Additional Music by Lorne Balfe & Tom Holkenborg Ambient Music Design: Mel Wesson Additional Arrangements: Andrew Kawczynski, Jasha Klebe, Steve Mazzaro & Ramin Djawadi Album Produced by Stephen Lipson Album Co-Produced by Chris Nolan, Alex Gibson & Hans Zimmer Music Production Services: Steven Kofsky
Solo Cello: Anthony Pleeth & Martin Tillman Solo Violin: Ann Marie Calhoun Synth Programming: Howard Scarr & Hans Zimmer Supervising Music Editor: Alex Gibson Music Editor: Ryan Rubin Technical Consultant: Chuck Choi Digital Instrument Design: Mark Wherry Sample Development: Sam Estes, Michael Hobe & Claudius Brüse Supervising Orchestrator: Bruce L. Fowler Orchestrators: Walter Fowler, Kevin Kaska, Yvonne Suzette Moriarty, Rick Giovinazzo, Elizabeth Finch, Carl Rydlund, Andrew Kinney, Geoff Stradling & Ed Neumeister Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Charlotte Matthews
Score Coordinator: Andrew Zack Music Preparation: Booker White UK Music Librarian: Jill Streater, Global Music Service
Score Recorded at Air Lyndhurst, London, UK
Score Recorded by Geoff Foster Assistant Engineers: Adam Miller, Laurence Anslow & John Prestage Orchestra Conducted by Gavin Greenaway & Matt Dunkley Booth Reader: Thomas Farnon Orchestra Leader: Perry Montague-Mason Principal Viola: Peter Lale Principal Bass: Mary Scully Percussion: Paul Clavis, Gary Kettel & Frank Ricotti Principal Horn: Richard Watkins Principal Trombone: Richard Edwards Principal Tuba: Owen Slade Synthesizers: Hans Zimmer Global Chant Leader: CJ Singh Choir Boy: Thomas Jesty Score Mixed by Stephen Lipson, Alan Meyerson & Daniel Kresco Score Mixed at Remote Control Productions, Santa Monica, CA
Assistant Engineers: Satoshi Noguchi, Lori Castro & Christian Wenger Album Mastered by Pat Sullivan of Bernie Grundman Mastering
Studio Manager for Remote Control Productions: Czarina Russell
Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek Executive in Charge of Music for WaterTower: Jason Linn Music Business Affairs Executive: Lisa Margolis
Extra special thanks to James Newton Howard
Hans Zimmer would like to thank: Christopher Nolan, Emma Thomas, Jordan Goldberg, Charles Roven, Jeff Robinov, Thomas Tull, Lee Smith, Wally Pfister, David Hall, Richard King, Gary Rizzo, Gregg Landaker, Paul Broucek, Sue Kroll, Michael Tritter, John Limpert, Jason Linn, Sandeep Sriram, Michael Breidenbrücker, Bonnie Abaunza, Brendyn Adams, Madelene Albright, Dan Aloni, Ryeland Allison, Max Aruj, Peter Asher, Bob Badami, Joseph Bille, Tiffany Bordenave , Ed Buller, Alison Burton & the staff at Air Studios, Candace Carlo, Lori Castro, Louisa, Philina, Nino, Isabelle & Andreas Cerdan, Ronni Chasen, Chuck Choi, Paul Clavis, Leland Cox, Deadmau5, Ramin Djawadi, Sheila E., Ariel Emanuel, Sam Estes, Antony Genn, James, Trish & Max Golfar, Peter Gorges, Urs Heckmann, Michael Hein, Axel Henson, Michael Hobe, Elizabeth & Martin Holdgate, Joerg Huettner, Stefan Hund, Henry Jackman, Gert Jalass, Paul Kellett, Kai Krause, Chaz Labrecque, James S. Levine, Ken MacBeth, Christina Mansky, Lisa Margolis, Nils Montan, Giorgio Moroder, Sebastien Najand, Amos Newman, Rich Nevins, Brendan & Christina Nolan, Flora, Rory, Oliver & Magnus Nolan, Ryan Ouchida, Kathy & Stephen Paine, Wolfgang Palm, Heitor Pereira, Kyle Quibelan, A. R. Rahman, Carlos Mendoza Rohde, Lee Rossignol, Jeff Sanderson, Adam Schmidt, Jacob Shea, Shalini Singh, Peter Snell,
Noah Sorota, Andreas Stelling, Chris Strong, Robert Thomas, Bobby Thornburg, Helge Topka, Helge Vogt, Robert Weil, Eric Whitacre, Pharrell Williams, Junkie XL, Brigitte Zimmer, Zoë Zimmer, Jake, Annabel, Max & Suzanne Zimmer
Thanks to: Peter Axelrad, Rocco Carrozza, CJ Coyne, Dan Coyne, Joe Kara, Kevin Kertes, Ny Lee, Kris Little, Nigel McCorry, Genevieve Morris, John F.X. Walsh, Robert Zick
Release Date : 07/17/2012
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Have any of you heard Vitaliy Zavadskyy's Dark Knight Rises piece? IMO it's somewhat better than the final score.
Well, it's good. :)
Most of those You-Tube fan-made scores are phenomenal !! I wish Zimmer composed those pieces !! I added them onto my TDKR Complete Score playlist !!
Yes Zavadskyy's is very good. But I don't think it's better than the actual score. Did you hear "Moody Bruce Suite" here? It's absolutely incredible.
Both the moody bruce suites (the fast, transfiguration one and the regular one) are awesome, but notice I said it was better than the FINAL score, as in, the score as heard in the film. In the movie they hardly used either of those two suites! :(
Are the credits to Zimmer alone here (Gotham's Reckoning, Necessary Evil, and No Stone Unturned) official, or were they put here in absence of knowledge regarding who actually did them? Because shouldn't "A Storm is Coming" be credited to Mel Wesson, and "Why Do We Fall?" be credited to Hans Zimmer and Lorne Balfe?
Oddly enough My all out war is 5:11 long and it's listed as 3:21
That's a different "All Out War": the one you have is from the complete score, the music which is playing during the beginning of the final battle. This "All Out War" is another bonus track; the first half of it plays after Batman frees the cops trapped underground, until Selina rides off on the Batpod in the next scene. The second half plays when Bruce Wayne is taken with a bag over his head to Lucius Fox. (check out Wikipedia).
Cool Thanks for the info.
I found my "All Out War" on youtube, and the Recordings on there are not very good. how do you master it. or find a better copy
The 'recordings' on YouTube are not very good quality BECAUSE you found them on YouTube. You can get a better copy by looking NOT on YouTube. If you want to 'master' it, you could go to school for several years, become a sound engineer, and purchase hundreds or thousands of dollars' worth of high tech audio equipment.
I have already bought Logic pro! lol.
... or you do some self studying and invest some of your private time in mastering, cutting and suiting tracks. :) I did start with Magix and after several years I invested some money in Adobe Audition.
My longest project was or is Die Hard With A Vengeance - meanwhile I spent over eight months to make a film version soundtrack. Sadly I did this with the Magix software. Some day I'll "convert this to Audition :)
So happy editing ;-)
Areozz, with that amount of money, I'd rather recruit a team of hackers to get the whole RCP's database... Jackpot ! ;)
If I had put the album together, I would have wanted the following (just for fun):
1. The whole "Logo" cue 2. The whole "Gotham's Reckoning/Prologue" cue 3. Nothing Out There 4. Blake Visits Wayne Manor/Hospital Visit/Bruce Follows Selina (as one track) 5. Batman Chased (Film Version!!!) 6. Miranda Visits Wayne/Take Me To Bane 7. Instrument of Your Liberation 8. Gotham Is Yours 9. Not Meant To Die Here/No Ordinary Child 10. Without a Rope 11. Get Me To Fox/Gordon Arrested 12. The album track "Despair" 14. All Out War 15. The Full "Not An Ordinary Citizen/Slow Knife" cue 16. The film version of the "Imagine the Fire" cue 17. The film version of "Rise"
With all of this together, the album would be about 4 minutes over an hour, which isn't unreasonable, and IMO would be a much better presentation of the score as a whole.
Even so, the problem with all three Batman scores is that, short of a 2 disc release, no satisfactory release is present.
And sorry to keep posting, but one more thing: the bonus tracks could have been on the album, which in and of itself would have been an improvement, while the track "The End" is a pointless regurgitation of "Rise" (even though it's nice) and "The Shadows Betray You" is a subtle version of "Imagine the Fire". They could have replaced those two redundant tracks with more of the in-film music.
The Dark Knight Had a very good release in my opinion
I Dont get what people are talking about when they say the Balfe did they film music or some of it this soundtrack is a Zimmer soundtrack but granted Zimmer does let Balfe do some of the other stuff as well. but this is a True Zimmer score
To me, it all depends on how you view it. Did Hans do the very respectible John Williams thing and do virtually every note and nuance of the score himself, conducting the orchestra while they play the cue for a given scene? No. The way he did it was write a bunch of long theme suites after getting a feel for the film, put in enough music from said suites to populate the whole film (thus creating a rough draft score), and then he let the additional composers--primarily Lorne Balfe--go to work tweaking the "rough draft score", saying how he wants the cue to sound, how to do it, giving thumbs up or down, reworking if he doesn't like it, etc... He's not a traditional film composer exactly, because he doesn't do the individual cues himself except sometimes--even if all the music you hear was indeed written by Zimmer. It's kind of confusing, and the influence of the additional composers is more or less felt depending on the project. The Dark Knight Rises really is Zimmer through and through, but other films, like Inception, At World's End, and Madagascar are more obviously a group effort.
And so some people still think Williams does 100% of the job... How cute... :)
I said "virtually" every note for a reason. Still, I'd appreciate any info on his processes. ;)
And if you're thinking of Attack of the Clones, I know it was a mess. Phantom Menace too, for that matter.
You can't really point fingers at Williams and say he's as "bad" as Zimmer (assuming ghostwriting is a bad thing, which I don't, but whatever). Williams simply doesn't have ghostwriters. At most he has orchestrators, ones who probably don't even have that much to do in the long run. Even on something like Chamber of Secrets, all William Ross was responsible for doing was arranging Williams cues from Philosopher's Stone into the new movie; he didn't do ANY composing whatsoever and Williams still insisted on his name being on the front cover. Balfe's name SHOULD have been on the front cover of Inception - he practically co-wrote that score.
Again, not saying ghostwriting is a bad thing, nor that Zimmer does it exclusively - Marco Beltrami has Buck Sanders, Michael Giacchino has (or had) Chad Seiter and Chris Tilton, James Newton Howard used to have Chris Bacon - but I think in all of the other cases the primary composer is more, well, primary than it is with Zimmer. Plus, even when Williams uses help from e.g. Ross, he only did that because he ran out of time on Chamber of Secrets, whereas with Zimmer it's the standard mode of operation. Very different situations, I think.
Of course, you know more than we do, Hybrid, so do enlighten us if you can. Especially if you know something about Williams and ghostwriting that we don't.
Running in circles, running in circles & running in circles...
We're like a very bad Matrix remake or something...
Hahaha. What in the world? Can't anyone just enjoy the music? Next thing you know, some is going to ask for a pregnancy test......
And...How's the music by the way?
What Edmund mentions about Chamber of Secrets is something which, I think, goes to the credit of the Sherlock Holmes scores, both in album and on film. The album covers and end credits both say, right beneath "Music by Hans Zimmer", "Music Produced by Hans Zimmer and Lorne Balfe". Inception being Edmund's example, I agree Lorne should have been credited as a co-composer, but even if the cover of the album said something like, "Score Produced and Additional Music by Lorne Balfe", I'd be content. Integrity is important in my opinion. If a person composes half the music in a score, as Balfe did on Inception, he should be credited accordingly. I know fully that the lack of proper crediting is not Hans' fault, seeing as he credited Lisa Gerrard, who composed nothing, on Gladiator, but why couldn't Chris Nolan have simply added Balfe's name to the credits? Being credited with additional music and score production is not the same thing as doing half the score. And bear in mind, please, that I'm not bashing Inception's score itself. It's good, for the most part, and works greatly within the movie.
Lest it sound as though I have contradicted myself: when I said that being credited with score production and additional music is not the same as doing half the score, I meant that being credited with those things near the bottom of the credits where no one looks. If it were right there with Zimmer's name, I'd be mostly fine with it. Still, I'd think co-composer credit would be best. Some will disagree, but I honesly feel like maybe Lorne did as much in Inception as James Newton Howard did in The Dark Knight.
Williams essential DOES 100% of the job, from a musical and compositional point of view. All his orchestrators do is copy out EXACTLY what he's written from an 8 bar stave into a full orchestral score. It's not a creative role, it's a logistical role.
I know things Are always a collaborative effort and i know Zimmer likes help. I'm just saying that This is A Zimmer Score unlike CoDMW2
I Thought that in reading the inception That Zimmer did most of the work on that score as well. now granted Balfe did some but i dont think he did do that much
MacArthur, hopefully this will give you an idea of how heavily involved Lorne Balfe was on Inception.
--Remember the One Simple Idea album track? That theme is heard quite a bit throughout the film, and it was composed by Lorne, not Zimmer. --Remember the "528491" album track? That track, and that same theme in its various forms, is all Lorne. Once again, it's used quite a bit throughout the movie. --It's also possible that Saito's theme was done by Lorne, since the cue "Saito's Fate" lists Lorne alone, but I'm not sure exactly.
Anyways, in addition to all that, Lorne was the primary guy responsible for arranging the music within the film itself. The only tracks that can pass as 100% Hans Zimmer in the complete score are the latter half of "Extraction" (it uses Hans' Dream is Collapsing piece verbatim), "Mombasa Chase" and "Into the Van" (which are copy-and-paste versions of Hans' Mombasa suite), "Truth Once Known" (which heavily uses Hans' Mal suite), and "Welcome Home, Mr Cobb" (which is basically Hans' Time track turned into a cue, but barely altered from the way Hans' wrote it). All the rest of the score is either Hans and Lorne or, in many cases, Lorne alone.
I Dont Know About 528491 I Listened to it and i thought i Heard some Of Zimmer's Cues From Dream is Collapsing at the very end and also in the middle of the track the rest of it i don't doubt you.
You're right, it does use the same BRAAAAAHM noise from Dream is Collapsing, but really, that part was neither Hans nor Lorne. It was in Chris Nolan's script for the movie. Hans said that in an interview.
Ha! Thats Pretty Funny Zimmer is A pretty funny guy. Meaning he wrote it haha Awesome I love how he puts things. he said once that Hannibal was the best love theme he ever wrote. lol
As you can tell I'm not really a fan of Lorne Balfe.
Well, if you happen to like the Inception score as a whole, I wouldn't necessarily say that... :P
Well in listening to the Soundtrack to it i found a lot of the Zimmer Themes used throughout most of the score. now granted Balfe did do some but Zimmer Did Most such as Tracks 1,2,3,4,9,10,12. or it was a Combination of Zimmer & Balfe. Such as Tracks 6,7,10 I would say after that like the tracks you mentioned were Balfe such as Tracks, 11,5.
1. 1m0 Logo (1:21) 2. 1m1 Prologue (5:18) 3. 1m2-3 The Truth About Harvey Dent (2:51) 4. 1m5 Room Service (0:16) 5. 1m6 Uncrackable Safe (2:09) 6. 1m7 He Was The Batman (1:01) 7. 1m8 Nothing Out There For Me (3:08) 8. 2m9-10 Bar Shootout (5:36) 9. 2m11 Gordon Underground (2:22) 10. 2m12 Blake Visits Wayne Manor (3:06) 11. 2m13 Hospital Visit-Bruce Follows Selina (2:23) 12. 2m17 For Old Times' Sake (3:22) 13. 2m18 Risen From Darkness (1:45) 14. 3m19 Stock Exchange (5:04) 15. 3m20 Batman Chased (4:29) 16. 3m21 Selina Finds Dagget (2:17) 17. 3m22 Rooftop Fight-Back To Batcave (4:08) 18. 4m23 Handing Over The Reactor (3:36) 19. 4m24 Do You Feel In Charge (1:23) 20. 4m25 Batman Could Be Anybody-Selina Apt. (1:48) 21. 4m26-27 Miranda Visits Wayne-Take Me To Bane (4:16) 22. 4m28 The Shadow Betrays You (1:59) 23. 4m29 Airport Detainee (1:32) 24. 4m30 No True Despair Without Hope (2:38) 25. 5m31 Board Members Taken Hostage (1:19) 26. 5m32 A Child Born In This Hell (1:32) 27. 5m33 Cops Into Sewers-Core Separated (4:35) 28. 5m35 Instrument Of Your Liberation (7:08) 29. 5m36 Gotham Is Yours (4:46) 30. 6m37 Born In Darkness (2:08) 31. 6m38 This Is Bane's Prison (1:08) 32. 6m39 Many Forms Of Immortality (1:34) 33. 6m40 There's A Storm Going On (1:57) 34. 6m41a Not Meant To Die Here (1:39) 35. 6m41b No Ordinary Child (0:58) 36. 6m42 Special Forces Arrive (3:10) 37. 6m43 Someone Sold Us Out (2:33) 38. 6m44 Without A Rope (2:10) 39. 6m45 Gordon To Foley (3:50) 40. 6m46 Get Me To Fox-Gordon Arrested (2:04) 41. 6m47 Bagged Bruce Wayne (2:02) 42. 7m48 Remember Where You Parked It (1:03) 43. 7m49 On Thin Ice-Batman Returns (3:44) 44. 7m50 Come With Me (2:02) 45. 7m51 All Out War (5:14) 46. 7m52-53 Not An Ordinary Citizen (4:47) 47. 7m54 Imagine The Fire (1:45) 48. 7m55 Chasing The Convoy East (3:31) 49. 8m56 A Hero Can Be Anyone (2:35) 50. 8m57 Sacrifice (1:31) 51. 8m58a It Was The Batman (5:12) 52. 8m58b No Stone Unturned (1:29) 53. 8m59 Fernet-Branca (0:31)
Are there any making-of clips or featurettes about the music for TDKR with Hans Zimmer? I know about that "Sound of The Dark Knight Rises" one with the editors, but are there any that feature Hans talking about the music more, or some clips of the orchestra playing it?
the bluray version has a long featurette that hasn't been uploaded to youtube yet that has demonstrations/interviews with hans, and clips of the orchestra playing a lot of the bane suite and shit.
I have the blu ray but I was never able to figure out how to get to any of the featurettes.
I think the main "Dark Knight" theme (the one heard in "A Dark Knight", "Rise", and "The End") might be one of my favorite Zimmer themes. Regardless of how I hear it (in its hopeful, end-of-movie form, in its tragic, Batman-sacrificed-himself form, in its epic "Like a Dog Chasing Cars" form, or in its choir arrangement in "Aurora"), I'm always moved by it. Bravo, Zimmer.
So it appears that MAYBE Chris Nolan is in talks to direct Bond 24. What I immediately thought is: HANS ZIMMER doing James Bond? That could be a lot of fun! What do you think?
Isn't Chris Nolan doing Interstellar right now? And didn't Hybrid say Hans is scoring that?
Yep, he is. But still he's in talks for Bond (or maybe it's just a rumor, we can't possibly know). If this news is true, i suppose he'll do Bond right after shooting Interstellar... But then there will be no Bond until 2015 and that's a bit long. Wait and see.
What the hell is that? where you get it from? the source do not tell me is your'ss
You guys know how Zimmer said, after Batman Begins, that eventually the two note theme would be expanded (at the point of BB, Batman hadn't "earned his theme")? Well you might actually be hearing that if you listen starting at 8:07 in "Wayne Manor". You can also hear it in the "On Thin Ice" track.
I have a question: who determines the way in which the various tracks are released? For example, 15 tracks will be on the CD, then three will be made available by going to a website, then two will be made available via iTunes, then you get the last one by buying movie tickets?
I have a question: When a soundtrack comes out for sale, who determines how much music goes on the cd? For example, with The Dark Knight Rises, is it Hans Zimmer who goes, "Okay, I'm going to put this much music on the disc", or is it the company WaterTower Music that goes, "No, we're putting this much music"? Is it the company or the composer?
First of all, there's no time restriction, since it's a UK recorded score.
Then, yes, it's HZ.
Honestly, as much as I liked the score as heard in the film and the four suites Hans wrote, I don't think the album was the greatest release. The first 6 tracks are new enough, but the next 9 are for the most part variations on old material. That's a shame, too, because there was a lot of new music in this movie (especially compared to TDK vs. Begins). The album should have focused more on the new stuff.
Although, Imagine the Fire, Why Do We Fall?, and Rise are quite excellent...
Hybrid Soldier, I have a question perhaps you can answer. Why is it that Batman Chased/Risen From Darkness sounds way different on the album than it does in the film?
In the movie, when Batman knocks the dude off the motorcycle, we hear the credits music as it usually sounds--but on the album, it's edited differently. Immediately after that, when the chase starts, the movie uses a cue from the beginning of Molossus--edited differently in the album version. In the movie, once it goes back to the chase after Striver says, "He's drawing the cops off Bane", the new heroic theme stays around a while, but on the album, it quickly ends and is followed by a Molossus variation. When Batman blows up the car and escapes on the ramp, the movie uses the cue from Molossus--edited differently on the album. Finally, during the last part of that scene, the movie uses "Back Up" pretty much verbatim--but AGAIN, it's edited differently on the album. The whole track just sounds much more electronic on the album.
Whew...That felt like a mouthful. XD
Two explanations => Music Editor & Music Mixer !
There's a scene to score. They temp it with edited Begins cues and a portion of Zimmer's new suite. Hans asks Lorne to take care of that sequence which is 4:30. Lorne writes something, using the temp, rearranging it and all. It gets recorded, approved, "Batman Chased" is born.
Then it comes to final step, mixing into the film. And there a hell of a lot things might happen. New editing of the scene occurs, so the music editor has to butcher the cue to make the transition last 3 seconds longer or something. Oh and in the end the tone of cue doesn't really fit the scene anymore, the music mixer removes a layer of music, less electro, more orchestra or the contrary. Oh and in the end the temp music is a little better for this particular segment, incorporate it back again in the cue. Or they of course can ask the composer to rewrite a new version of it, or write short inserts to replace pre-existing segments...
And then, that's why you have Batman Chased as written and what you hear in the film, and you might think "WTF ??" !
In a similar case, the "Pirates Attack Pt 2" from POTC 1 we hear in film is the funniest big editing mess ever !
Or Pearl Harbor, the Attack cue has like all the percussions & electronica mixed like crazy OVER the orchestra in the movie, making it sound so weird compared to Geoff's original cue. A layer from Dorie The Hero was also removed in the film. :)
Wow. Good explanation, thanks!
Well the thing is they never record a full cue "together"...
They record the string section, the brass section, the percs. Then there's the electronic elements.
So at the end the mixer can really do what he wants. Alan Meyerson, THE RCP legend mixer, is absolutely great. :)
I assume, looking at your first comment, that the "Risen From Darkness" track is the chase scene as Lorne initially arranged it?
Just out of curiosity, why is this being discussed under the OST and no the Complete Score? Because "Batman Chased" is on the Complete Score. It's nowhere to be found on the OST
Err it's Risen From Darkness, one of the OST's bonus tracks...
I put it here since I was referring to Risen From Darkness. :)
As Hybrid already said, it's a bonus track you get by purchasing the CD.