FILM CREDITS
Music by Hans Zimmer
Music Consultant: George Naschke
Music Composed & Arranged by Hans Zimmer
Orchestrated by Nick Glennie-Smith & Fiachra Trench
Conducted by Fiachra Trench
Assistants to Hans Zimmer: Tobias Heilmann, David Pardue & Michael Stevens
Scoring Services: Cue Music Ltd.
Scoring Mixer: Malcolm Luker
Coordinator: Daniel Brock
Orchestra: Philharmonic Film Orchestra Munich
Recorded at Arco Studios, Munich
Music Composed by Hans Zimmer
Arranged by Hans Zimmer & Nick Glennie-Smith
Orchestrated by Fiachra Trench & Nick Glennie-Smith
Orchestra Conducted by Fiachra Trench
Recorded & Mixed by Malcolm Luker
Produced by Hans Zimmer & Bille August
Score Recorded at Arco Studios, Munich, Germany
Second Enginner: Jamie "Irie" Luker
Score Services: CUE MUSIC Ltd.
Scoring Co-ordinator: Daniel Brock
American Support Team: Michael Stevens, Dave Pardue, Nico Golfar & of course Jay Rifkin
Assistant to Hans Zimmer: Tobias Heilmann
Equipment: Akai, Dynatek, Euphonix, Steinberg & Yamaha
Soloists:
Clarinet: Jürgen Musser
Oboe / Cor Anglais: Martin Spanner
Trumpets: Richard Stuart & Douglas Myers
Guitar: Michael Stevens
Piano: Nick Glennie-Smith
"La Paloma"
Written by Sebastian de Yradier
Arranged by Michael Jary
Performed by Rosita Serrano
Special Thanks to: Bille August, Bernd Eichinger, Martin Moszkowicz, Niels Arild, Dieter Meyer, Janus Billeskov Jansen, George Nashke, Udo Lange, Mark Mancina, Bret Newman, Bob Daspit, Jeff Rona, Sara Kaplan, John Mitchell, Sam Schwartz, Michael Gorfaine, E.S.I., ROCK-IT Cargo, Karl Rickert, Franz Kriechbaum II, Peter Kirsten, Josef Kaspar, Ursula & Christian Pfeiffer & Agnes Forsthofer
For Suzanne & Zoe Zimmer
In Memoriam David Kraft
02 – Clara (6:31)
03 – Coup (9:34)
04 – Pedro And Blanca (9:50)
05 – Clara’s Ghost – La Paloma – Closing Titles (7:24)
Such an amazing score – and so full of the good old Zimmerisms. The main theme is a great Hans theme in a long road that leads to Gladiator. Even though this is a fully orchestral score, it is very obvious that this is largely Hans’ work because the melodies (yes, Balfeites, melodies) are very obviously his work. They are totally idiosyncratic and sound absolutely like no one else working in 1992. That is what I miss with Hans ’24 is that even in work like The Creator he does not sound like himself. He sounds like some random that got budget to record with an orchestra (ie. Andrew Kawzynski). When Hans did scores in the late 80s and the 90s they sounded exactly like him and you could immediately recognise his work. The melodies from this correlate with Beyond Rangoon and other great work at that time. Where is this level of idiosyncratic genious nowadays? Lost in the winds of tech (plus executive oversight) and farming out work to the Balfe factories of this world…..I am sure Dune 2 will be okay, and yes the paradigm of film music HAS changed from melodies to soundscapes but still……dude. Hans is all about melody and that is the greatest gift he has.
Such an amazing score – and so full of the good old Zimmerisms. The main theme is a great Hans theme in a long road that leads to Gladiator. Even though this is a fully orchestral score, it is very obvious that this is largely Hans’ work because the melodies (yes, Balfeites, melodies) are very obviously his work. They are totally idiosyncratic and sound absolutely like no one else working in 1992. That is what I miss with Hans ’24 is that even in work like The Creator he does not sound like himself. He sounds like some random that got budget to record with an orchestra (ie. Andrew Kawzynski). When Hans did scores in the late 80s and the 90s they sounded exactly like him and you could immediately recognise his work. The melodies from this correlate with Beyond Rangoon and other great work at that time. Where is this level of idiosyncratic genious nowadays? Lost in the winds of tech (plus executive oversight) and farming out work to the Balfe factories of this world…..I am sure Dune 2 will be okay, and yes the paradigm of film music HAS changed from melodies to soundscapes but still……dude. Hans is all about melody and that is the greatest gift he has.
Would love to know more about this score and how it came to be – presumably the Rain Man Oscar nomination and August shooting a euro-pudding in/on Argentina and Eichner forcing HZ on the project? It is a great score though, underdone by the dodgy album that is SO quiet and the weird long cuts
Would love to know more about this score and how it came to be – presumably the Rain Man Oscar nomination and August shooting a euro-pudding in/on Argentina and Eichner forcing HZ on the project? It is a great score though, underdone by the dodgy album that is SO quiet and the weird long cuts
This has probably been asked hundreds of times but is there anywhere where Hans himself talks about, in detail, the additional music process (not the PR crappy interviews he gives to sycophantic magazines and sites), or could you explain it Hybrid. I think the casting of it as "he writes a theme and then says 'okay guys write my score'" is a lazy analysis. I don't care who did exactly what note, I'm just interested in the process, and how involved Hans is at each step.
This has probably been asked hundreds of times but is there anywhere where Hans himself talks about, in detail, the additional music process (not the PR crappy interviews he gives to sycophantic magazines and sites), or could you explain it Hybrid. I think the casting of it as "he writes a theme and then says 'okay guys write my score'" is a lazy analysis. I don't care who did exactly what note, I'm just interested in the process, and how involved Hans is at each step.
And I was no replying with any animosity… lol
And I was no replying with any animosity… lol
My comment was actually not meant to be judgemental. It's of course not an issure. I just find it interesting how things evolved over the years and I'm glad they have. ;)
My comment was actually not meant to be judgemental. It's of course not an issure. I just find it interesting how things evolved over the years and I'm glad they have. ;)