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Excellent! Horror, has he done any horror movie scores other than "The Ring"?My Horner moments cam from space scenes. Very Apollo 13....Absolutely no idea !Am I the only one consistently reminded of the late James Horner whenever I listen to Cornfield Chase? It makes me think, for example, of Cracking the Russian Codes from A Beautiful Mind... it's got that same "flourishy," constantly-moving instrumentation, it picks up with a kinetic piano motif, and even has a super-abrupt ending. Cornfield Chase is actually one of my favorite Zimmer cues in a while.<br><br>Hybrid, do you know if it was an intentional homage to Horner's sound?New project for Hans ! :)
Yeah I see that I'm telling them.thx Hybrid!<br>unfortunately the "Systems Online" is corrupted for meLorne added a bunch of unreleased cues on his website ! ;)HI Hans and gang,<br><br>You are exactly the kind of hero I like - an unsung hero !<br><br>Your music is brilliant. Gladiator, Last Samurai, and my all time favourite Black Rain. The closing theme is just unforgettable, where did you get the inspiration ?Complete score?
Well personally I think there's some middle ground in all that's being said... Hans isn't totally honest with this sentence. But his scores are not the "I drop you a piano theme and do the scores for me" either.Hans: "I mean, *on all of these scores* I have at one time or another played every single note. But unfortunately the story of me just sitting there by myself and writing is far less exciting and scandalous than the idea of assistants and ghostwriters."<br><br>Hence my earlier comment...Hans has most of the time written at least the basic versions of all the cues we're hearing, and his buddies, while working substantially, aren't "writing the whole score." Zimmer scores *are* Zimmer scores, even if they're not completely and totally Zimmer to the exclusion of anyone else's ideas.People who complain about additional composers, look at other composers most of the time we don't even know at least one of theirs. They don't even give credits. For Hans' scores the names are always there. You just have to open your eyes and look. <br><br>And people who say that "Hans can't write real complex Orchestral Scores", well you really are not familiar with his work. One doesn't simply become one of the most famous composers in the world just by writing "simple" stuff.vced, I see your point, but it raised another question in my mind: if Lorne Balfe really composed (almost) the whole of Madagascar 3 or Kung Fu Panda 2... then why are they both so much more enjoyable than Home or Penguins? I think this is an evidence than Zimmer's role is a lot more important than some people would believe.I never blamed Hans when I thought credit wasn't due. Why would he put Lorne as a "producer" on the screen if he wanted to hide him. He never attempted to take credit for Pirates 1, while Monty Norman and John Barry sued themselves over decades, lol.<br><br>I guess the reason why some fans are upset is that they fall in love with the music and then once they already got attached to thought of: " This Hans Zimmer is brilliant!", they find out that not everything is Hans Zimmer. Something is Jim Dooley, or Geoff Zanelli, or Lorne Balfe. <br><br>I guess it's just badly communicated with the fans and for lack of information they start to make up conspiracy theories like how Hans tries to take world domination.<br>I mean, it really got better. <br>Since anyone barely buys a CD today no one can open a booklet and see who else worked on the score. For chappie he put Steve and Andrew on the front cover.<br>Great move if only 2 people helped him out, but how about 7 people? Guess that would look a bit crowded then. :P (And recently they added credits for some scores on spotify.)<br>I think he could reach most people through facebook if he sometimes posts stuff like:"Hey, check out some music by Lorne Balfe, he worked with me on TDKR."<br><br>Sorry for the wall of text but I wanted to write this for a long time. :)<br><br>
BAM. The man has spoken.Hans was interviewed by his daughter recently...<br><br>Zoe : "Does it piss you off when people question the way the studio works? In terms of having people write for you—you know, when it’s made out to be Hans Zimmer’s Musical Sweatshop?"<br><br>Hans : "Well,they can’t have it both ways. Because on the one hand I get knocked for “sounding the same,” which of course doesn’t actually make any sense—look at the films I did with Ridley [Scott], and that’s just one filmmaker: Thelma & Louise doesn’t sound anything like Gladiator, which doesn’t sound anything like Black Hawk Down, which doesn’t sound anything like Hannibal, which doesn’t sound anything like Black Rain, which doesn’t sound anything like Matchstick Men…"<br><br>Zoe : "I really liked Matchstick Men."<br><br>Hans : "So did I, but I think we were the only ones. So anyway, on the one hand there’s obviously a very strong imprint in the architecture of the studio, and on the other hand… I mean, you already know all of this. I write these pieces and they’re very complete, everything’s done on them—the orchestration, everything. But like everybody, I need assistants. I’m the architect, but I need a couple of bricklayers, y’know? Do you think Michelangelo painted every square inch of the ceiling of the Sistine Chapel? Probably not—it would have killed him if he had to do it all by himself!"<br><br>Zoe : "Fair enough. So do you think people who make those assumptions are just uninformed about the system? Because assisting and writing additional music is basically how you get your foot in the door, right?"<br><br>Hans : "Well, yes and no. It didn’t really used to be like that. When I got to Hollywood it was slightly different. The studios had orchestrators and arrangers on staff, and they never really got credit for anything. They were just “Backroom Boys.” So now I really do fight for credits for people, even really small credits. It’s important to me that people get to participate, and that they get credit and that they are visible, so I really do fight fort hem. They might not be the architects, but it’s still their time that they give me, that they give to these projects."<br><br>Zoe : "Interstellar was all you though, wasn’t it?"<br><br>Hans : "All me. Interstellar nobody got to write a single note on other than me. And although a lot of musicians played on it, one of the things we tried to preserve was the singularity of my touch and my vision, and literally me playing every note. I mean, on all of these scores I have at one time or another played every single note. But unfortunately the story of me just sitting there by myself and writing is far less exciting and scandalous than the idea of assistants and ghostwriters."<br><br>:DNope. It's not there.<br><br>You'll find it in the film, buried in the SFX and dialogue of the scene. It's not cleanly available. Maybe if the recording sessions ever leak out, you'll get it, but until then, no, it's not available.vced, I used to think just like that, but the fact is, even if another composer (Lorne) has his name on every cue in an HZ score, the fact is we really don't know how much Hans may or may not have done...Very frequently, the material that gets turned into cues will have already been written by Hans in some unreleased suite, or Hans will have done 80-90% of the cue before Lorne (or whoever) finishes it. <br><br>There's more to these scores than meets the eye, and while Hybrid admitted Hans wasn't focused on Madagascar 3 very heavily, it's impossible to jump to the conclusion that he barely writes anything on his scores. We simply don't know, and more often then not, in cases where I've formerly thought, "Oh, Hans had nothing to do with that music," he actually wrote most of it.Prob coz Hans has barely seen the game. Turned up, wrote a one minute rough sketch of chord progressions, so they could get his name on the cover, then they wheeled in Lorne to actually turn it into a piece of real orchestral music.<br><br>I don't care personally, because we know the true story on this site. I admire Hans. He knows he can't write real "complex" orchestral stuff so he gets Lorne and dooley to help him out. Why not get help from your friends? Don't get the obsession some have with people having to work alone. <br><br>But sometimes I wonder how Lorne feels about it. He's clearly a talented and capable orchestral composer and arranger yet gets second billing on all the juicy projects. He basically did the whole of madagascar 3, really popular film, but Hans who wrote 5 minutes of piano sketches, gets all the credit, while he gets stuck with the penguins film no one saw. He does half of Inception, gets second billing, but gets landed with Terminator. From what Hybrid said recently he basically did kung fu panda 2 single handedly, yet again his solo credits are junk like "home". <br><br>I really want him to get a really big film that critics love. He deserves it!
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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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