NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
Do you know WHEN it will be released? The soundtrack for "A.D. The Bible Continues" I LOVE listening to Hans Music to pray to, Just love his music.@vced:<br>"The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me."<br><br>Interesting you impress upon this point with this score.  Conversely, like Hybrid cites, a contract is a contract.  Let us not pretend that Hans kicks and shoves his collaborators -- writers, arrangers, etc -- into a closet never to be mentioned or heard from again.  Essentially everything he does is a collaboration, and credited so appropriately, minus an example or so by my observations.<br><br>I don't criticize Harry or Powell every time the liner notes from a score don't specifically praise Hans.<br><br>Who knows @ the dynamics, influence, inspiration, success of a given cue?  Those that work on it.  From the idea, to the last note.<br><br>  <br><br>Love the track, Hybrid!>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...<br><br>Now you got me curious..."I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him"<br><br>LOL. How funny is this statement. Just can't stop laughing. Ignorance is bliss.
Hans Zimmer...<br>thank you for all of your works. I wrote many pieces which are inspired by your music. Also other Amateur-componists. Hope you will continue your fantastic work for many years.Yep... One more Lorne ! Well that one's quite "old"... But one more ! lolI'm not in Sony, Warner or Columbia team to be able to tell that.Hi Damien.<br><br>Will the expanded soundtrack be made available for download at all?  Either free, or by purchasing.<br><br>I'd love to get a copy of the music in the expanded soundtrack, but this simply doesn't appear to be available. :(<br><br>Please advise."More Cannons" is Bowell/Palfe. What the weighting is, I don't know, though I'd be inclined to think something like 70-30. Bits of Home sounding like it isn't all that convincing an argument, since a composer doesn't need only to rip off his own repertoire ;) I'm more convinced by the Megamind similarity towards the end of that track.
Palfe? haha... btw Edmund, do you still think "More Cannons" is Powell. I'm pretty sure I hear bits of it in Lorne's (excellent, btw) "Home" score!It's official enough for me ! ;)Except that was Powell himself doing Powell in KFP 2 (well, Powell and Palfe). ;)Don't think Hans can't do anything and needs people to do so... I think it was valid 25 years ago when Shirley Walker was orchestrating & arranging his scores...<br><br>But now, not really, he can do anything... He doesn't use add. composer because he HAS to, but because he wants to. Most of the times he starts the cues, gives direction and leads his guys where he wants them to go, and always has the final say...<br><br>I'll take an example, Rush... If you check the cuesheet, it's quite a mess, you basically have 0 cue with Hans alone... And yet he wrote most the themes to picture this time, with Ron Howard & Peter Morgan in the room. No theme suites... Then the guys just arranged slightly & added stuff... But a lot of the cues are him in the first place...No official source yet, but both Dan Goldwasser and Ford A. Thaxton have confirmed it on Maintitles and FSM respectively.
Exactly, ghostwriting is very common in the industry. At least his collaborators get credited here.<br><br>"Hans is good at what he's good at, simple melodies and interesting sound-scapes."<br><br>You're making it seem as if he was some sort of second rate composer, probably unintentionally, but let's not forget that he wrote Gladiator, Lion King and Prince of Egypt almost all on his own and those are considered film score classics. The first one even made it's way into many contemporary classical selections. <br><br>It's true that he took a step back in the 2000s focusing more on his role as a producer and this one is probably the prime example. However, his theme suites, especially for potc, are already a very good representation of the score's memorable parts and I'm sure the result wouldn't be very different if he did everything by himself.<br><br>And what exactly do mean by "his limitations"? You seem pretty new to Zimmer's music. He can do Powell as well if necessary as shown in Kung Fu Panda 2.Well if you take the cue sheet every composer is credited for every cue on this score...<br><br>The name on the film credit is a contract.<br><br><br>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...Great score. But its a pity the credited composer wrote almost none of it. <br><br>I know it's a tired debate, but I don't know how people here are so comfortable with the fact he takes full compositional credit for scores like this, Madagascars etc. <br><br>Scores like this you can't even earnestly say he wrote the themes like with Pirates. At least there the core of the material is coming from him. Here, the giddy up theme is Lorne, the villain theme and Homer suite are Jackman, the Lisa theme is Alti, etc. etc. Even the main theme arrangement isn't his. <br><br>I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him, that's not the problem. Those aren't his strengths, it's not a big deal. Hans is good at what he's good at, simple melodies and interesting sound-scapes. He's also good at organising his talent. The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me.There's no news on that at all. Not on Google or IMDb. What's your source?Powell's gonna have longer than 5 five weeks now, movie just got pushed back to October.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50






Mini biography from IMDB

German-born composer Hans Zimmer is recognized as one of Hollywood’s most innovative musical talents‚ having first enjoyed success in the world of pop music as a member of The Buggles. The group’s single Video Killed the Radio Star became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV.

Zimmer entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers‚ which included the film My Beautiful Laundrette. He soon began work on several successful solo projects‚ including the critically acclaimed A World Apart‚ and during these years Zimmer pioneered the use of combining old and new musical technologies. Today‚ this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer’s career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year‚ Zimmer composed the score for another Best Picture Oscar recipient‚ Driving Miss Daisy‚ starring Jessica Tandy and Morgan Freeman.

Having already scored two Best Picture winners‚ in the early ’90s Zimmer cemented his position as a pre-eminent talent with the award-winning score for The Lion King. The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score‚ a Golden Globe‚ an American Music Award‚ a Tony and two Grammy Awards. In total‚ Zimmer’s work has been nominated for 7 Golden Globes‚ 7 Grammys and seven Oscars for “Rainman”‚ “Gladiator”‚ “The Lion King”‚ “As good As It Gets”‚ “The Preachers Wife”‚ “The Thin Red Line‚” “The Prince Of Egypt” and “The Last Samurai.”

With his career in full swing‚ Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers’ guidance. With state-of-the-art technology and a supportive creative environment‚ Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical ’think tank.’ This approach helped launch the careers of such notable composers as Mark Mancina‚ John Powell‚ Harry Gregson-Williams‚ Nick Glennie-Smith and Klaus Badelt.

In 2000 Zimmer scored the music for Gladiator‚ for which he received an Oscar nomination‚ in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album “Gladiator: More Music From The Motion Picture‚” released on the Universal Classics/Decca label. Zimmer’s other scores that year included Mission: Impossible 2‚ The Road To El Dorado and An Everlasting Piece‚ directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor‚ The Ring‚4 films directed by Ridley Scott; Matchstick Men‚ Hannibal‚ Black Hawk Down and Thelma & Louise‚ Penny Marshall’s Riding In Cars With Boys and A League Of Their Own‚ Quentin Tarantino’s True Romance‚ Tears Of The Sun‚ Ron Howard’s Backdraft‚ Days Of Thunder‚ Smilla’s Sense Of Snow and the animated Spirit: Stallion Of The Cimarron for which he also co-wrote four of the songs with Bryan Adams‚ including the Golden Globe nominated “Here I Am.”

At the 27th annual Flanders International Film Festival‚ Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-piece choir. Choosing selections from his impressive body of work‚ Zimmer performed newly orchestrated concert versions of Gladiator‚ Mission: Impossible 2‚ Rain Man‚ The Lion King‚ and The Thin Red Line. The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."

In 2003‚ Zimmer completed his 100th film score for the film The Last Samurai‚ starring Tom Cruise‚ for which he received both a Golden Globe and a Broadcast Film Critics nomination. Over the past year‚ Zimmer has scored Nancy Meyers’ comedy Something’s Gotta Give‚ the animated Dreamworks film‚ A Shark’s Tale (featuring voices of Will Smith‚ Renee Zellweger‚ Robert De Niro‚ Jack Black and Martin Scorsese)‚ and most recently‚ Jim Brooks’ Spanglish starring Adam Sandler and Tea Leoni (for which he also received a Golden Globe nomination). His upcoming projects include Paramount’s Weatherman starring Nicolas Cage‚ Dreamworks’ Madagascar and highly anticipated Warner Bros. summer release‚ Batman Begins.

Zimmer’s additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review‚ and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP’s Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of 4.


 HANS-ZIMMER.com 2001-2014 OST