaLaLand Records! Just take it!John Paesano is confirmed to score Pacific Rim 2... shame I was hoping for Ramin to return.I saw Hidden Figures this weekend and as a former adolescent NASA geek from the 60's I thoroughly enjoyed the movie and the stories.  There were only two places in the film where the music grabbed my attention.  Those times were after John Glenn's lift-off as he climbed into orbit and when he had his ticker tape parade.  Can you tell me, is that a snippet of Carmen Ohio I am hearing?"  If so, it is a great tribute to Sen. Glenn and his love for the Buckeye State. If not, chalk it up to failing hearing and an vivid imagination.I have to agree with Leona: Leona Lewis' "Now we are free" is like the rock band Queen after Freddie Mercury has died: It's so unique, not a single singer will be able to match it. The closest was the singer in the initial Hans Zimmer Revealed Concerts in London.
fail*Seriously, Leona Lewis' interpretation was the worst i have heard. I always thought she can sing as hell, but when i've heard "Now we are free" from her, my ears have bleeded. It was really bad, many notes were wrong and unenjoyable. She tried it so hard, that it sounded like an amateur singer. For me that song is the worst song in this "collection". A complete fair :(Saw Patriots Day, really liked it. But the score was lacking. Really wish Jablonsky had done this one.The sticker on the album says: <br>"The best of Hans Zimmer<br>+ selected by him*<br>+ new arranged<br>+ new recorded with top stars"<br><br>*Hans Zimmer made a song selection of this album and was involved in this project.Leona Lewis's "Now We Are Free" is probably the best one. It provides a softer version of the theme. <br><br>Besides that, Vengerov's "Light" is my second favorite.<br><br>2 Cellos' "Mombasa" and Stirling's The Dark Knight are interesting to listen to. <br><br>I think that is about it.
Well, I for one like this release! I don't think it is exploitative; I rather enjoy the specific musical ideas and new orchestrations/instruments present in the tracks. It is far better than just another Prague re-recording of Hans' music.i really like that end song. very nice melody. would be cool to have it on cd.Hi all, stunning music out here, I am so fancy in Hans music.<br>Anyone has a clue what is the Menu music from Blu-ray edition of PE II? I am pretty sure I have heard it before, Shazam can't find it, I am guessing ... By the time I was looking deep in my memory I remembered :) It is "Arrival of the Birds"<br>Look at the dates mate :)whose idea was this release.<br><br>Some of the tracks are actually abysmal. I thought hans hated his name being slapped on shit exploitative releases like this.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





 World Tour
2017



Dates of the World Tour 2017 Released

Hans is back on the road !


With his friends, he will come back
for new shows all around the world during the year 2017 !

Discover all those new dates at HansZimmerLive.com
Comments (66)   updated by Nicolas 
 LATEST RELEASES
 NEWS
  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)


 HANS-ZIMMER.com© 2001-2015 OST 
Stephane Vidali / Antas - Nicolas Cabarrou