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Just realized I’ve been calling the movie “Windows” instead of “Widows”. <br>Ugh it’s been a long day -_-Just took a look at the trailer and am really impressed with how the film looks, not what I was expecting at all. I honestly don’t know what approach Zimmer will take either, although if I had to guess probably more sound design-ish.<br><br>And outside of “Injection” and “Bare Island” I find MI2 to be bland and all over the place stylistically. Just my opinion though, I know a lot of people love that score ;-)mpolonest123, have you seen the trailer for Widows? Zimmer created the music for that trailer and I assume it came from the movie. If that is the case, it will sound nothing like TTRL.M:I2 is a blast to listen to. I just have a hard time imagine it to be a MI score. But it is one of the most fun scores from Zimmer.And as far Zimmer scores that I don’t like for the most part, there is a small handful (Madagascar, MI2, etc.)
That’s completely fair, and I honestly couldn’t defend this score and be genuine about it. I think it does help that I love this movie (despite being hard to watch) and have come to associate the music with it so much. Still, I can’t lie that I find portions of it to be incredibly effective, even when the music does become solely ambient. In terms of listenability/originality the best cue is, ironically, the 24-second “Washington” cue.<br><br>I would kill to know what Zimmer personally thinks of this score. I’m sure he had a great working relationship with Steve, hence him working on “Windows”, but I’m sure the temptrack must have been murder on his creativity...This is my least favorite Zimmer score, actually. Or else the one that I feel has the least going for it; I guess it doesn't make me mad like On Stranger Tides, but at the same time it lacks anything even remotely compelling. "Boat Trip to New Orleans" is the only halfway interesting cue and even then I don't really like to listen to it much. The experimental parts aren't interesting experiments (ooh...clapping...wow), and the Journey to the Line stuff is just tired and bland (on top of being super derivative). I get that it works in the movie or whatever but if I had a gun to my head with orders to delete one Hans score from my library and never listen to it again, I'm pretty sure this would be the one I'd go for.Even 5 years later, I’m still not sure how I feel about this score. <br><br>On one hand, the music complements the film extremely well. “Boat Trip to New Orleans” and “Soap” are both incredible in context, and even some of the more ambient cues are pretty effective. Alongside Interstellar probably Hans’ most minimilastic score, something which actually suits him well.<br><br>On the other hand, the Time/Journey to the Line temp is extremely blatant, and it definitely doesn’t help that 60% of the music used in film is basically a variation on that one idea (and some cues are purely sound effects). I still admire the score though, regardless of the familiarity issues.<br><br>With Windows coming out I’m very curious to see what approach will be. Personally, I like seeing Zimmer tackle a project with minimalism. Hopefully McQueen (who is a very talented director) doesn’t box Hans in with another TTRL temp... or any temp for that matter.Are you going to visit Russia?!) We are waiting for very much!)He posted it before this site added the tracklist.
Did you just copied and paste the tracklist above? lmaoThe reprise of "Batman on Fire" from Begins (1:59-2:30 in the Transfiguration suite) is good stuff! I wonder why Hans decided to reuse that particular idea.When are we going to see you in Chicago?Indeed, this score reminds me — in a good way — of The Rock.Track 11, Onwards, here is my most favorite cue from the CoH franchise. It has that old school "power anthem" thing going on about it with full force. I truly wish this style is brought back to life again soon.
Are there any more tour dates planned?Lord of the Rings - Shore<br>Battlestar Galactica - McCreary<br><br>Both are up there as my two favorite collection of works. GOT doesn't even compare to BSG. <br><br>For solo albums, my candidates are:<br><br>Titanic<br>The Lion King<br>Interstellar<br>Memoirs of a Geisha<br>Jurassic Park<br><br><br> <br><br>@superultramega<br>Honestly I feel like most of the issues with AUJ (and the other two hobbit films) were stemming from Peter Jackson editing the hell out of the music after the fact. It could be why they ended up dumping some themes in the following films.<br><br>Still, I don’t understand some of the criticism that the Hobbit trilogy scores received. DoS has some of the best action material imo, and the interpolations of Smaug’s theme(s) throughout the films are personally some of my favorite music from any LoTR project.<br><br>And this might be controversial, but I would put PoTC (the first three at least) on the level of Lord of the Rings in terms of the sheer amount of themes and development they receive. Maybe not quite as complex but they shouldn’t be overlooked.The Lion King and The Last Samurai are good choices, but I'm not as much of a fan as Zimmer's aesthetic or thematic work nearly as much as Howard Shore, or even Jablonskly at times. Game of Thrones I still can't comment on as I've never watched the show, or payed attention to Djawadi in general.<br><br>I would say Shore's heart wasn't in Desolation and Five Armies, but to say that about Unexpected Journey doesn't really feel right to me. Even themes like Gondor Restored and Nazgul's uses have some logic to them. <br><br>Gondor Restored was also used when the Ring is destroyed, meaning it also has a secondary meaning of victory against evil, (yes I know it affected Gondor too, but Gondor it isn't as direct). Which also applies in The Hobbit, as Bilbo saving Thorin was not only important for their relationship but also the future of Middle Earth as Thorin is vital to the battle against the orcs in Five Armies. <br><br>The Nazgul theme also makes sense as its first appearance is in Fellowship's opening, playing over Sauron's army of orcs, then Sauron himself. So it's linked both to Sauron himself and his servants, which includes Azog. Plus the version that plays in the film is the exact same variant (and lyrics) that plays in the Fellowship prologue. It serves almost as a precursor to the Nazgul. Plus I don't see why themes can't have several meanings anyway.  <br><br>Plus I love most of the new themes of AUJ (before they were abandoned in later films).Not really a fair comparison, Hybrid, since videogames as a medium are much younger than films, and their scores weren't using real orchestras right until... mid 90's, would be my guess (feel free to correct me, guys).<br><br>The all time best film score for me would be a battle between The Last Samurai and Lion King. If "movie" includes TV shows, then it's Game of Thrones without a doubt, but I'm not gonna have this argument again ;)<br><br>Btw. I wouldn't mention Hobbit in the same sentence with LotR, even music-wise. A couple of great cues cannot hide the fact that Shore's heart wasn't in it.
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 2019

  Penguins (Documentary) (Composer)


 2018

  Charming (Score Producer)

  Breath (Composer)

  The Meg (Composer)

  Early Man (Composer)

  The Equalizer 2 (Composer)


 2017

  The Zookeeper's Wife (Composer)

  Alien - Covenant (Additional Music)

  Electric Dreams (TV Series) (Composer)


 2016

  Confirmation (TV) (Composer)

  Live By Night (Composer)


 2015

  Metal Gear Solid V - The Phantom Pain (VG) (Music Producer)

  Blackhat (Composer)

  Miss You Already (Composer)

  The Martian (Composer)

  Monkey Kingdom (Documentary) (Composer)

  A Most Peculiar Man (Short Film) (Composer)


 2014

  The Equalizer (Composer)

  Call Of Duty - Advanced Warfare (VG) (Composer)

  Hate From A Distance (Short Film) (Composer)

  Metal Gear Solid V - Ground Zeroes (VG) (Composer)

  Exodus - Gods And Kings (Additional Music)


 2013

  The East (Composer : Main Theme)


 2012

  I Am Bad (Composer)

  Prometheus (Additional Music)

  Mr. Pip (Composer)

  Total Recall (Composer)


 2011

  Arthur Christmas (Composer)

  Life In A Day (Documentary) (Composer)

  Cowboys & Aliens (Composer)


 2010

  Shrek Forever After (Composer)

  Unstoppable (Composer)

  Twelve (Composer)

  The Town (Composer)

  Prince Of Persia - The Sands Of Time (Composer)


 2009

  The Taking Of Pelham 123 (Composer)

  Urban Thriller (Music Producer)

  WWII In HD (TV Documentary) (Composer)

  X-Men Origins - Wolverine (Composer)


 2008

  Metal Gear Solid 4 - Guns Of The Patriots (VG) (Composer)

  Living Proof (TV) (Music Producer)

  The Forbidden Kingdom (Score Producer)

  Jolene (Composer)

  Em (Composer)

  The Chronicles Of Narnia - Prince Caspian (Composer)


 2007

  The Riches (TV Series) (Composer)

  Gone Baby Gone (Composer)

  Call Of Duty 4 - Modern Warfare (VG) (Composer : Main Theme)

  Shrek The Halls (TV) (Composer)

  The Number 23 (Composer)

  Shrek The Third (Composer)

  Ultra Payloaded (Conductor)

  Revenge (1990, Director's Cut) (Additional Music)


 2006

  Seraphim Falls (Composer)

  I Choose Noise (Co-Composer)

  Flushed Away (Composer)

  Deja Vu (Composer)

  The Uninvited (Short Film) (Composer)


 2005

  Mrs. Palfrey At The Claremont (Music Producer)

  The Chronicles Of Narnia - The Lion, The Witch & the Wardrobe (Composer)

  Kingdom Of Heaven (Composer)

  Domino (Composer)


 2004

  Team America - World Police (Composer)

  Return To Sender (Composer)

  Metal Gear Solid 3 - Snake Eater (VG) (Composer)

  Man On Fire (Composer)

  Father Of The Pride (TV series) (Composer)

  Bridget Jones - The Edge Of Reason (Composer)

  Shrek 2 (Composer)

  Admissions (Score Producer)


 2003

  The British Schindler (TV Documentary) (Composer)

  Shrek 4-D (Short Film) (Composer)

  Passionada (Composer)

  Sinbad - Legend Of The Seven Seas (Composer)

  The Rundown (Composer)

  Veronica Guerin (Composer)

  Bad Boys II (Additional Music)


 2002

  Music In Films (Composer)

  Music For Film 4 (Composer)

  Music For Film 3 (Composer)

  Beat The Devil (Short Film) (Composer)

  AFP - American Fighter Pilot (TV series) (Composer)

  Phone Booth (Composer)


 2001

  So Many Worlds (Composer)

  Powder Keg (Short Film) (Composer)

  Metal Gear Solid 2 - Sons Of Liberty (VG) (Composer)

  Spy Game (Composer)

  Spy Kids (Composer)

  Directors Cuts 01 - Audio Trailer (Production Music) (Composer)

  Shrek (Composer)


 2000

  The Magic Of Marciano (Composer)

  Media Ventures Jingles (Composer)

  King Of The Jungle (Composer)

  The Tigger Movie (Composer)

  Chicken Run (Composer)


 1999

  The Match (Composer)

  The Hunger (TV Series) (Composer)

  Swing Vote (TV) (Composer)

  Light It Up (Composer)

  Whatever Happened To Harold Smith? (Composer)


 1998

  Music For Film (Composer)

  The Replacement Killers (Composer)

  Armageddon (Composer)

  Antz (Composer)

  Enemy Of The State (Composer)

  The Prince Of Egypt (Additional Music)


 1997

  The Borrowers (Composer)

  Smilla's Sense Of Snow (Composer)

  Deceiver (aka : Liar) (Composer)

  The Peacemaker (Additional Music)

  As Good As It Gets (Additional Music)


 1996

  Broken Arrow (Additional Music)

  Poltergeist - The Legacy (TV Series) (Additional Music)

  The Rock (Co-Composer)

  The Fan (Additional Music)

  The Whole Wide World (Composer)

  Witness Against Hitler (TV) (Composer)

  Muppet Treasure Island (Additional Music)

  White Squall (Vocals)


 1995

  Hotel Paradise (Short Film) (Composer)

  Full Body Massage (TV) (Composer)

  Two Deaths (Musician)

  Crimson Tide (Choir Conductor)

  Three Miles Up (TV) (Composer)


 1994

  Broken Heart (Short Film) (Composer)


 1993

  White Angel (Composer)


 1992

  Champion Children (TV Series) (Composer)


 1991

  G.B.H. (TV series) (Score Coordinator)

  Cold Heaven (Management)


 No date specified

  KPM Library - The Choral Experience (Composer)

  KPM Library - Orchestral Dynamics - The LSO Vol1 (Composer)

  KPM Library - Extreme Impact (Composer)


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