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How black and white must your worldview be when not calling Lego Batman ONE OF THE GREATEST ANIMATION SCORES OF ALL TIME is called  "hatred". Believe it or not there is a bit of a spectrum between BEST EVER and WORST EVER. Although I imagine that's news to quite a lot of the people who frequent this site.Leave it to discuss the Lego score on the page reserved for it.<br><br>These comments about Balfe popping up everywhere are annoying.<br><br><br><br><br> <br>It's a bit annoying that every time I want to read some comments about the Wonder Woman soundtrack and click on a picture all I can read are praises for the Lego Batman score.<br><br>Please talk about Lego Batman in the Lego Batman section and keep this topic for Wonder Woman's music - which is not bad at all, by the way.Legobatman was fun score . I don't understand why some are mean about it . It's better than most Marvel scores and very memorable . Looking forward to his next animation filmNeither am I ? Lego Batman had cool music . Loved the songs also .
The emotional music in Lego Batman was some of the best writing was fantastic . Not sure why there is hatred for the sound track ? I only came across this web site because of Balfes music ....and some insights to the first POTC score. Seems he really did a lot for it. Interesting how no one really mentions Klaus Badelt beside lots of name dropping of other composers. The Lone Ranger bits are also very nice (another troubled production).Yeah I agree, sounds like Gollum's theme. Which I guess makes a weird kind of sense since both Gollum and Batman lead a double life xDFinal part of "Batman Suite" sounds like "The Lord of The Rings" lolReally again on that Lego Batman score ? Still don't know what everyone is raving about. The score of wonder woman. Liked it, but nothing memorable. For best the more emotional tracks stand out the best like Pain, Loss & Love
It's the same as One Day just re-scoredLego Batman is not even the best animated score this year let alone the second best all time.<br><br>The Lion King, Prince of Egypt, How to Train Your Dragon, Kung Fu Panda, etc..<br><br><br><br>Dear Hans,<br><br>me and my wife visited the concert in Leipzig, Germany on May 24th 2017. We are big fans of Hans’ music and were in joyful anticipation to see him playing live some of our most favorite songs.<br><br>We had tickets for the best category right in front of the stage. By the way: we also visited John Williams and we have tickets for James Newton Howard as well.<br><br>But sadly this concert was a total disaster and we drove back home with nothing else than disappointment and anger. Compared to John Williams, where we were totally excited and told everybody about the great concert, we weren’t able to do this for the Hans Zimmer concert.<br><br>Let me explain in short, how we experienced this Hans’ concert.<br><br>1) Sound<br>The sound was horrible. The bass (especially sub-bass) was way to loud. Everything was booming, the sound was ‚muddy‘ and totally distorted. Vocals were hearable and understandable only if the band was playing very quitely.<br><br>At least, many people had to cover their ears because of the high loudness. And some people left the concert because of the bad sound. And just as a note: such high levels are harmful to health and if you like your fans to hear your music in the future, you shouldn’t kill their hearing ability!<br><br>Front of House was at the very end of the hall - so they didn’t hear how bad it was in front of the stage - and the most expensive seats.<br><br>I have to say this was no professional work. It seems like they just tried to kill any noise by turning up the volume to the max (like in the 80s) instead of optimizing sound and setup adjusted to the hall and the audience.<br><br>2) Lightshow and screen<br>The lightshow was a lowlight as well.<br><br>Almost the whole lightshow was based on strobe effects and flashing lights - no matter if the moving hads were flashing or the psychedelic moving images on the big screen were flickering and flashing. I was not able to watch this concert longer than a few seconds and then I had to close my eyes for a few seconds before I was able to watch again. Two hours of strobing and flickering lights, all the way from light to dark and back again in high frequencies was very exhausting. And it wasn’t only me. I saw a lot of people keeping their heads down and were watching the ground and not the stage.<br><br>Lucky me, I’m not an epileptic….<br><br>The big screen was used only for this irritating images and sometimes for pre-recorded! scenes, where some of the musicians were playing their instruments instead of showing the band or Hans’ playing live or if Hans’ is telling stories about the songs, his live or his friends and band colleagues.<br><br>At least this kind of lightshow and use of the big screen didn’t make it possible to see the artists faces. So it’s a bit like with the sound… You couldn’t hear them, but you couldn’t see them as well.<br><br><br>So why do you visit a concert? Right, to see the artist play and hear, what they play. Both wasn’t possible or a joy that day.<br><br>There are many clips on YouTube, where you can see and hear what we experienced. And no, the distorted sound is not caused by „bad mics“ of the smartphones...<br><br><br>I’m very sad to say this, but this was the worst concert of my live. I’m not able to tell anything good about this event - and everybody was expecting the total opposite. And to be honest - I wish I could get my money back, for the very first time in my live after visiting a concert. It was such a waste of time and money :(<br><br>Rick<br>Up, How to train your dragon and then Lego Batman are my top three. Defiantly best score of the year - AT THE MOMENT !!!Me too! Fun score. Surprised there are no more comments here.
Exactly - Lego batman could easily be for any D.C. Film not just for an animation . One of my favoritesGot to agree with you . Legit batman is in my top 5 for sure . It out a lot of super hero film soundtracks to shame . Excellent scoreWell.. I saw the movie, and I liked though not as much as the trilogy, but its very enjoyable in its own right. Capture much more of the firsts movies feeling that OST did. What I think I missed the most was Verbinski's weird sensibilities, grittiness and timming, but oh well as long as he doesn't want to return to this series, it will be something to miss for ever. <br><br>As for the Zanelli's score I loved it. I think is much better than Curse of the Black Pearl, which I think is the one we should compare with. Remember this new movie is, in theory the 1st one of a new part of the saga, so... compare it to AWE I think is very unfair... Not just the characters but the story itself must earn the epicness just as AWE did, thats how Zimmer desceibed it at the time. So this new one is the lowest end of Pirates epicness yet, or at least is the way I see it. If they keep doing more and Zenlli is still there, I'm sure it'll have to grow in scope and reach AWE highs and maybe even more.Agree with Edmund, (Shrek, Ice Age, Kung Fu Panda, Jungle Book...,) but each to his own... <br>What's the name of that celestial music when Volmer gives Hannah a new dress and says to her "You're a woman now" ?
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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.


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