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Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-p
haha hybrid :D made my dayHybrid, yes!wow man, hybrid. this isn't right from you. actually really embarrasing and an absolute no-go from a staff/member of this site to write such a comment. even if it's a joke, this is a shame and sad.I was a bit over the line, I admit. I should have made it clearer that all of that "hottest shit in town" bit was meant purely as a part of my personal opinion regarding his output. I never saw or read any interviews with him. <br><br>I also know about his wife, of course... but I guess I'm just too cynical to accept it as an all-encompasing excuse while seeing such massive fanbase clamoring for his new music. I don't know, I admittedly feel a bit bad about what I'm saying myself. I AM an asshole, sure, but only to an extent. <br><br>I think that saying "he is writing scores that he feels comfortable with" and "living his life however he wants", albeit understandable, is still ignoring the fact that he is an artist with a fanbase. We are living in a time when film composers are slowly getting a mainstream recognition as a type of musicians comparable to bands or singers. And that creates a certain responsibility towards that fanbase. An artist doesn't have to fulfill it, sure, but he should at the very least acknowledge and address it.<br><br>Which brings to mind an image of Hans going on a massive tour whilst giving zero fucks about the CD presentation of his scores, but I digress.<br><br>I wouldn't dare giving Powell advices about how to deal with a pain of the loved one's loss. But on the other hand, I strongly believe in artist's responsibility towards the fans. <br><br>For example, that's why I would kick everybody saying "GRRM is not your bitch" right in the goddamn nuts.Now I have ONE true reason to want this score to win !<br><br>PEACE ! lol
I stand corrected. Though it's still possible that the score is a combination of live orchestra and samples, a lot of RCP music does that.Ds beat me to a few of the points I was going to make, so thanks. :) I'll try to keep this brief, but it won't be.<br><br>Macejko, the only part of your statement that I would 100%, strongly, absolutely disagree with is the "pretentious douche" part. When has he ever "acted like the hottest shit in town"? Do we have any record of him actually refusing assignments? I mean, clearly his output has slowed down since 2012, but why do you act like he's doing that because he thinks he's better than everyone else? I don't see that as pretentious. Especially not given what we know about his personal circumstances. For all we know his decision to take on less work was caused by the knowledge that his wife was sick and wanting to spend as much time with her and with their son as he could. You really still want to call him pretentious?<br><br>Now, what I do agree with is the impression that Powell is no longer really developing as an artist. He's found his niche and is writing scores that he feels comfortable with, but I haven't been "surprised" by anything he's written since probably 2010 or 2011. Is that a problem? Well, depends on what your priorities are. I don't rate innovation as highly as I do music that speaks to me on an emotional level, that I love listening to and want to hear over and over again. And with scores like Pan and HTTYD2 Powell has definitely provided that, while Hans Zimmer for all of the "pushing the envelope" and "breaking boundaries" he's done (or claimed to have done) in the last 7, 8 years has in the process left behind many of the things that made me love his music in the first place. He's written some fine and certainly interesting scores in those years (and some I never want to hear again), but I'd throw out every single one of them to hear another At World's End or King Arthur, just a big old epic larger-than-life fun time that cares more about entertaining you than trying to musically divide by zero or whatever. But now I'm turning this into a Powell vs. Zimmer argument which was never really my intention. :p<br><br>At the same time I can't pretend that it doesn't hurt to see how much Powell has slowed down. I mean his run of form from 2003-2011 is the stuff of legend, 3-4 scores a year in all sorts of different genres, all of it quality stuff. He was pretty much hitting the sweet spot: innovating, developing his style, trying out new things but not sacrificing his voice or the accessibility of his music. If he were to keep up that trajectory for a career spanning several decades he'd be in contention for greatest of all time IMO. Sadly it doesn't look like that's going to happen anymore. I think it's a fair criticism to say he's dropped off, or at the very least leveled out. I just don't think it's fair to call him pretentious for doing so. The man's a human being and he has the right to live his life however he wants.But you know he never said he has nothing to prove. I don't think he even think such a thing, actually he seems like a very humble and nice guy, much like Hans. I just tell you this based on all the great things he did in many genres throughout his career.<br><br>I guess he just want to write music he likes and the way he likes it. Many producers/directors want something more restrained for their movies, that's ok, they can get someone else. If you can afford doing what you like for a living, why the hell would you accept jobs you don't like?<br><br>And SW isn't about "creativity", it's just about this kind of busy orchestral music with lots of frenetic parts which Powell seems to really like these days.If only every annoying film music fan would be so willing to take his own life as this one...If this nominated for golden globe or even Oscar and win the title I'll kill my self.<br><br>This score is nothing compared to interstellar or even to POTC 3.
The moment an artist thinks he has "nothing more to prove", he is creatively dead. <br><br>Also, thinking that only animation and Star Wars provide a field for any kind of innovation and experimentation is just ludicrous beyond words, Ds. SW especially is the most musically restricted franchise on the planet.Fair point. Just look at what Balfe did this year, Lego Batman, Churchill, Genius, The Crown, Geostorm... and all are somewhat different in tone. He was on fire this year for sure.Here is another comparison which to me seems more relevant than yours :<br>Lorne is doing a lot of projects and getting better and better in various styles.<br>And Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity. I'm not saying he doesn't evolve, but at this rate he will need 3 lifes to catch up on Balfe's current level.<br><br>Powell has nothing to prove, he has already mastered all genres and is now able to write the music he likes most : crazy orchestral pieces where nothing is forbidden. Today, only animated movies allow this style of scores to exist. And also Star Wars :-pEdmund wrong again !!!!!balfe posted some photos of the recording sessions for the crown^ lol. Harsh, but heís not wrong. Although, I hate to say it, we could say the same for Zimmer in my opinion.
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Hans ZimmerLorne BalfeJim DooleyGeoff Zanelli
ComposerAdditional MusicAdditional MusicAdditional Music
Madagascar - Escape 2 Africa (Complete Score)
Label: Unofficial Release
Length: 106'24
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (3350 votes)
  1. Logo (0:43)
    James Dooley (Harry Gregson-Williams)
  2. Young Alex (3:53)
    Hans Zimmer, Lorne Balfe
  3. Traveling To New York - News Reel (3:26)
    will.i.am, Hans Zimmer
  4. Scissors & Hand Cream (2:27)
    Ryeland Allison (Erick Morillo)
  5. Second Biggest Slingshot (1:09)
    James Dooley
  6. Thank You Freaks (0:24)
    Hans Zimmer, James Dooley
  7. Gremlins!!! (0:15)
    James Dooley
  8. Vivaldi Plane Musak (3:24)
    Jacob Shea (Antonio Vivaldi)
  9. Small Incandescent Bulb (0:40)
    James Dooley
  10. Thank You For Choosing Air Penguin - Like Kissing Your Sister - Deploy Flaps (2:08)
    James Dooley, Geoff Zanelli (Erick Morillo)
  11. Who Says A Penguin Can't Fly (0:11)
    James Dooley
  12. Grit & Spit - Behold The Lion!! (0:47)
    Hans Zimmer, Heitor Pereira, Lorne Balfe
  13. Bad Kitty (0:55)
    Geoff Zanelli (Ennio Morricone)
  14. It's Africa (1:04)
    Hans Zimmer, James Dooley (John Barry)
  15. Dancing About A Plane Crash (0:31)
    Lorne Balfe
  16. He's Come Home - Julien Arrives (1:39)
    Hans Zimmer, Lorne Balfe
  17. Party (4:31)
    Hans Zimmer, Lorne Balfe
  18. Big & Chunky (3:24)
    will.i.am, Hans Zimmer
  19. Operation Tourist Trap (1:09)
    James Dooley
  20. Following Nana (0:31)
    Geoff Zanelli
  21. This Is Where You Slept - Foofie (2:44)
    Hans Zimmer, Lorne Balfe
  22. We're New Yorkers (1:31)
    Geoff Zanelli (John Kander, Fred Ebb)
  23. Shark Attack (0:32)
    Jacob Shea
  24. Few Extra Thumbs (0:59)
    James Dooley
  25. Warpaint (Part 1) (0:54)
    Hans Zimmer, Lorne Balfe
  26. Warpaint (Part 2) (1:26)
    Hans Zimmer, Lorne Balfe
  27. Wake Up Teetsi - Let's Dance (0:33)
    Lorne Balfe
  28. Fight (0:47)
    Lorne Balfe
  29. Banishment (1:46)
    Hans Zimmer, Lorne Balfe
  30. You've Got A Brown Spot (1:03)
    Hans Zimmer, Lorne Balfe
  31. Witch Doctors Disease - Little Squirt (0:44)
    Hans Zimmer, Jacob Shea
  32. Big Squirt (0:21)
    Hans Zimmer, Jacob Shea
  33. We're All Unique - But Will It Fly? (1:17)
    Hans Zimmer, James Dooley, Lorne Balfe
  34. One In A Million - Dying Holes (2:23)
    Hans Zimmer, Lorne Balfe (Erick Morillo)
  35. Rise Up! (0:34)
    Ryeland Allison (Erick Morillo)
  36. She Loves Me (1:32)
    will.i.am, Hans Zimmer
  37. Melman Professes (1:00)
    Hans Zimmer, Lorne Balfe
  38. No Water (0:29)
    Lorne Balfe
  39. Life Isn't Fair (1:04)
    Hans Zimmer, Lorne Balfe
  40. Makunga Has Spoken (0:50)
    Hans Zimmer, Lorne Balfe
  41. Crossing The Line (2:13)
    Hans Zimmer, Lorne Balfe
  42. Small Sacrifice (0:07)
    Jacob Shea
  43. Julien Solution (1:40)
    Hans Zimmer, Lorne Balfe (Erick Morillo)
  44. Alex Is Gone! (2:01)
    Hans Zimmer, Lorne Balfe
  45. Found The Clog (1:16)
    Hans Zimmer, Lorne Balfe (John Kander, Fred Ebb)
  46. Volcano Song (1:31)
    will.i.am, Hans Zimmer, Lorne Balfe, Ryeland Allison
  47. Did You Really Mean It? - Maternity Leave (1:43)
    Hans Zimmer, James Dooley, Lorne Balfe
  48. Rotisserie (1:23)
    Lorne Balfe (John Kander, Fred Ebb)
  49. Alex On The Spot (1:46)
    will.i.am, Hans Zimmer, Lorne Balfe, Ryeland Allison
  50. Nana's Got A Gun (0:52)
    James Dooley, Geoff Zanelli
  51. Basset Hound (0:24)
    Geoff Zanelli
  52. Gods & Sushi (0:59)
    Jacob Shea (Erick Morillo)
  53. Ride The Wave (1:04)
    Hans Zimmer, Geoff Zanelli
  54. To Us (1:33)
    Hans Zimmer, Geoff Zanelli (Ennio Morricone)
  55. Love Has No Boundaries (1:11)
    will.i.am, Hans Zimmer, Lorne Balfe
  56. Move It (3:43)
    will.i.am, Erick Morillo, Hans Zimmer
  57. Best Friends (End Titles) (2:27)
    will.i.am, Hans Zimmer, Heitor Pereira, Ryeland Allison, James S. Levine
  58. Party (End Titles) (3:32)
    Hans Zimmer, Lorne Balfe
  59. Rescue Theme (3:38)
    Hans Zimmer
  60. Chums (2:16)
    Hans Zimmer, Heitor Pereira
  61. Logo (Alternate) (0:43)
    Harry Gregson-Williams, James Dooley
  62. Big & Chunky (Alternate) (3:22)
    will.i.am, Hans Zimmer
  63. We're New Yorkers (Alternate) (1:31)
    Geoff Zanelli (John Kander, Fred Ebb)
  64. She Loves Me (Alternate) (1:45)
    will.i.am, Hans Zimmer
  65. Volcano Song (Alternate) (2:50)
    will.i.am, Hans Zimmer, Lorne Balfe, Ryeland Allison
  66. Best Friends (Alternate) (3:54)
    will.i.am, Hans Zimmer
  67. Alex On The Spot (Demo) (1:42)
    will.i.am, Hans Zimmer, Lorne Balfe, Ryeland Allison
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Hybrid Soldier reply Replies: 1 || 2015-08-18 23:45:15
Here too !


Anonymous2015-08-19 15:31:09
i never got why the shrek music became the dreamworks logo for a few movies...KFP2 did the same thing...the HGW credit threw me off a second, then I remembered that

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Madagascar - Escape 2 Africa (Complete Score) soundtrack - Hans Zimmer 2008