Hans Zimmer
Composer
David Fleming
Additional Music
Steve Mazzaro
Additional Music
Omer Benyamin
Additional Arrangements
Steven Doar
Sequencer Programmer
Bruce Fowler
Supervising Orchestrator
Suzette Moriarty
Orchestrator
Carl Rydlund
Orchestrator
Walt Fowler
Orchestrator
Kevin Kaska
Orchestrator
Jennifer Hammond
Orchestrator
Gavin Greenaway
Conductor
Matt Dunkley
Conductor
Tina Guo
Musician
Leah Zeger
Musician
Pedro Eustache
Musician
Caroline Dale
Musician
Kevin Schroeder
Synth Programmer
Ryan Rubin
Music Editor
Seth Waldmann
Music Scoring Mixer
Eva Reistad
Additional Recordings
John Witt Chapman
Additional Recordings
Chuck Choi
Technical Score Engineer
Aldo Arechar
Assistant Score Engineer
Alejandro Moros
Assistant Score Engineer
Soya Soo
Assistant Score Engineer
Jill Streater
Music Preparation
Alfredo Pasquel
Technical Staff
Amy Stewart
Orchestra Contractor
Peter Rotter
US Soloists Contractor
Alan Meyerson
Music Consultant
Mark Wherry
Digital Instrument Design
Raul Vega
Digital Instrument Design
Taurees Habib
Digital Instrument Design
Cynthia Park
Assistant to Hans ZIMMER
Steven Kofsky
Music Production Services
Shalini Singh
Studio Manager
WONDER WOMAN 1984, 2020, Directed by Patty Jenkins
FILM CREDITS
Music by Hans Zimmer
Score Produced by Hans Zimmer
Additional Music by David Fleming & Steve Mazzaro
Music Editors: Gerard McCann, Ryan Rubin & Timeri Duplat
Music Production Services: Steven Kofsky
Sequencer Programming & Score Programmers: Omer Benyamin & Steven Doar
Score Mixed by Seth Waldmann
Score Consultant: Alan Meyerson
Electric & Acoustic Cello: Tina Guo
Supervising Orchestrator: Bruce L. Fowler
Orchestrations by Walt Fowler, Suzette Moriarty, Kevin Kaska, Carl Rydlund, Jennifer Hammond & David Giuli
Orchestra Conducted by Gavin Greenaway & Matt Dunkley
Orchestra Leader: Perry Montague-Mason
Choir: The London Voices
Choir Masters: Ben Parry & Terry Edwards
Music Preparation by Booker T. White & Jill Streater
Score Recorded at Air Lyndhurst & Abbey Road Studios
Score Mixed at Remote Control Productions, Santa Monica, CA
Score Recorded by Geoff Foster
Additional Score Recordings by Tom Bailey, John Witt Chapman & Eva Reistad
ProTools Operator: John Prestage
Score Editors: Chris Barrett, Adam Miller & Alfredo Pasquel
Technical Score Engineer: Chuck Choi
Assistant Engineers: Aldo Arechar, James Grimwade & Alejandro Moros
Synth Programming: Hans Zimmer & Kevin Schroeder
Digital Instrument Design: Mark Wherry, Taurees Habib & Raul Vega
Score Coordinators: Shalini Singh & Cynthia Park
ALBUM ASSEMBLY
Themyscira : 1m1 v2.80 C5.2 Opening Games
Games : 1m2 v6.03 C5.2 Games Begin (Edited) + 1m4 v4.01 C5.2 Not Ready To Win
1984 : 1m5 v5.03 C5.2 1984 Opening + 2m8-9 v2.05 C5.2 Mall Heist
Black Gold : 3m19 v1.70 C5.2 Max Goes To Office + 4m33 ALT Max Visit Simon
Wish We Had More Time : 3m26 ALT More Time - Walk In The Park
The Stone : 4m38 v3.04 C5.2 What Is The Stone (Edited)
Cheetah : 5m41 v3.01 C5.2 Breaking & Entering - Jogging (Edited)
Fireworks : 4m39B v4.01 C5.2 Flying (Edited)
Anything You Want : 5m47 v2.20 C5.2 Max Collecting More Wishes (Edited) + 6m49 v2.30 C5.2 Max Visits President (Edited) (1st part) + 5m43 v1.50 C5.2 King's Wish - The Wall (Edited)
Open Road : 5m44 v3.04 C5.2 Open Road
Without Armor : 6m48 ALT I Can't Give You Up
The White House : 6m49 v2.30 C5.2 Max Visits President (Edited) (2nd part) + 6m50 v3.01 C5.2 White House Standoff (Edited)
Already Gone : 6m51A ALT Penn Ave + 7m51BC v1.2 C7.5B Wish Renounced
Radio Waves : 7m54 ALT Max Transmits + 7m55 v4.01 C5.4 Cheetah Fight (Edited)
Lord Of Desire : 7m56 v2.71 C6.5 Inner Chamber
The Beauty In What Is : 8m57B ALT Max Sees The Light + 8m58A ALT Global Wishes Renounced
Truth : 8m58B v2.50 C7.5 Max Reunites With Alister + 8m59 v4 C5.4 End Credits #1
Lost And Found : Lost & Found Suite v1.70
Hans Zimmer, David Fleming
1m2 v6.03 C5.2 Games Begin (4:14)
Hans Zimmer, Steve Mazzaro
1m3 v4.01 C5.2 Diana Falls Behind (2:02)
Hans Zimmer, Steve Mazzaro
1m4 v4.01 C5.2 Not Ready To Win (1:51)
Hans Zimmer, Steve Mazzaro
1m5 v5.03 C5.2 1984 Opening (3:00)
Hans Zimmer, Steve Mazzaro
2m8-9 v2.05 C5.2 Mall Heist (4:16)
Hans Zimmer, Steve Mazzaro
2m10-11 v8.01 C5.2 Diana Home – Table For One (3:34)
Hans Zimmer, Steve Mazzaro
2m12 v3 C5.2 FBI Needs Help (0:57)
Hans Zimmer, Steve Mazzaro
2m13-14 v2.03 C5.2 Diana’s Wish – Dinner For Two (4:20)
Hans Zimmer, Steve Mazzaro
2m15 v1.02 C5.2 Diana Saves Barbara (0:30)
Hans Zimmer, Steve Mazzaro
3m16 v1.12 C6 Barbara’s Wish (2:02)
Hans Zimmer, Steve Mazzaro
3m16 ALT Barbara’s Wish (Alternate) (2:02)
Hans Zimmer, Steve Mazzaro
3m17 v2.01 C5.2 Barbara Wakes Up (1:12)
Hans Zimmer, Steve Mazzaro
3m18 v1.40 C5.2 Max Tours Museum (1:35)
Hans Zimmer, David Fleming
3m19 v1.70 C5.2 Max Goes To Office (2:48)
Hans Zimmer, David Fleming
3m20 v2 ALT C5.2 Not A Loser – Diana Looks For Stone (2:07)
Hans Zimmer, David Fleming
3m22 v1.03 C5.2 It Fits Perfect (0:32)
Hans Zimmer, Steve Mazzaro
3m24 v1.70 C5.2 Max Grabs Stone (0:55)
Hans Zimmer, David Fleming
3m26 v2.10 C5.2 More Time – Walk In The Park (2:55)
Hans Zimmer, David Fleming
3m26 ALT More Time – Walk In The Park (Alternate) (3:07)
Hans Zimmer, David Fleming
3m28 v2.01 C5.2 Steve Looks In Mirror (1:29)
Hans Zimmer, Steve Mazzaro
3m29 v1.40 C5.2 Max Becomes Stone (0:59)
Hans Zimmer, Steve Mazzaro
4m30-32 v1.02 C5.2 New Strength – Morning Steve (2:35)
Hans Zimmer, Steve Mazzaro
4m33 v2.10 C5.2 Max Visits Simon (2:14)
Hans Zimmer, David Fleming
4m33 ALT Max Visits Simon (Alternate) (2:18)
Hans Zimmer, David Fleming
4m34 v5 C7.4 Steve Tries On Clothes (1:20)
Hans Zimmer, Steve Mazzaro
4m34 ALT Steve Tries On Clothes (Alternate) (1:26)
Hans Zimmer, Steve Mazzaro
4m36 v1.20 C5.2 More Help (1:01)
Hans Zimmer, David Fleming
4m37 v1.40 C5.2 Max Has The Stone (2:38)
Hans Zimmer, David Fleming
4m38 v3.04 C5.2 What Is The Stone? (2:37)
Hans Zimmer, Omer Benyamin
4m39A v1.80 C5.2 Stolen Plane (3:10)
Hans Zimmer, David Fleming
4m39A ALT Stolen Plane (Alternate) (3:20)
Hans Zimmer, David Fleming
4m39B v4.01 C5.2 Flying (3:41)
Hans Zimmer, Steve Mazzaro
5m41 v3.01 C5.2 Breaking & Entering – Jogging (3:26)
Hans Zimmer, Steve Mazzaro
5m43 v1.50 C5.2 King’s Wish – The Wall (2:51)
Hans Zimmer, David Fleming
5m44 v3.04 C5.2 Open Road (5:37)
Hans Zimmer, Steve Mazzaro
5m45 v5.01 C5.2 Bedlam (3:44)
Hans Zimmer, Omer Benyamin
5m46 v10.01 C5.2 History Of The Stone (2:39)
Hans Zimmer, Omer Benyamin
5m47 v2.20 C5.2 Max Collecting More Wishes (6:06)
Hans Zimmer, David Fleming
6m48 v1.50 C5.2 I Can’t Give You Up (3:46)
Hans Zimmer, David Fleming
6m48 ALT I Can’t Give You Up (Alternate) (3:52)
Hans Zimmer, David Fleming
6m49 v2.30 C5.2 Max Visits President (6:14)
Hans Zimmer, David Fleming
6m49 ALT v2.30 C5.2 Max Visits President (Alternate Beginning) (1:45)
Hans Zimmer, David Fleming
6m50 v3.01 C5.2 White House Standoff (5:07)
Hans Zimmer, Steve Mazzaro
6m51A v4.30 C6.3 Penn Ave (2:54)
Hans Zimmer, David Fleming
6m51A ALT Penn Ave (Alternate) (2:16)
Hans Zimmer, David Fleming
7m51BC v1.2 C7.5B Wish Renounced (2:55)
Hans Zimmer, David Fleming
7m51BC ALT 1 Wish Renounced (Alternate I) (3:33)
Hans Zimmer, David Fleming
7m51BC ALT 2 Wish Renounced (Alternate II) (3:36)
Hans Zimmer, David Fleming
7m51BC ALT 3 Wish Renounced (Alternate III – Sunshine) (4:35)
Hans Zimmer, David Fleming (John Murphy)
7m51BC ALT 4 Wish Renounced (Alternate IV – Sunshine) (4:35)
Hans Zimmer, David Fleming (John Murphy)
7m52B v1.60 C7.5B Barbara’s Second Wish (1:51)
Hans Zimmer, Steve Mazzaro
7m52B ALT Barbara’s Second Wish (Alternate – Sunshine) (1:46)
Hans Zimmer, Steve Mazzaro (John Murphy)
7m53 v2.02 C5.4 Wall Falls (1:57)
Hans Zimmer, Steve Mazzaro
7m54 v3.2 C7.5B Max Transmits (3:35)
Hans Zimmer, Steve Mazzaro, Omer Benyamin
7m54 ALT Max Transmits (Alternate) (3:15)
Hans Zimmer, Steve Mazzaro, Omer Benyamin
7m55 v4.01 C5.4 Cheetah Fight (6:01)
Hans Zimmer, Steve Mazzaro
7m56 v2.71 C6.5 Inner Chamber (2:44)
Hans Zimmer, David Fleming
8m57A Beautiful Lie (2:54)
Hans Zimmer
8m57A ALT Beautiful Lie (Alternate) (1:30)
Hans Zimmer
8m57B v2.30 C7.5 Max Sees The Light (2:42)
Hans Zimmer, David Fleming
8m57B ALT Max Sees The Light (Alternate) (2:20)
Hans Zimmer, David Fleming
8m58A v10 C7.5 Global Wishes Renounced (1:41)
Hans Zimmer, Steve Mazzaro, Omer Benyamin
8m58A ALT Global Wishes Renounced (Alternate) (1:40)
Hans Zimmer, Steve Mazzaro, Omer Benyamin
8m58B v2.50 C7.5 Max Reunites With Alister (2:26)
Hans Zimmer, David Fleming
8m58AB ALT Global Wishes Renounced – Max Reunites With Alister (Alternate) (3:30)
Hans Zimmer, Steve Mazzaro
8m59 v4 C5.4 End Credits #1 (2:32)
Hans Zimmer, Steve Mazzaro
8m59 ALT End Credits #1 (Alternate – Pompeii) (5:14)
Hans Zimmer, Steve Mazzaro (Clinton Shorter)
EC End Credits #2 – Lost & Found Suite v1.70 (11:56)
Hans Zimmer, David Fleming
Suite – ’84 (2:28)
Suite – No Hero Is Born From Lies (4:37)
Suite – Apex Predator (5:08)
Suite – The Monkey Paws (6:41)
Suite – Barbara Minvera (1:34)
Suite – Dechalafrea Ero (11:05)
Suite – In Love (10:37)
Suite – Citrine (3:04)
Suite – In Harm’s Way (5:10)
Suite – Life Is Good, But It Can Be Better (11:50)
Suite – The Amazon (9:39)
Music by Hans Zimmer
Score Produced by Hans Zimmer
Soundtrack Album Produced by Hans Zimmer
Additional Music by David Fleming & Steve Mazzaro
Music Editors: Gerard McCann & Ryan Rubin
Sequencer Programming: Omer Benyamin & Steve Doar
Music Production Services: Steven Kofsky
Score Mixed by Seth Waldmann
Score Mix Consultant: Alan Meyerson
Supervising Orchestrator: Bruce L. Fowler
Orchestrations by Walt Fowler, Suzette Moriarty, Kevin Kaska, Carl Rydlund, Jennifer Hammond & David Giuli
Orchestra Conducted by Gavin Greenaway & Matt Dunkley
Choir: London Voices
Choir Masters: Terry Edwards & Ben Parry
Music Preparation: Booker White
Librarian: Jill Streater, Global Music Service
Additional Librarians: Ann Barnard & David Gill
Score Recorded at Air Lyndhurst & Abbey Road Studios
Score Recorded by Geoff Foster
Additional Score Recordings by Tom Bailey
Additional Engineering on Overdubs: Seth Waldmann, John Witt Chapman & Eva Reistad
Score Mix Assistant: Aldo Arechar
Assistant Engineers on Overdubs: Jacob Moreno & Soya Soo
Assistant Engineers at Scoring: Ashley Andrew-Jones, Rebecca Horderen, Gianluca Massimo, George Oulton & Paul Pritchard
Digital Score Recordists: John Prestage & Laurence Anlsow
Score Editors: Chris Barrett, Adam Miller & Alfredo Pasquel
Technical Score Engineer: Chuck Choi
Technical Assistants: James Grimwade & Alejandro Moros
Synth Design: Kevin Schroeder
Synth Programming: Hans Zimmer
US Soloists Contracted by Peter Rotter
Orchestra Contractor: Amy Stewart for Isobel Griffiths Ltd
Orchestra
Orchestra Leader: Perry Montague-Mason
Solo Cello: Caroline Dale
Solo French Horn: Richard Watkins
US Musicians:
Electric & Acoustic Cello: Tina Guo
Violin: Leah Zeger
Bass Flute: Pedro Eustache
Digital Instrument Design: Mark Wherry
Digital Instrument Preparation: Taurees Habib & Raul Vega
Studio Manager for Remote Control Productions: Shalini Singh
Assistant to Hans Zimmer: Cynthia Park
Score Mixed at Remote Control Productions, Santa Monica, CA
Album Mixed by Seth Waldmann
Album Mastered by Patricia Sullivan at Bernie Grundman Mastering
Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek
Executive in Charge of WaterTower Music: Jason Linn
Music Business Affairs Executive: Ray Gonzalez
Art Direction: Sandeep Sriram
Hans Zimmer would like to thank:
Patty Jenkins, Chuck Roven, Stephen Jones, Rebecca Steel Roven Oakley, Jason Crain, Anna Obropta, Zack Snyder, Rick Pearson, Sean Thompson, Gary Rizzo, Gilbert Lake, Richard King, James Boyle, Paul Broucek, Karen Elliott, Sophia Ohler, Jason Linn, Sandeep Sriram, Pater Axelrad, Maria Belli, Rocco Carrozza, Wendy Dang, Vincenzo De La Rosa, Joe Kara, Kevin Kertes, Katie Lambert, Genevieve Morris, Amanda Stimac, Isobel Griffiths Ltd Team: Jenny Nendick, Jo Changer, Lucy Whalley, Mandy Hadler, Sara Pulice, Susie Gillis, Candace Carlo, Jilliam Abood, BeBe Lerner Baron & the ID Team, Ryan Ouchida, Julian Pastorelli, Zoë, Jake, Max & Annabel & The Duchess of Duke Street
Hans Zimmer, David Fleming
02 – Games (5:17)
Hans Zimmer, Steve Mazzaro
03 – 1984 (7:04)
Hans Zimmer, Steve Mazzaro
04 – Black Gold (4:55)
Hans Zimmer, David Fleming
05 – Wish We Had More Time (2:54)
Hans Zimmer, David Fleming
06 – The Stone (2:13)
Hans Zimmer, Omer Benyamin
07 – Cheetah (3:13)
Hans Zimmer, Steve Mazzaro
08 – Fireworks (2:38)
Hans Zimmer, Steve Mazzaro
09 – Anything You Want (4:45)
Hans Zimmer, David Fleming
10 – Open Road (5:36)
Hans Zimmer, Steve Mazzaro
11 – Without Armor (3:46)
Hans Zimmer, David Fleming
12 – The White House (7:45)
Hans Zimmer, Steve Mazzaro, David Fleming
13 – Already Gone (5:04)
Hans Zimmer, David Fleming
14 – Radio Waves (8:02)
Hans Zimmer, Steve Mazzaro, Omer Benyamin
15 – Lord Of Desire (2:44)
Hans Zimmer, David Fleming
16 – The Beauty In What Is (3:48)
Hans Zimmer, Steve Mazzaro, David Fleming
17 – Truth (4:45)
Hans Zimmer, Steve Mazzaro, David Fleming
18 – Lost And Found (Bonus Track) (11:55)
Hans Zimmer, David Fleming
02 – No Hero Is Born From Lies (4:38)
03 – Apex Predator (5:08)
04 – The Monkey Paw (6:49)
05 – Barbara Minerva (1:32)
06 – Dechalafrea Ero (11:10)
07 – In Love (10:48)
08 – Citrine (3:04)
09 – In Harm’s Way (5:15)
10 – Life Is Good, But It Can Be Better (11:51)
11 – The Amazon (9:44)
Don’t be surprise if Fleming is the best thing of Gunn’s Superman.
I don’t care about his part of work and hope that at least something of John Murphy’s music had survived the post-production.
Absolutely convinced this is one of Zimmer’s best scores, particularly if you frame it in terms of being a Zimmer score (i.e. having a distinct musical voice) AND just being damn good.
I know it seems that way but it isn’t that straightforward. Complexity is a skill that can be learned and mastered. To John Williams, writing complex orchestration comes easier than writing the simple Indiana Jones main theme (by his admission).
Ludwig spent more than a year obsessively working on Tenet not because of complex themes or orchestration.
Ian, I sympathize with your points, but TDK is not “as much Mel as Hans.” Yeah, Mel did the bat flaps and helped with sound design, but those elements aren’t so score-defining that Mel deserves that level of credit. Even the “whoosh” sound was Hans’s concept—and Mel created the sound based on that vision.
Also, Ian, idk how many times we have to reiterate this to you: Training is *not* Ramin’s theme! It’s Hans’s theme, from the cue “Prison Nightmare.” Training was arranged by Ramin, yes, but based on the motif in Prison Nightmare, and we don’t know how much was him and how much was Hans (impossible to say without being in the room—Hans said on POTC 1, he and Ramin went back and forth arranging the Jack / Will swordfight. Very likely the same here).
A bit off topic, but I sometimes wonder what is the point of these discussions… As if any of us have ever a written a single note to sit like a round table of experts and judge who’s better at sound design and who’s better at orchestral composing. Especially that part on who apparently wrote which 0,7 second part, what % of it is actually HZ, how long did it take, how intense it was, what kind of cup they were drinking their coffee from when composing, were they composing or programming after all, was it 2am or 4pm, etc. It’s just silly. Every time a new thing comes out, everybody seems to just want to dissect it to the level of molecules. The main point of it seems to have been long forgotten – to just enjoy good, beautiful and inspiring music…
“Also, Ian, idk how many times we have to reiterate this to you: Training is *not* Ramin’s theme! It’s Hans’s theme, from the cue “Prison Nightmare.” Training was arranged by Ramin, yes, but based on the motif in Prison Nightmare, and we don’t know how much was him and how much was Hans (impossible to say without being in the room—Hans said on POTC 1, he and Ramin went back and forth arranging the Jack / Will swordfight. Very likely the same here).”
It’s Ramin’s theme. Hans had an idea, and Ramin wrote it.
I don’t know why you guys bullshit for Hans so much. The dude is brilliant, but when he doesn’t write something, he doesn’t write something. It is an objective fact that he did not write Batman’s long string theme.
Also: Ramin wrote the Swordfight cue. Is this controversial? No.
Give Zimmer credit for the work he does, and nothing else.
Abryus1337 – I feel you, but when someone is as prominent is Zimmer, it is very natural for people to want to debate his involvement in his work, all the way down to his favorite sexual position. At some point it’s meaningless, but I really have no objection
Ian, it’s not about bullshitting for Hans. When he didn’t write something, he didn’t write something (e.g., Father and Son from KFP3 or the many, many times it appears in the score).
On the other hand, we have Hans himself on the VI Control forum saying the “long theme” for Batman is first used during the “ice fight” and then has its final appearance “at Bruce’s funeral.” Why would he bring up this theme and play it in concerts so consistently if he didn’t write it? You can’t say it’s “an objective fact” that he didn’t write the long string theme—and neither can I objectively say he did. We weren’t in the room. But Hans and the additional composers often switch back and forth on a given cue. Stephane has said this a ton. And the weight of evidence leans more toward Hans writing the basis of it rather than Ramin. Ramin was absolutely involved. Not denying that. But to act like Ramin wrote it 100% and Hans just spat out an idea for him to flesh out isn’t likely. That’s the strange thing about this site: people acting like just because a secondary name is on the cue, the original composer must have not been involved. That’s not born out from either what Hans says in interviews or what Stephane has said here.
Tom is right