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Seeing as how Lorne Balfe “leaked” his own score, I wonder if Tom could easily do the same?Haha - honestly though, before I realized this I felt Jablonsky didn't really bind the score together that well with themes and motifs. This is a pretty cool connection and I'm glad he made it.Almost like this was a film score or something! ;)I don't suppose you have credits for this score, Hybrid?Just realized that the drums in "Battlefield" fit with the beat of "We Have To Go". Awesome to see a connection between the two tracks!
They all respected the theme of Courage, but each new composer brought a different sub-theme to the franchise.<br>@James  I don't know what you are referring to exactly, but I think that Horner's score in Star Trek II is a great example of a follow up movie score within the same universe. <br>I think all of those movies use the Alexander Courage theme for the original series but they still have some original material of their own and that's what Elfman should have done if he wanted to use the old themes for Batman and Superman. He could have used those in some moments but also keeping some material from BvS and MoS and creating new themes for the new characters and the League.What?! Did Mothersbaugh use a ghost writer?! he he heThis is a kind of Chappie mixed with Arcade of MoS.Hallo,<br>ich hätte eine Frage zu "Man of Steel", Track 2: "Oil Rig".<br>Da ist bei meiner Kaufversion (Download bei google) eine Stimme zu hören bei Sekunde 17 Bevor der Beat losgeht. Es hört sich an wie eine Kinderstimme die "O...O..." ruft. Ich finde es witzig, wüsste aber gerne wie die Stimme da rein kommt.<br>War das Absicht, gibt es eine Story dazu, oder ist es eine Fehler in der Aufnahme?<br>Weiß jemand was dazu?<br><br>LG
cd may have been shipped but ups tracking refrence shows up nothing on there site anyone got an ideas at to why this may be many thanksThe track is unreleased yeah, part of the movie's climax<br>chronologically it goes between Devils Anus and 'Asgard is a People'The Sierra Leone track Andrew K posted (link below)...I almost wonder if that's how 2010s Zimmer would redo The Lion King. More bass, more minimalist, more Interstellar...but still with an African flare.Horner and many others with Star Trek is a good example too.Huh. Well, the music Andrew posted is nice.
"Don't believe everything you hear, son."what do you gyus think about this? <br><br>www . youtube.com/watch?v=9riigqWjovMHallo,<br><br>Der 'Gladiator' ist schon langsam in die Jahre gekommen, die Musik ist aber nicht älter geworden. Genial.<br><br>Gruß  <br><br>Not bad score.<br><br>But I prefer the other oneIsn’t that ironic that DC is abandoning the continuity while Marvel is finally embracing it?<br><br>For any electronic fans out there, this score is definitely a must listen, there are some badass 80’s beats (with a dash of Tron legacy) in here.
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 Monica Sonand
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Top CD:

 2017

  Diana - In Her Own Words (TV) (Music Supervisor)

  The Simpsons (TV Series - Season 29) (Music Supervisor)

  Blue Planet II (TV Series Documentary) (Music Supervisor)


 2016

  Planet Earth II (TV Series Documentary) (Music Consultant)

  Pimp (Score Producer)


 2015

  Last Knights (Technical Score Engineer)


 2014

  Chicago Fire (TV Series - Season 3) (Technical Score Engineer)


 2013

  Rush (Technical Score Engineer)

  Man Of Steel (Technical Score Engineer)

  Colette (Assistant To Composer)

  A Single Shot (Assistant To Composer)

  The Mortal Instruments - City Of Bones (Score Technical Assistant)

  Chicago Fire (TV Series - Season 2) (Technical Score Engineer)


 2012

  Savages (Technical Score Engineer)


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Monica Sonand