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Several clips of the film are on YT. With some music. Sounds like 90's score from HZ. Too bad the directing seems to come from an age movies didn't exist...No. It’s a boys choir. S&K bros is a girl’s choirSeems like Scala & Kolacny Brothers.In what way is it "obvious", exactly, that Djawadi had more influence on that Training cue than Zimmer? It's basically just a statement of Zimmer's theme, and doesn't really sound notably "Djawadi-esque" to me in any way.Thanks for the credits update
A 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 BalfeI 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.
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 Jay Rifkin
      
Top CD:

 2003

  Tears Of The Sun (Music Production Services)

  The Texas Chainsaw Massacre (Music Production Services)

  Pirates Of The Caribbean - The Curse Of The Black Pearl (Music Production Services)


 2002

  Spirit - Stallion Of The Cimarron (Executive Score Producer)


 1998

  Antz (Song Producer)


 1996

  Broken Arrow (Score Producer)

  Muppet Treasure Island (Score Producer)


 1995

  Man Of The House (Music Scoring Mixer)

  Crimson Tide (Score Producer)

  Nine Months (Score Producer)

  Something To Talk About (Score Producer)


 1994

  Speed (Music Scoring Mixer)

  The Lion King (Additional Arrangements)

  Drop Zone (Score Producer)

  Renaissance Man (Score Producer)

  I'll Do Anything (Score Producer)


 1993

  Calendar Girl (Additional Music)

  Cool Runnings (Music Scoring Mixer)

  Younger & Younger (Music Scoring Mixer)

  The House Of The Spirits (Technical Support)

  Point Of No Return (Music Scoring Mixer)

  True Romance (Music Scoring Mixer)


 1992

  Toys (Music Scoring Mixer)

  A League Of Their Own (Music Producer)

  K2 (European Rescore) (Music Engineer)

  Millennium - Tribal Wisdom And The Modern World (TV Series) (Music Scoring Mixer)

  Radio Flyer (Score Producer)

  The Power Of One (Score Producer)


 1991

  Backdraft (Score Producer)

  Follow Your Dreams (Commercial "Marlboro Adventure Team '91") (Composer)

  Regarding Henry (Music Scoring Mixer)

  Thelma & Louise (Score Recordist)

  Where Sleeping Dogs Lie (Music Producer)


 1990

  Days Of Thunder (Music Scoring Mixer)

  Pacific Heights (Music Producer)

  Bird On A Wire (Score Recordist)


 1989

  Driving Miss Daisy (Music Engineer)

  Black Rain (Music Producer)


 1988

  Rain Man (Score Recordist)


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