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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Don’t even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.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 wouldn’t change a thing about it), I must admit, it doesn’t have nearly the same effect as a stand-alone listen. It’s literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it “award” worthy? I’m not sure. If based solely on the film, you betcha. If based purely on the music itself, I don’t think so. That’s 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 “actual” music (again, works IN the film). It’s glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... I’ve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did it’s 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? :-phaha hybrid :D made my day
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Hans ZimmerSteven KofskyStephanie McNallyDerrick Werlé
ComposerMusic ProducerTechnical Score EngineerTechnical Music Assistant
Hans Zimmer Live 2017 (Shows)
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HANS ZIMMER LIVE 2017






Tickets & Info at HansZimmerLive.com

THE MAN

Hans Zimmer’s interest in music began early when he moved to the UK and met established film composer Stanley Myers where they collaborated on films such as My Beautiful Laundrette. In 1988, Hans’ solo work for Rain Man earned him his first Academy Award Nomination for Best Original Score.

From this point Hans has scored more than 120 films which have, combined, grossed over 24 billion dollars at the worldwide box office. He has been honored with an Academy Award®, two Golden Globes®, three Grammys®, an American Music Award and a Tony® Award. His most recent Academy Award nomination for Interstellar marks his 10th career Oscar nomination. In 2003, ASCAP presented him with the prestigious Henry Mancini Award for Lifetime Achievement for his impressive and influential body of work. He also received his Star on the Hollywood Walk of Fame in 2010. In 2014, Hans was honored with the Zurich Film Festival Lifetime Achievement Award.

THE SHOW

The 2017 tour comes back by popular demand from the 2016 shows across Europe. The sell out shows were rapturously received by critics and the public alike. Incredibly in a Hollywood career that has spanned decades, these were Hans’s first full shows and were made even more special by the appearance of two of Zimmer’s collaborators guitarist Johnny Marr and Pharrell Williams.

Like the Hammersmith shows, ‘Hans Zimmer Live On Tour’ will be a visual spectacular designed and lit by the world-renowned lighting designer Marc Brickman. Marc has worked with everyone from Pink Floyd to Nine Inch Nails to Barbra Streisand and is responsible for the lighting of the Empire State Building in New York. The Hans Zimmer show will not only sound unlike any other it will also look unlike any other





14 April 2017 - Los Angeles, CA (United States) - Microsoft Theater
16 April 2017 - Indio, CA (United States) - Coachella
19 April 2017 - San Francisco (United States) - Bill Graham Civic
21 April 2017 - Las Vegas (United States) - Park Theater
23 April 2017 - Indio, CA (United States) - Coachella
29 April 2017 - Auckland (New Zealand) - Vector Arena
02 May 2017 - Sydney (Australia) - Qudos Bank Arena
04 May 2017 - Melbourne (Australia) - Rod Laver Arena
06 May 2017 - Brisbane (Australia) - Brisbane Entertainment Centre
10 May 2017 - Perth (Australia) - Perth Arena





16 May 2017 - Helsinki (Finland) - Hartwall Arena
18 May 2017 - Stockholm (Sweden) - Ericsson Globe
20 May 2017 - Oslo (Norway) - Telenor Arena
22 May 2017 - Copenhagen (Denmark) - Forum Copenhagen
24 May 2017 - Leipzig (Germany) - Leipzig Arena
26 May 2017 - Gdansk (Poland) - Ergo Arena
28 May 2017 - Lodz (Poland) - Atlas Arena
30 May 2017 - Krakow (Poland) - Tauron Arena
01 June 2017 - Budapest (Hungary) - Papp Laszlo Sports Arena
02 June 2017 - Bratislava (Slovakia) - Ondrej Nepela Arena
04 June 2017 - Prague (Czech Republic) - O2 Arena
06 June 2017 - Vienna (Austria) - Stadthalle D
09 June 2017 - Frankfurt (Germany) - Commerzbank-Arena
11 June 2017 - Paris (France) - AccorHotels Arena
13 June 2017 - Dublin (Ireland) - 3Arena
15 June 2017 - London (United Kingdom) - The SSE Arena, Wembley
16 June 2017 - London (United Kingdom) - The SSE Arena, Wembley
17 June 2017 - Liverpool (United Kingdom) - Echo Arena
18 June 2017 - Glasgow (United Kingdom) - SSE Hydro Arena
20 June 2017 - Antwerp (Belgium) - Sportpaleis
21 June 2017 - Amsterdam (Netherland) - Ziggo Dome
23 June 2017 - Vienne (France) - Theatre Antique
24 June 2017 - Nîmes (France) - Arenes
26 June 2017 - Zurich (Switzerland) - Hallenstadion
27 June 2017 - Zurich (Switzerland) - Hallenstadion
29 June 2017 - Milan (Italy) - Mediolanum Forum
13 July 2017 - Dallas (United States) - Verizon Theater
14 July 2017 - Houston (United States) - Smart Financial Center
16 July 2017 - Nashville (United States) - Ascend Amphitheater
18 July 2017 - Atlanta (United States) - Verizon Amphitheater
21 July 2017 - Columbia (United States) - Merriweather Post Pavilion
22 July 2017 - Philadelphia (United States) - Wells Fargo Center
23 July 2017 - Mashantucket (United States) - Foxwoods
25 July 2017 - New York City (United States) - Radio City Music Hall
26 July 2017 - New York City (United States) - Radio City Music Hall
28 July 2017 - Canandaigua (United States) - Constellation Brands PAC
29 July 2017 - Boston (United States) - Boch Center
30 July 2017 - Montreal (Canada) - Bell Center
01 August 2017 - Toronto (Canada) - Air Canada Center
03 August 2017 - Cincinnati (United States) - US Bank Arena
04 August 2017 - Chicago (United States) - Allstate Arena
06 August 2017 - Denver (United States) - 1STBANK Center
09 August 2017 - Berkeley (United States) - Greek Theater
11 August 2017 - Los Angeles (United States) - Shrine Auditorium
12 August 2017 - San Diego (United States) - Viejas Arena
13 August 2017 - Santa Barbara (United States) - Santa Barbara County Bowl

7 October 2017 - Seoul (South Korea) - Olympic Stadium


Hans Zimmer Live Merchandising Shop
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Radik reply Replies: 3 || 2017-02-21 22:11:10
So Live on Tour 2016 blu-ray/cd still nothing...


Klem2017-02-22 23:38:47
I really just can't wait one more day !! :'(
No information ?


Mk2017-02-23 16:29:35
Don't count on it before the new tour is over!


Klem2017-02-25 01:35:08
So why it was announced for the 2017/02/14 ?

erjuancho reply Replies: 0 || 2017-02-23 13:08:06
Any more dates in London? Thanks!

Frank reply Replies: 0 || 2017-02-21 11:27:09
Hi. Can someone please tell me if this concert in Europe will be any different than the concert from last year or not? Does anybody have a tracklist for 2017?

Michael Poleschuck reply Replies: 3 || 2017-02-14 16:43:18
By the way, what do you think, will are there new faces in the band? I wish to see all Zimmer's proteges on the one stage.


Hybrid Soldier2017-02-14 16:49:33
There will be quite a few changes in the band, for many reasons...


Michael Poleschuck2017-02-14 16:52:24
A few changes? And it's a secret, for now, right?


Kristoff2017-02-14 23:21:07
Bring Lorne Balfe!!!!!

Dean reply Replies: 0 || 2017-02-14 16:19:01
I saw HZ at Wembley last April. Any plans heading to Boston, USA?

Jayne reply Replies: 1 || 2017-02-10 11:12:02
Hi, is it possible to say if the wonderful percussion theme from True Romance will be performed at Wembley concert? My daughter chose the music to walk down the aisle at her marriage last May. I spend many an our in my car listening and reliving the experience. I'd love to buy the family tickets so we can all experience it again. Many thanks


Memphis2017-02-10 13:40:47
I'd put good money on them playing it. They did at the concerts last year and in 2014. It goes perfectly with Rain Man and both go down very well with audiences. Hans seemed to have so much fun on the drums too!
They never confirm the set list, as I guess things can easily change, but I can't see them not playing it at Wembley!

Hybrid Soldier reply Replies: 4 || 2017-02-08 22:13:28
I finally created some proper page for the new tour !

All comments & stuff, right here !


Joshua2017-02-09 19:07:32
Like the page Hybrid! Will the "Revealed" show be different from the "Live" show, or are they pretty much the same show?


Hybrid Soldier2017-02-09 19:17:00
It's the same thing, the production just decided to use the HZR name in the US / Oceania because it's the first time he performs there, while he already did in Europe...


Joshua2017-02-09 19:52:29
Awesome, thanks for the info. Can't wait!


Raul2017-02-10 07:30:25
Hi Hybrid,
Is there any chance that Hans comes to México soon?

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