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Sehr geehrter Herr Zimmer, <br>Hallo Hans,<br>  <br>ich habe einige ihrer Konzerte gesehen, Prag jedoch, war wirklich, ich kann es nicht in Worte fassen, unglaublich. Top Musiker und eine super performance!<br>Ihre Musik ist eine Inspiration.<br>Hoffentlich hören wir noch viele Stücke von Ihnen...<br><br>Hochachtungsvoll und liebe Grüße<br>StefanYeah, 30-ish seconds into Do You Bleed?"Reminiscent Therapy" is amazing in the way it incorporates a lot of Williams' classic stuff making it feel very natural and organic, like it's part Powell's themes, like he does with "The Adentures of Han".<br><br>This is a really great scoreHe is the chosen one, the one who will bring balance to the film music world...Thats just 'do you bleed?' with a small insert?
Haha, It's as the prophecy foretold.John Powell, the great uniter of film music fans@MrZimmerFan<br><br>I actually like Rogue One, and I do understand why it leans so heavily on the original themes. Here the themes are incorporated more as fan service, but Powell is able to do wonders with interpolating them with his material. <br><br>And something I forgot to mention, this score reminds me so much of Pan in the action sequences. The percussion and brass writing is great lolim surprised how Powell uses his ANTZ percussion in this!<br><br>The track Train Heist, Into The Maw is good example of it.<br><br>This is the only score that will please the gang at JW and HZ alike.When JWFan and HZ.com are discussing the same score....
'but not as heavily as Rogue One'<br><br>Because Rogue One have conections with certain aspects or characters from the OT?<br><br>An here you have a track with three themes (or cues) with no conections with the OT, Rogue One have more sense... but the score is fricking awesome :)So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in these
Yeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...
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 Malcolm Luker
      
Top CD:

 2017

  Breath (Music Scoring Mixer)


 2014

  The Equalizer (Music Scoring Mixer)


 2011

  Cowboys & Aliens (Music Scoring Mixer)


 2010

  Unstoppable (Music Scoring Mixer)

  The Town (Music Scoring Mixer)


 2009

  Blood Creek (Music Scoring Mixer)

  The Taking Of Pelham 123 (Music Scoring Mixer)

  X-Men Origins - Wolverine (Music Scoring Mixer)


 2008

  Body Of Lies (Music Scoring Mixer)

  The Forbidden Kingdom (Music Scoring Mixer)

  Em (Music Scoring Mixer)

  Jolene (Music Scoring Mixer)

  Metal Gear Solid 4 - Guns Of The Patriots (VG) (Music Scoring Mixer)


 2007

  Call Of Duty 4 - Modern Warfare (VG) (Music Scoring Mixer)

  Gone Baby Gone (Music Scoring Mixer)

  I Now Pronounce You Chuck & Larry (Score Recordist)

  Last Exit (Short Film) (Music Scoring Mixer)

  Slipstream (Music Scoring Mixer)

  The Number 23 (Music Scoring Mixer)

  Shrek The Halls (TV) (Music Scoring Mixer)

  Shrek The Third (Music Scoring Mixer)


 2006

  ...So Goes The Nation (Music Scoring Mixer)

  Deja Vu (Music Scoring Mixer)

  Haven (Music Scoring Mixer)

  Seraphim Falls (Music Scoring Mixer)

  Szabadság, Szerelem (aka : Children Of Glory) (Music Scoring Mixer)

  The Godfather (VG) (Music Scoring Mixer)


 2005

  An American Haunting (Music Producer)

  Mrs. Palfrey At The Claremont (Music Scoring Mixer)

  The Billwitch Story (Music Scoring Mixer)

  Der Kleine Eisbär 2 - Die Geheimnisvolle Insel (Music Scoring Mixer)


 2004

  Five Children and It (Music Scoring Mixer)

  Lauras Stern (Music Scoring Mixer)

  Return To Sender (Music Scoring Mixer)

  Team America - World Police (Music Scoring Mixer)


 2003

  Matchstick Men (Additional Engineering)

  Mounted By The Gods (Music Scoring Mixer)

  Tears Of The Sun (Music Scoring Mixer)

  Pirates Of The Caribbean (VG) (Music Scoring Mixer)

  Puy Du Fou Cinéscénie (Visual Show) (Music Scoring Mixer)

  The Texas Chainsaw Massacre (Music Scoring Mixer)

  Pirates Of The Caribbean - The Curse Of The Black Pearl (Score Recordist)

  Roar - Lions Of The Kalahari (Short Documentary) (Music Scoring Mixer)

  The Rundown (Music Scoring Mixer)


 2002

  Live From Baghdad (TV) (Music Scoring Mixer)

  The New Guy (Music Scoring Mixer)

  We Were Soldiers (Music Scoring Mixer)


 2001

  Evolution (Additional Engineering)

  Exit Wounds (Music Scoring Mixer)

  I Am Sam (Music Scoring Mixer)

  Ice Planet (Music Scoring Mixer)

  Just Visiting (Music Scoring Mixer)

  Riding In Cars With Boys (Music Scoring Mixer)

  Black Hawk Down (Score Recordist)

  Attila - The Hun (TV) (Music Producer)


 2000

  Highlander - Endgame (Music Scoring Mixer)

  The Magic Of Marciano (Music Scoring Mixer)

  Dungeons & Dragons (Score Producer)


 1999

  Drive Me Crazy (Music Scoring Mixer)

  Menschenjagd (TV) (Music Scoring Mixer)

  The Adventures of Young Indiana Jones: The Phantom Train of Doom (V) (Music Scoring Mixer)

  The Lodger (1927) (Music Scoring Mixer)

  Chill Factor (Music Scoring Mixer)

  Whatever Happened To Harold Smith? (Music Scoring Mixer)


 1998

  Max Q (TV) (Music Scoring Mixer)

  Mein Kind muß leben (TV) (Music Scoring Mixer)

  The Man In The Iron Mask (Music Scoring Mixer)

  The Thin Red Line (Music Scoring Mixer)

  Tod auf Amrum (TV) (Music Scoring Mixer)

  The Lion King 2 - Simba's Pride (V) (Music Scoring Mixer)


 1997

  Die Apothekerin (Music Scoring Mixer)

  Home Alone 3 (Music Scoring Mixer)

  Lea Katz - Die Kriminalpsychologin: Das wilde Kind (TV) (Music Scoring Mixer)

  Lea Katz - Die Kriminalpsychologin: Einer von uns (TV) (Music Scoring Mixer)


 1996

  Entertaining Angels: The Dorothy Day Story (Music Scoring Mixer)

  Lilien in der Bank (Music Scoring Mixer)

  Young Indiana Jones: Travels with Father (TV) (Music Scoring Mixer)


 1995

  Catherine the Great (TV) (Music Scoring Mixer)

  Die Nacht der Regisseure (Sound Engineer)

  Die Schelme von Schelm (Music Scoring Mixer)

  Dr. Stefan Frank - Der Arzt dem die Frauen vertrauen (TV Series) (Music Scoring Mixer)

  Young Indiana Jones and the Attack of the Hawkmen (TV) (Music Scoring Mixer)


 1994

  Aladdin (TV Series) (Music Scoring Mixer)

  Young Indiana Jones and the Hollywood Follies (TV) (Music Scoring Mixer)


 1993

  Stalingrad (Music Scoring Mixer)

  The Piano (Music Scoring Mixer)

  The Young Indiana Jones Chronicles : Istanbul, September 1918 (TV) (Music Recording Engineer)

  The Young Indiana Jones Chronicles : Northern Italy, June 1918 (TV) (Music Recording Engineer)

  The Young Indiana Jones Chronicles : Palestine, October 1917 (TV) (Music Recording Engineer)

  The Young Indiana Jones Chronicles : Paris, May 1919 (TV) (Music Recording Engineer)

  The Young Indiana Jones Chronicles : Transylvania, January 1918 (TV) (Music Recording Engineer)

  The House Of The Spirits (Music Scoring Mixer)


 1992

  The Adventures of Young Indiana Jones: Daredevils of the Desert (V) (Music Scoring Mixer)


 1991

  Homo Faber (Music Scoring Mixer)

  The Strauss Dynasty (mini TV Series) (Music Scoring Mixer)


 1990

  Circles In A Forest (Music Scoring Mixer)


 1988

  The Bourne Identity (TV) (Music Scoring Mixer)


 1987

  Amazing Grace and Chuck (aka Silent Voice) (Music Scoring Mixer)


 1986

  Anastasia: The Mystery of Anna (TV) (Music Scoring Mixer)

  Peter the Great (Mini TV Series) (Music Scoring Mixer)


 1985

  Ewoks: The Battle for Endor (TV) (Music Scoring Mixer)

  Mussolini: The Untold Story (Mini TV Series) (Music Scoring Mixer)

  Saving Grace (Music Scoring Mixer)


 1984

  The Ewok Adventure (TV) (Music Scoring Mixer)


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Malcolm Luker