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i want it so much <3I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>
Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
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<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
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<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
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<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?
The album is ready. Just waiting for legal to settle it... It'll happen.And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.
The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.
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Henry JackmanDominic LewisMatthew MargesonVictor Chaga
ComposerAdditional MusicAdditional MusicAmbient Music Design
Captain America - The Winter Soldier (Complete Score)
Label: Unofficial Release
Length: 140'11
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 (4599 votes)
  1. Pick Up A Fossil (1:30)
    Henry Jackman, Matthew Margeson
  2. French Pirates (3:18)
    Henry Jackman, Matthew Margeson
  3. Full Pirate Spaffing (4:22)
    Henry Jackman, Matthew Margeson
  4. SHIELD Headquarters (1:31)
    Henry Jackman, Dominic Lewis
  5. Impressive Hardware (1:36)
    Henry Jackman, Dominic Lewis
  6. Smithsonian Scourse (1:46)
    Henry Jackman, Dominic Lewis
  7. Peggy (3:27)
    Henry Jackman, Dominic Lewis
  8. World Security Council (1:36)
    Henry Jackman, Dominic Lewis
  9. Sam's Support Group (0:47)
    Henry Jackman, Dominic Lewis
  10. Fury SUV Ambush (5:08)
    Henry Jackman, Matthew Margeson, Al Clay
  11. Winter Soldier Reveal (1:31)
    Henry Jackman
  12. Unwanted Apartment Guests (2:04)
    Henry Jackman, Jack Dolman
  13. Don't Do This To Me Nick (3:42)
    Henry Jackman
  14. Somebody Murdered My Friend (3:32)
    Henry Jackman, Dominic Lewis
  15. Elevator Brew (0:26)
    Henry Jackman, Jack Dolman
  16. Elevator Munch (1:03)
    Henry Jackman, Jack Dolman, Al Clay
  17. Single-Handed Jet Sabotage (1:42)
    Henry Jackman, Dominic Lewis
  18. New Set Of Orders (1:13)
    Henry Jackman, Dominic Lewis
  19. 50 Year Old Ghost Story (1:32)
    Henry Jackman
  20. Reactivate Project Insight (0:33)
    Henry Jackman, Dominic Lewis
  21. Mall Tension (2:31)
    Henry Jackman, Dominic Lewis, Jack Dolman, Al Clay
  22. Frozen In Time (4:00)
    Henry Jackman, Dominic Lewis, Jack Dolman
  23. Zola (3:17)
    Henry Jackman
  24. Housekeeper Dismissal (2:44)
    Henry Jackman, Dominic Lewis
  25. Falcon Wants In (1:14)
    Henry Jackman
  26. Zola's Algorithm (3:05)
    Henry Jackman, Matthew Margeson
  27. Winter Soldier Causeway Battle (8:22)
    Henry Jackman, Matthew Margeson
  28. Best Doctor Ever (1:05)
    Henry Jackman, Dominic Lewis
  29. Winter Soldier Reboot (3:29)
    Henry Jackman, Jack Dolman
  30. Time To Suit Up (4:08)
    Henry Jackman, Jack Dolman
  31. Cap's Big Speech (2:37)
    Henry Jackman
  32. Initiate The Launch (1:44)
    Henry Jackman, Matthew Margeson
  33. Rise Of The Helicarriers (2:15)
    Henry Jackman, Dominic Lewis
  34. Face Lift (1:14)
    Henry Jackman, Matthew Margeson
  35. Cap & Falcon Make It To The Grid (1:16)
    Henry Jackman, Al Clay
  36. Winter Soldier Jet Hijack (2:33)
    Henry Jackman, Matthew Margeson
  37. Fury & Pierce Face Off (4:26)
    Henry Jackman, Dominic Lewis
  38. Cap & Winter Soldier Standoff (3:24)
    Henry Jackman, Matthew Margeson
  39. Target Redirect (4:41)
    Henry Jackman
  40. Falcon's Narrow Escape (1:49)
    Henry Jackman, Matthew Margeson
  41. Til The End Of The Line (2:52)
    Henry Jackman
  42. Epilogue Biscuits (3:19)
    Henry Jackman
  43. Be Careful Steve (0:46)
    Henry Jackman
  44. Main On Ends (2:33)
    Henry Jackman, Dominic Lewis
  45. Twin Freaks (1:05)
    Henry Jackman
  46. End Titles (5:16)
    Henry Jackman, Dominic Lewis, Jack Dolman
  47. Winter Soldier Bonus Track (0:51)
    Henry Jackman
  48. Captain America Suite (9:42)
    Henry Jackman
  49. Hydra Suite (6:47)
    Henry Jackman
  50. Winter Soldier Suite (6:25)
    Henry Jackman
  51. Time To Suit Up (Alternate) (2:06)
    Henry Jackman, Jack Dolman
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BC reply Replies: 1 || 2019-08-20 05:35:27
I'm "missing" three of the tracks for the complete score - CA Suite, WS Suite, and the alternate version of Time to Suit Up.

It looks like the CA and WS suites are pretty much the same ones on the official release as the lengths match up perfectly, but where can I find the alternate of Suit Up?


iamtommie442019-08-20 12:47:15
That's the 'Album Version' of Time To Suit Up

John G reply Replies: 0 || 2019-06-18 15:52:43
Hybrid, please update this list. Is it possible that you could include the alternate/album version of Main On Ends (AKA Taking A Stand)?

Jean-Luc reply Replies: 0 || 2018-08-09 23:01:56
Complete score is on YouTube

Cameron reply Replies: 4 || 2015-11-09 20:01:39
How long will we have to wait...?


Anonymous2015-11-09 22:41:17
until you are dead and long gone


Cameron2015-11-14 02:28:04
We'll see about that lol.


Cameron2017-01-02 22:07:05
Well, it's out. I'm still alive.


Anonymous2017-01-28 23:40:07
You say this is out, where can it be found?

T-Mann036 reply Replies: 0 || 2017-01-02 06:00:31
100% butt-kickin' awesome complete film score!

Poe reply Replies: 0 || 2017-01-02 01:16:25
No "Lemurian Star" track from the OST included as an extra? Sound's like an alternate of French Pirates.

Mike reply Replies: 0 || 2016-05-16 22:38:20
So, credits-related question... How much do the "additionals" do on a Jackman score? We know their milage will vary on Zimmer projects, with them sometimes doing a lot and sometimes hardly anything. And for some reason I always felt like most of Zimmer's "underlings" didn't use their additional composers quite to the extent he does, but looking here, most of the cues have Dominic Lewis' name on them and only a handful have Jackman by himself. So is it fair to say Dominic Lewis made a huge contribution to the overall score, or was he more fleshing out cue ideas that Jackman had already written?

Or do we simply not know? ;)

Scores reply Replies: 1 || 2015-12-03 06:25:57
Henry Jackman comes back to score Captain America: Civil War, according to the teaser trailer showed in Jimmy Kimmel Show


Edmund Meinerts2015-12-03 10:11:41
We've known this for ages now...

Peter reply Replies: 0 || 2015-11-07 14:28:33
Please, Let somebody give it in Poland

Scorefan reply Replies: 2 || 2015-11-07 03:06:15
Great!!!


Anonymous2015-11-07 12:05:21
LOL - that's too much an appreciation for so many different titles in such a short time. Surely you're not trying to ensure people are made aware of these for other purposes...


Edmund Meinerts2015-11-07 12:13:03
Guy's certainly not hard to please.

mpolonest123 reply Replies: 0 || 2015-11-01 01:46:29
Awesome, thank you Hybrid :D

It doesn't look like Silvestri's cue was re-recorded going from this list.

Adam reply Replies: 0 || 2015-10-31 21:18:46
Wow! This one too! I was searching for the other list and this one popped up!!

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Captain America - The Winter Soldier (Complete Score) soundtrack - Henry Jackman 2014