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You are an idiot. Hans did what Nolan asked him of not the other way around.Man, this has to be the best news for a long time. Hans has got stuck in his silly overcompensating for sound effects mode for too long. No wonder Nolan went for someone else. Who here thought balfe was getting this - the dude is a copycat and nobody. Balfe is when you dont get HZ.....luckily better people are now getting the gigs. I mean who would hire balfe out of the blue, the dude is not even a tv guyThanks for the credits updateA bit of who did what...Lorne also confirmed that he took charge of Mr.Charles, and without saying that Lorne was on the good side of Score in general, so his influence was substantially high.
Hybrid confirmed that training is composed by Ramin and Hans and it is obvious that Ramin's influence is superior to that of Hans.are we expecting the score for dark phoenix to be released in a week or so, if the movie itself drops early june?Not as simply as that.... Training is Ramin's arrangement of a Hans theme, and the core of Mr. Charles when the Fischer theme isn't playing is a Hans idea, too, as far as I know. Take the Zimmer out and those moments wouldn't be the same.I think Balfe working with Nolan would have done a great jobBob,The Training is basically Ramin Djawadi and Mr.Charles is Balfe
I hope these two team up again. Zimmer's score is the main driving force for some memorable scenes. Just a few<br>Batman Begins-The Training<br>TDK- Joker crash the party, Gordon's speech and ending<br>Inception - Time, Mr.Charles, <br>TKDR - the climb, imagine the fire and orphan<br>Interstellar-Stay, Docking, coward, mountain<br>Dunkirk - well the entire movieJustin Hurwitz I can see. I enjoyed La La Land and First Man. But Both Hurwitz and Göransson are several notches above Lorne Balfe. <br><br>I think 80/100 directors would rather work with Göransson than Balfe.I really believe that Nolan has made a mistake as a composer.I think Lorne Balfe, David Julyan or Justin Hurwitz would be much better options than Ludwig Goransson.Interesting news. <br><br>Geoff Zanelli is one of those composers who I’ve loved his additional music over his solo efforts, Pirates 5 excluded. I hope he gets a chance to write some great fantasy music for this, regardless if he reuses JNH’s themes or not.I think I am the only one, who would be glad about David Julyan return.<br><br>I really like his music for early Nolan's films, especially Insomnia, and it's what i can call an "atmospheric experience".<br><br>Don't know how his music fits for espionage timetraveling movie, but, for me, i'st would be something interesting to hear.
@mpolonest123: those Pemberton scores are indeed pure gold, very cool on album but insanely good in the movie. My favorite is still his King Arthur, that was a beast of a score that stuck with the movie like glue and really enhanced Guy Ritchie's dark, twisted, trippy vision.*3 thingsSure, but there's two things to consider. <br>1). Pirates has such an iconic sound that it'd be really stupid for them to suddenly abandon it at #5. Especially when we hired the guy who has worked on the previous 4. 2). Maleficent, as successful as it was to warrant a sequel, isn't quite as well known in the score department, despite being well received by those who have heard it. 3). Because Zanelli worked on all Pirates, he had enough familiarity with the sounds and motifs that he knew where to go once he led the ship. In Maleficent's case, he's taking over from a previous composer, and is working with a director who likely only knows his work on POTC5. As such, there's no knowing yet if he might be compelled to continue on from JNH, or if it's decided he just does his own thing.<br><br>I'm happy that Geoff at the very least has a safe career at Disney, considering two of their recent live action successes has had him involved. However, considering I hear his recently work hasn't been his best, JNH likely would've benefited from returning to a world that had some of his best material after he wasn't given the opportunity to do so with Glass. As such, it really is a severely missed opportunity, even if newer blood is getting more opportunities.Just listening to this again. It really is a best of both score. What I think is so great, is that you can hear both of the brothers' own voice but they blend so well together!! Really really great score!<br><br>It's a really remarkable score, the swifts in tone between dramatic and jazz is top-notch. It's higher on favorite list from 2019 already, than I thought it would ever be.<br><br>Give me more Gregson-Williams brothers scores!!!!!!I was hoping for JNH, but we'll see what he does. JNH's themes were amazing zo it would be stupod not to use them. But he used the Pirates themes, so I'm feeling actually quite ok about it
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  2013, November 13updated by Nicolas 
Hans ZimmerTells Juicy Stories About The Classical Films He's Scored

You dream of details about The Thin Red Line, Inception, Pirates Of The Caribean or The Lion King, here's the article you must read !



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  2013, November 12updated by Antas 
Upcoming release of Hans' Percussion library : Spitfire HZ01 Percussion



HANS ZIMMER is one of the most successful, influential and prolific film composers of his generation. Having won countless awards (including an Oscar accompanied by an embarrassment of academy nominations). HZ’s scores have underscored a generation of hugely successful films, that have turned over billions of dollars, countless awards and critical acclaim. Hans has defined not only a compositional style, but also production approach and sonic innovation that has influenced a generation of composers. Hans trailblazed and combined early sample technology with orchestral elements which defined a new age of writing for screen big and small. He created the opportunity for composers to represent their intentions to directors before recording the orchestra itself. He made orchestras cool again. In so doing he also innovated and pushed the envelope of a new orchestral genus.

It is often forgot that by developing this technological approach he also provided a roadway for creatives the world over with dreams of orchestral compositions to realise them without years of theoretical study.

Spitfire Audio are delighted and honoured to present a series of products produced by Hans Zimmer and his diamond class team of grammy winning engineers, musicians and technicians. Where Hans Zimmer’s style approach to sonic creation is often copied or emulated we’re proud to present to the world at large HZ’s definitive take on his trailblazing approach to cinematic percussion production. Herein lies not an emulation or synthesis of his approach, but a recreation. The same studio, musicians, instruments, signal chain and talented engineers, sitting alongside a decade of experience, innovation and refinement overseen in every detail by Hans himself. The same excrutiating attention to detail, perfection but most importantly the endless choice for tweakability and customisation you’d expect of the greatest of sound-smiths.

More informations here : http://www.spitfireaudio.com/novemberannouncement.html


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  2013, November 07updated by Hybrid Soldier 
David Buckley Interviewed by Kaya Savas for Film Music Media



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  2013, November 03updated by Hybrid Soldier 
Steve Jablonsky Interviewed by Kaya Savas for Film Music Media



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  2013, November 01updated by Hybrid Soldier 
Dominic Lewis Interviewed by Kaya Savas for Film Music Media



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