Music by Hans Zimmer
 
Produced by Hans Zimmer
Executive Producer for Varese Sarabande: Robert Townson
Executive in Charge of Music for Columbia Pictures: Lia Vollack

Soloists:
Heitor Pereira: Guitar
Daisy Jopling: Violin
Aleksey Igudesman: Violin
Tristan Schulze: Cello
Martin Tillman: Cello

Supervising Orchestrator: Bruce Fowler
Additional Arrangements by Trevor Morris, Henning Lohner, Heitor Pereira & Kaz Boyle
Orchestra Conducted by Blake Neely
Concert Master: Endre Granat
Supervising Music Editor: Bob Badami
Music Editors: Melissa Muik & Daniel Pinder
Assistant Music Editor: Del Spiva
Preview Music Editor: Zig Gron
Score Recorded & Mixed by Alan Meyerson
Additional Recording & Mixing: Slamm Andrews
Score Mix Assistant: Jeffrey Biggers
Performed by The Hollywood Studio Symphony
Music Contractor: Sandy DeCrescent
Orchestrators: Suzette Moriarty, Rick Giovinazzo, Ladd McIntosh, Walt Fowler, Elizabeth Finch & Brad Warnaar
Copyist: Suzie Katayama, Sony Music Preparation Service
Mastered by Patricia Sullivan
Technical Assistants to Hans Zimmer: Thomas Broderick, Abhay Manusmare & Mark Wherry
Assistants to Hans Zimmer: Moanike'ala Nakamoto & Andrew Zack

Hans Zimmer would like to thank Jim Brooks, Richard Marks, Julie Ansell, Joan Bradshaw, Richard Sakai, Amy Pascal, Lia Vollack, Raul Perez, Polly Platt, Maria Kavanaugh, Sam Schwartz, Michael Gorfaine, Ronni Chasen, Steve Erdody, Kevin O'Connell, Greg Russell, Dennis Drummond, Kim Drummond, Michael O'Farrell, Christy Haubegger, Becky Mancuso-Winding, Oscar Gomez, Al Clay, Mike Melvoin, Steve Kofsky, Robyn Klein, Clay Duncan, Geoff Zanelli, Jim Dooley, Ramin Djawadi, Steve Jablonsky, James Levine, Klaus Badelt, Bart Hendrickson, Alisha Bauer, Jessica Van Velzen, Victoria Y. Lanier, Charlene Huang, Chris Strong, Greg Vines, Ryan A. Watkins, Suzanne Zimmer & the "Mini Z's", Zoe Zimmer & Brigitte Zimmer

Special thanks: Monica Brautovich, Shelly Bunge, Kim Davis, Valerie Caton, Paul Friedman, Don Kennedy & Larry Kohorn

"Here's a quiz. It's 2 o'clock ?n the morning, a fireplace is blazing, people with foreign accents are drinking wine, and gorgeous music fills the air. One more hint: Nobody ?? the room has slept for 72 hours.
Where are you? That's right. Hans Zimmer's studio as he creates against deadline the score music for Spanglish.
Hans always amazes and he always does so in a seemingly relaxed manner. He makes shear terror seem cool and something we'd like to learn and do nearly as well as he.
The terror should come from the deadline. Once again Hans is nudging against the release date of the mo?ie as he lays down his "tunes," his word for the perfect, haunting, original theme music he creates for mo?ies.
But one of his many Hollywood-defying accomplishments is the spirit he gives to the work. His studio has spawned many other composers, some of whom gather round as he brings this one home. Very little time goes by before he tells some story about someone else ?n the room, some affectionate story which embraces the person and some aspect of the work. People under pressure laugh.
This is our third film together. He is my great friend. ? love the guy but this ability of his always seems surreal. The perfect host even as desperation builds around him (musicians being summoned in the dead of night, to slip into his adjoining recording studio and play something hot off the computer, which is rushed off to be ?nixed into the film in the nick of time). He can drive himself; even doubt himself while simultaneously spreading deep appreciation and affection to those who gather around him. Even as ? twitch on a nearby sofa he will pause in his current creative burst to call my attention to someone standing at the back of the large room, who once did this or that brave thing ?n another mo?ie. ? nod; not taking my eyes off the clock because ? am convinced that only by my staring at it will its needs be met.
During the 11th hour of composing for this movie (? swear this is true) Hans' hosting and bon homie included a dog. The dog wandered in and Hans told me the small animal's personal history and how difficulty had rendered him homeless and why he now lived at the studio.
At a certain point you take on the spirit of the man. Grace under pressure. It's sort of a wild thing to actually see take place. He gives confidence to all around him, though he is artist enough to suffer all sorts of internal demons, he has mastered some wizard's talent of ha?ing his anxiety fuel calm for others.
Oh yes, the movie. He made the deadline. Those at the mix wiped away tears when they heard the themes played. He thereby finished two years of helping me at every turn from comments on the script, through the casting and early dailies and the various edits and reviews and finally to giving me the sound for the emotional heart of the f?lm. Hans does the Lord's work for his friends who make films. He keeps you honest.
He speaks tirelessly for integrity. He prods you constantly to be the best version of yourself. His generosity is constant. And finally he has won this rough community's highest accolade: ?? one resents that he is the very best there is."

James L. Brooks