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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.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on somewhere, back in 2003 or 2004
The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/
Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.
What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.

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Tom Holkenborg (Junkie XL)Antonio Di IorioConrad PopeAlan Meyerson
ComposerAdditional MusicConductorMusic Scoring Mixer
Alita - Battle Angel
Label: Milan Records
Length: 76'27 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 (1287 votes)
  1. Discovery (3:13)
  2. I Don't Even Know My Own Name (5:44)
  3. What's Your Dream? (3:16)
  4. Double Identity (1:54)
  5. The Warrior Within (3:31)
  6. A Dark Past (1:29)
  7. In Time You'll Remember (0:58)
  8. Nova's Orders (2:48)
  9. Jackers Mission (2:36)
  10. Unlocking The Past (3:52)
  11. Whose Body Is This? (2:06)
  12. Grewishka's Revenge (4:23)
  13. Broken Doll (2:34)
  14. With Me (5:41)
  15. I'd Give You My Heart (3:07)
  16. You Just Lost A Puppet (2:30)
  17. What Did You Do? (3:41)
  18. In The Clouds (3:56)
  19. Raising The Sword (1:43)
  20. Motorball (5:14)

  21. Swan Song - Dua Lipa (3:02)
  22. Centurion (3:21)
  23. I See Church (5:48)
Create Topic

MrZimmerFan reply Replies: 13 || 2019-03-22 21:53:33
Yes, Tom will be scoring the new Terminator movie

Edmund Meinerts2019-03-22 23:16:42
I think Terminator is a decent match for JXL's talents (listen to "The March" from Divergent), but this feels like further evidence that James Cameron is grooming him for Avatar 2, which I really hope ends up not being the case.

mpolonest123 2019-03-22 23:33:14
I still stand by my opinion that Holkenborg scoring Avatar 2 could be pretty interesting. Pairing him up with a director who is known to be strict with his musical choices and continuing on from James Horner’s classic might produce something really good. And seeing his gradual progress as a composer with Mortal Engines and Alita have personally given me some hope (2 years ago I would have said hell no).

And I’m not surprised by the choice for T6. Not looking forward to this project at all but we did get a cool score from Balfe for the last one so maybe there is some hope for the music at least.

Miralsice2019-03-23 02:00:27
I think that Tim Miller played a greater role in case of Terminator and Sonic. And I really don't see Junkie as good choice for Avatar 2.

Mephariel2019-03-23 05:50:31
The problem I have with Junkie XL scoring Avatar is just that there are so many RCP composers better or more deserving. You have Zimmer, Powell, Gregson-Williams, Mancina, Jackman, is just so wrong to think Junkie XL is scoring Avatar and none of those guys are.

Hybrid Soldier2019-03-23 09:59:02
"Deserving" is a word that doesn't exist in Hollywood, so stop thinking that way... lol

isildur2019-03-23 11:48:46
Yep, if "deserving" existed, Atli would've gotten many more movies than he currently does.

Hybrid Soldier2019-03-23 17:04:51
Atli is fine in Iceland, maybe he just doesn't want to look for trouble anymore... :)

mpolonest123 2019-03-23 17:18:07
John Powell would be an amazing choice, if only to get him more mainstream exposure.

The thing is, if you strip away the drums, sound design, and harsh-mixing Tom is a actually a pretty gifted “classical” composer imo. His string writing has always impressed me, and seeing his use of woodwinds in Alita definitely proved that he can write outside of the mold Hollywood had put him in post-Mad Max.

Avatar 2 is most likely going to need a pretty diverse score, if the first one is any indicator. James Horner combined traditional orchestra, tribal drums, ethnic elements, electronics, and masculine action writing. All of which I could see Tom doing quite well.

Knight2019-03-23 18:34:25
John Powell's last score was for a Star Wars movie, I don't think you could get any more mainstream exposure than that.

mpolonest123 2019-03-23 18:54:00
^ Yet he’s still not quite a household name like some of his peers. HTTYD, Bourne, and Solo have all given him great exposure, but I feel like the general public doesn’t quite recognize him on the same level as Zimmer, Giacchino, or Williams.

KnightLite2019-03-23 21:01:59
@Knight Powell’s last score was HTTYD3....

Iamtommie2019-03-23 21:23:09
My choices for Avatar 2 would be:
Powell or Newton Howard

Cynical Makooti2020-04-13 13:33:00
So what's the general consensus now that we know none of these suggestions panned out?

AlitaFan reply Replies: 5 || 2020-04-12 13:11:58

is the track "Raising the Sword" from the OST the "Original Ending" which he is talking about in Studio Time or the mysterious "Alternate Ending"?

mpolonest123 2020-04-12 16:00:25
I’m fairly sure that cue is an alternate to the actual film ending, which has a slightly different portion in the middle, before Nova’s theme.

AlitaFan2020-04-12 16:55:25
so in other words you think that

OST cue: Raising the Sword = Alternate Ending cue = not used in the movie


Original Ending cue from Studio Time = used in the movie


mpolonest123 2020-04-12 17:11:01
I haven’t listened to the studio time segment but there is only one alt. ending listed on the complete score page here which I’m guessing has to be the film version.

AlitaFan2020-04-12 17:37:15
Now it's getting confused.

On the complete score on here there are the following two cues:

Epilogue (1:44)
Epilogue (Alternate) (1:45)

So, I assume one of those tracks is the OST track "Raising the Sword", but which one? I assume "Epilogue (Alternate) (1:45)" is not used in the movie, because it's an alternate version (but correct me if I'm wrong). Wouldn't it make sense to make the used cue in the movie part of the soundtrack?

mpolonest123 2020-04-12 18:00:12
Not necessarily. Sometimes cues are recorded after the soundtrack is assembled, or sometimes the composer decides to include the original cue as opposed to whatever “film version” was recorded after the fact.

I have no idea which epilogue is “Raising the Sword” though. The film version moves part of the cue to after the big statement of Nova’s theme, although this might have been done by the film editors. It’s hard to say anything until this leaks.

MrZimmerFan reply Replies: 1 || 2019-10-02 17:36:16
Terminator: Dark Fate soundtrack coming by LLL!

Jean-Luc2019-10-02 20:12:04
That's a great news!!

Hybrid Soldier reply Replies: 0 || 2019-03-03 11:16:30
If you want a correct film order :

01 - Discovery (3:13)
02 - I Don't Even Know My Own Name (5:44)
03 - What's Your Dream? (3:16)
04 - Double Identity (1:54)
05 - The Warrior Within (3:31)
06 - A Dark Past (1:29)
07 - Whose Body Is This? (2:06)
08 - In Time You'll Remember (0:58)
09 - Nova's Orders (2:48)
10 - Jackers Mission (2:36)
11 - Unlocking The Past (3:52)
12 - Grewishka's Revenge (4:23)
13 - Broken Doll (2:34)
14 - With Me (5:41)
15 - I'd Give You My Heart (3:07)
16 - Centurion (3:21)
17 - I See Church (5:48)
18 - What Did You Do? (3:41)
19 - You Just Lost A Puppet (2:30)
20 - In The Clouds (3:56)
21 - Raising The Sword (1:43)
22 - Swan Song - Dua Lipa (3:02)
23 - Motorball (5:14)

Knight reply Replies: 29 || 2019-02-05 16:43:13
After listening through it, I'm branding it as another disappointing effort from Tom. It desperately needed a strong theme(s) like Divergent/Run All Night/Brimstone and it has none.

Knight2019-02-05 16:49:05
But the instrumentation throughout is quite diverse, he seems to have traded most of his percussion for woodwinds. He's definitely getting better at writing for more instruments than strings/brass/percs. Hope his next outing is of a more solid type

MrZimmerFan2019-02-05 17:44:28
Mortal Engines has a plenty themes and is muuch better than Divergent.

IMO (also, after several listen, i like it, not much as Mortal Engines, but is good)

mpolonest123 2019-02-05 18:01:35
That’s such a shame to hear. Mortal Engines was such an improvement for Tom imo, so I’m hoping that he isn’t going to be regressing into generic action/sound design-esque scores like the past few years.

And speaking of generic action, what is with his track record of scoring box office bombs? Mortal Engines, The Dark Tower, Point Break, Alita (possibly). I would kill to have him work with some talented directors for once, maybe give him a chance to break out of his usual style.

Knight2019-02-05 18:27:53
This score isn't so much sound design as orchestral meandering.
It's like they hired Tom to give them a score any other composer could.
The best cues on it for me is:
With Me
I'd Give You My Heart
In the Clouds
Raising the Sword
Motorball <(this is the only cue where Tom is really allowed to be himself)

Knight2019-02-05 18:31:46
MrZimmerFan Divergent is my favorite JXL score simply due to the fact that it doesn't use his "signature" dirty grunge sound mix that pretty much all his scores use. However the London Suite from ME is one of my top JXL cues.

MrZimmerFan2019-02-05 18:41:43
Knight, you simple love the Tom's electronic style (i like a lot Tomb Raider, but is for is much better constructed than Divergent, which i think is only okey as Mad Max), i don't, i prefer his later scores (Black Mass, The Dark Tower, Mortal Engines and Alita), because i enjoy his more orchestral (altough have electronics and synth material) material.

As for Alita, is more a emotional score (there is a plenty of orchestral parts than synth parts) than something like Mad Max or Divergent.

For a guilty pleasure, i rather listen 300

Knight2019-02-05 18:59:53
lol I don't listen to Divergent for the synth stuff nor do I prefer his sythesizer-heavy scores. Black Mass is okay but a bit too droning at times, TDT I haven't heard, ME and Alita you know my opinion on. I love Divergent for it's orchestral/piano stuff not the electronics. The reason why I listed the 3 films I did was because all 3 have really strong themes going all throughout their respective scores. (Divergent/Tris theme, Run All Night/main theme, Brimstone/Liz theme)

mpolonest123 2019-02-05 19:19:24
My biggest problem with Brimstone are the long portions of droning in between the string performances. Outside of that though, there is about 30 minutes of excellent material. Dark Tower also has some really strong highlights, surrounded by some weak material.

As for Divergent, you have “Tris”, “Capture the Flag”, “Faction Before Blood”, “Sacrifice”, and “Everywhere and Nowhere”. Even some of the electronic stuff works pretty well.

Ds2019-02-05 20:15:39
mpolonest123: that's a good (and sad) observation... however, talented directors and box office returns don't always go hand in hand. Mortal Engines is a Peter Jackson project, directed by someone else but followed closely by him. Alita is a James Cameron project, directed by someone else but followed closely by him. It doesn't get much better than those two names... :)

mpolonest123 2019-02-05 22:24:24
Well if Cameron ever wants to work 1-on-1 with him, I would LOVE to hear him take on the Avatar sequels. And yes, I’m well aware that everybody will probably try to lynch me over that opinion, but I would be so curious to see how Holkenborg would stack up with someone like James Cameron, who is known for being very demanding on the music of his films.

As for Alita, I’ve given it a spin and........ ehh.
Nothing terrible, but really nothing inspired either. It’s like sonic wallpaper, pleasant as background music, but not really interesting as a stand alone listen. The most interesting track is definitely “Motorball”, which definitely has JXL’s stamp.

Ds2019-02-05 22:47:19
For now I can agree on Alita. I'll wait til I hear the score in context before making any judgement, but yeah Motorball is pretty kick-ass (even though it's a pure JXL action track like he's done many already).

I don't think working with a very demanding director is any problem for Tom. He looks like a super nice person, very open minded and collaborative, and I'm sure working with him is a real pleasure and he'll deliver what the director wants. So yes, why not? It'd be fun to hear what he could do in the Avatar world.

Mephariel2019-02-06 00:02:41
Avatar 2 I don't see...

I think the closest Junkie will get to Cameron is scoring Terminator 6.

...2019-02-06 09:13:59
I think it's a little strange that a new Junkie XL score gets more comments and discussion than a release of Zimmer's Thin Red Line. This is after all.

Edmund Meinerts2019-02-06 09:26:13
There's not so much to say about the TTRL release...there's only so many variations of "yay can't wait to hear this" that exist, after all, and the only other thing you can do is speculate about the contents. With a new score - any new score - that's actually out there and available to listen to, there's much more to talk about. So once TTRL actually hits shelves, you'll see more discussion.

What *I* find odd is that people would rather talk about this than HTTYD3...

...2019-02-06 09:45:04
Yes, Dragon 3 is much more interesting than this.

Ian2019-02-07 03:09:55

Re: "And speaking of generic action, what is with his track record of scoring box office bombs?"

Honestly, I think this has a lot to do with the fact there is an abundance of superior composers working today, even just at RCP.

Even Lorne, for all the shit he seems to get, is considerably more competent IMHO

Ds2019-02-07 14:03:36
@Ian: there aren't many composers who would turn down offers like working on Jackson's Mortal Engines or Cameron's Alita. So I think it's complete non-sense to even think Junkie XL could be a by-default choice for bad movies that can't afford a better composer. He gets high profile movies that are sometimes too bold for modern audiences (I'm not speaking about Point Break, though).

He's also got a few big successes like Deadpool - a shame the score is one of his worst.

Oscarilbo2019-02-14 18:20:55
Saw the film last sunday and loved it. Also loved what Tom Holkenborg did hear. It did not felt nor 300. RoE nor Mad MAx. It's something else and loved it how it worked in context.

Knight2019-02-15 11:32:04
After repeated listens of the score and seeing the film 3 times, I'd say now that the score is MUCH better than I initially gave it credit for.
Alita's theme (the 4 notes first heard at 1:53 in A Discovery) is used many times throughout the score in many instrumental varieties and variations, and used to great effect in emotional scenes
(I Don't Even Know My Own Name, What's Your Dream?, In Time You'll Remember, With Me, I'd Give You My Heart, What Did You Do), In the Clouds especially)
And do yourself a favor and get I See Church from somewhere, it's the 2nd best action track of the score after Motorball.
In short, I would now give it a 4.5 / 5 from my previous 3 / 5

Knight2019-02-15 11:39:42
My only real gripes left with the score is the somewhat uninspired choral writing (and the fact that the choir sounds like samples in a lot of moments) and the reused percussion samples from every JXL action score ever since Mad Max.

Anonymous2019-02-16 23:07:40
Where can I listen to I see church?

I cannot find it anywhere and even YouTube doesn't have it.

Knight2019-02-17 02:28:31
Currently the only way I know to get it from is Japanese iTunes.

Anonymous2019-02-17 15:53:04
I got them from a japanse store after an hour going through hoops VPN paypal and google translate.

Very strange cause this are one of the best tracks of the entire score

Very weird the score or the movie havent attracted much attention at all.

jEN0VA2019-02-21 04:08:04
Does anyone know where you can get a digital version of the Japanese versions 2 bonus tracks?

AlitaFan2019-02-22 22:57:52
The Japanese version can be ordered here: http: // product/WPCR-18185

The "Swan Song" is also included on the CD. So it has 3 additional tracks.

nvictor2019-02-25 17:57:58
Knight, who are you exactly to brand other people efforts as "disappointing"?

Knight2019-02-25 20:08:42
I say things as I see them, and the fact that this is my opinion on it should not need to be stated as it is plain as day. Either way it doesn't matter as I revised my statement on it.

Edmund Meinerts2019-02-25 22:58:08
He's the same as you or me. A commenter in an open forum who is 100% entitled to express his opinion. Who are you to tell him otherwise is the real question?

nvictor2019-03-02 17:45:39
Knight, apologies for calling you out. i am tired of the backlash other composers get on this forum if they are not Hans. if their work shouldn't be discussed here maybe the shouldn't be represented here at all imo.

Edmund, i am a fan of music here. i do not pretend to have the skills these people have and only aspire to learn from them. the backlash Junkie has received here is definitely unjustified. he is the one out there doing what most composers don't have time to do. it's one thing to say you don't like some music. it's another to pretend you know what one should have done if you were in their shoes...

that said, i have seen you (Edmund) go hard on composers too. but you seem to make good arguments. and i haven't seen you used a condescending tone yet. if you did, i believe i would have called you out :P not saying we should settle for bad music. all i am saying is let's respect the work and the art...

Knight reply Replies: 0 || 2019-03-01 13:33:39
Sooo is track lengths/booklet info ever going to be added to this and Serenity?

AlitaFan reply Replies: 1 || 2019-02-22 17:27:01
Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...

Why is it left off the CD?

Knight2019-02-22 17:44:08
Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.

Knight reply Replies: 0 || 2019-02-20 18:47:28
Movie credits:

Music Composed and Mixed by:

Additional Music:

Music Supervisor:

Music Editor:

Score Conducted by:

Score Orchestrated by:
Score Copied by:

Score Contracted by:

Choir Contracted by:

Score Recorded by:

Digital Recording by:

Technical Score Engineers:

Synth Programming by:

Score Recorded at:

Music Production Services by:

Score Mixed at:

Newman Stage Engineer:

Newman Recordist:

Newman Stage Managers:

Ds reply Replies: 1 || 2019-02-18 18:11:53
It seems the Japanese exclusive tracks are available on deezer, but not on any other platform. And weirdly enough, I couldn't find any download link anywhere.

Everan2019-02-19 22:48:52
They are? I searched but only got the regular OST

mpolonest123 reply Replies: 2 || 2019-02-18 19:14:31
I’ve been giving this score a few more shakes lately, if only to see if my initial opinion had changed. The biggest issue for me is the lack of a strong set of themes. Alita’s Theme, for example, works well enough in context but hasn’t really left any impression on me. Mortal Engines has about 7 primary themes, all of which are really strong.

Where I will praise Tom the most is the recording. Everything sounds crisp and clear, as opposed to his usual overmixed style. Here’s hoping that he sticks with this type of recording from now on.
And one other plus, the woodwinds! It’s so refreshing to hear the woodwinds play a prominent role here, especially in the almost classical way they are utilized.

Knight2019-02-18 19:51:38
Ditto on the recordings, Mortal Engines was awful in this regard with the harsh mix and on top of that, an unforgiveable amount of session noise/chatter.

mpolonest123 2019-02-18 20:09:46
Yeah I really can’t argue there. As much as I love Mortal Engines even I have to admit that recording was kind of awful, particularly with the studio noise filtering through.

germany reply Replies: 0 || 2019-02-18 12:49:39
Have you any Informations for a Relaease to "PAGAN PEAK"? German TV Series "Der Pass" from Jacob Shea, Produced by Hans Zimmer?

Jason reply Replies: 1 || 2019-02-18 06:19:10
Just saw the film Music was hitting on point in all the right spots.

Jason2019-02-18 06:20:00
also was really good fantastic score IMHO his best since Mad Max.

Iamtommie reply Replies: 2 || 2019-02-13 23:29:50
Tom is scoring the live action Sonic movie. He just confirmed that he is scoring it!

  Your name :   

Please enter number: 1675 

ThePhantasm2019-02-14 04:07:41
So he's scoring that and the new terminator? Damn dude's getting as busy as Henry Jackman

1232019-02-14 12:43:27
he is working on the new Terminator movie?! :O

Knight reply Replies: 0 || 2019-02-14 12:39:19
Credits for Dua Lipa's single "Swan Song" for the movie:
Written by Dua Lipa, Justin Tranter, Kennedi Lykken, Mattias Larsson, Robin Fredriksson & Tom Holkenborg
Produced by Mattman & Robin

Scorefan reply Replies: 2 || 2019-02-08 01:45:04
Tom on Avatar Sequels?

Anonymous2019-02-09 00:58:37
Where did you hear that?

trent easton navarro2019-02-11 13:05:34
Wouldn't surprise me but I sure hope not. Holkenborg is an alright composer but he could never achieve what Horner did on the first Avatar. Unless of course Conrad Pope "helps" him out of course

Knight reply Replies: 8 || 2019-02-08 13:25:24
Japanese edition of the score contains 2 extra tracks:
Centurion (3:21)
I See Church (5:48)
I See Church sounds like it has a lot of the elements from Motorball... Why was this left off the regular album again?

MrZimmerFan2019-02-08 15:38:13
Motorball and I See Church are instrumental versions of Dua Lipa's song

Knight2019-02-10 01:01:14
Just watched the film and they definitely are not. Motorball seems to be a suite or a combination of the cues used in the Motorball sequences, and I See Church is yhe cue that plays when Alita rushes to save her boytoy

Knight2019-02-10 01:07:04
Centurions should go after I Don't Even Know My Own Name (I think) and I See Church goes after I'd Give You My Heart

Anonymous2019-02-10 01:20:24
So with the bonus tracks do we have a chronological order yet?

Knight2019-02-10 08:00:58
Going by the track names, I'd say it's in chronological order but I'm not 100% sure.

Anonymous2019-02-10 13:05:32
Knight, was confirmed by Milan Recotds

Anonymous2019-02-10 20:33:17
Where can we listen to those? Cant find them anywhere...

Knight2019-02-10 22:33:25
Milan confirmed that it's in chronological order?

Der Schwein reply Replies: 0 || 2019-02-05 23:02:43
This Junkie tutorial is intriguing because he literally points out that Mortal Engines was so good because Jackson managed him closely, see from 4:00 onwards

Totally hearing it here. Miller and Jackson are people with clear visions, Alita is a mess again. Junkie is literally a junkie, he gorges on ideas but can't consolidate them unless someone powerful tells him to do that in a specific way.

Pisspoor reply Replies: 0 || 2019-02-05 22:57:22
Slightly disappointed here but it is also great to hear those orchestral fibres come through and let the woodwinds shine. I that is a huge growth area for HZ Industries. The themes are fine, but the argument that Junkie needs to meet better musically minded directors does not make sense. Whoever made that comment probably has not heard of Robert Rodriquez the composer or the few trend changes that an unknown director called Jim Cameron instituted in his spare time. Solid score but a disappointment after Mortal Engines

Knight reply Replies: 0 || 2019-02-05 08:50:31
Score has been released today.

MrZimmerFan reply Replies: 1 || 2018-12-26 15:01:16
Third track released on Soundcloud

https:// 03-whats-your-dream

MrZimmerFan2019-02-03 18:45:05
Total time (confirmed in 64 min

and new track

https:// watch?v=I2V3E4toWLw

Knight reply Replies: 0 || 2019-01-14 05:37:08
Looking forward to hearing this one. Looks like this is the first score since Divergent not to use his over-harsh "Mad Max" mixing that he's been using on all his scores from 300 to present.

Anonymous reply Replies: 0 || 2018-12-28 17:09:21
Yeah Mortal Engines went to my top 5 scores of the year without a doubt.

Looking forward to this one as well.

If it is mixed the same as ME and has the same thematic identity it will be great

Mephariel reply Replies: 2 || 2018-12-26 19:20:28
Pretty impressed with Mortal Engines and is looking forward to this. Can't believe I am actually looking forward to a Junkie XL score now.

ThePhantasm2018-12-27 02:35:04
He's definitely growing as a composer, very impressed with him lately

MrZimmerFan2018-12-27 10:49:36
Since Black Mass... ;D© 2001-2018 OST 
Alita - Battle Angel soundtrack - Tom Holkenborg (Junkie XL) 2019