NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback

well the composer confirmed he is working on it to be released very soon<br>"It's funny tho......people always complain how Hollywood plays it safe and how movies don't take chances..........but when a movie with tonal shifts that challenge the viewer and offer something bold shows up, people bitch and complain."<br><br>I didn't think it was possible for a Bay fan of all people to be this insufferably pretentious.<br><br>I thought that was more Snyder fanboy territory.<br><br>But here we are, calling dog-humping, Decepticon testicles, and mommy-on-pot-brownies "challenging the viewer."<br><br>Kudos, man.  Kudos.<br><br>You can hide behind however many fallacies you want.  If "Not to me" and "You do you" didn't give it away early on in this thread, I DIDN'T try to treat my opinions as fact.<br><br>But that doesn't mean I'm going to add a little "IMO" at the end of every goddamn sentence just to coddle you. <br><br>On the flip-side, consistently making appeals to authority and popularity, "B-b-but Spielberg said!", "B-b-but the Forbes poll said!" don't make you objective.<br><br>Y'know, it's funny.  When I listed off better blockbuster examples, you could've very easily just argued against them on the level of the films themselves, and everything would've been fine.<br><br>Sure, you would've just claimed you can't see the action at night sooner, which is rich when you praise the film series that puts the subjects of its action scenes OUT OF FOCUS every other shot, but hey, that's just honest opinions versus honest opinions.<br><br>But using two belated half-assed sequels from different, less talented directors that lost most of the appeal of the first movies, as some sorta litmus test for how well-liked the first movies were, is the biggest bunch of bullshit I've ever heard.  That's not objectivity, that's not even confusing correlation with causation, that's saying 1+2=4.<br><br>That's the real joke here.  Instead of accepting that your love of Bay is nothing more than a opinion, just as my claim that he misses the point of what makes action movies fun is, you turn into an overly-defensive nut, desperately quoting every opinion piece under the sun to pretend your opinion is some statistically-backed fact.  I've seen you do this every time someone talks shit about Bay around here.  It's psychotic.<br><br>Bad movies make money.  Everyone knows that, and everyone knows that's not proof of quality.  But if that's the kinda road you wanna go down, I guess movies like Avatar, The Force Awakens, or all the Avengers movies, are "objectively" better movies in every conceivable way than anything Bay has made in his entire career.  I mean, CLEARLY those films must have a bolder style and push more boundaries.<br><br>Why else would more people watch and rewatch them, right?<br><br>Reasonable causation is for those goshdarn geek journos.<br><br>And by the way, The Last Knight lost money.  Period.  Almost 100M according to Paramount themselves.<br><br>That's not just a domestic bomb, that's a bomb altogether.<br><br>Have a nice day.Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br>==================<br><br>Kinda ironic, coming from you....but I'll take it as a compliment. Thank you! <br><br>And yes, he sides with me because what I say is common sense. For whatever reason, you have these strong negative feelings toward Bay films and those feelings blind you to some pretty obvious truths. <br><br>Have to say tho - for a 'hater' you sure know A LOT about him, his style and his movies. <br><br>Just admit it - you are a huge Bay fan but you just want to score some points with the snobbish internet crowd. <br><br><br><br>============<br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br>============<br><br>Oh, you're one of THOSE people......"Fury Roaaaaaaaaad is DA BEST FILM EVAAAAAAAA".<br><br>Let me guess: you also think that Nolan is the greatest director/person of all time. On par with Jesus himself. <br><br><br><br>==========<br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br>==========<br><br>Which is what Transformers 1 is. <br><br>Which is why the movie connected with audiences. It was - at its heart - a story about a boy and his car. Even the most jaded critics enjoyed that aspect.<br><br><br>=============<br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br>=============<br><br>Excuse? For what?<br><br>My friend, you do realize that Bay in particular is one of the most powerful and successful filmmakers of all time, right? He is the second highest-grossing director of all time (domestically), only behind Spielberg. You can dismiss box office success all you want but you don't get to where Bay is if you're not good at your job. <br><br>Snyder is nowhere near Bay, in terms of success and influence. Personally, I don't care much about him. <br><br><br>P.S. Guy Ritchie (and Edgar Wright) are huge Bay fans. Ask yourself why. <br><br><br>===============<br>They just aren't very good filmmakers on the whole<br>===============<br><br>Your opinion.<br><br>I disagree.Bay walks the lines between being self-serious and comical, but his films aren't well=written enough to serve the former, or witty enough to serve the latter, and the end-result is droll and annoying.<br>====================<br><br>You sure you're not a "writer" for one of those ridiculous geek sites like Collider, Screen Rant or Slash Film? Because you sound a lot like one of those "beloved" writers. <br><br>Anyway......Yes, Bay's movies always walk that line but whether that works or not is........Yes! a matter of opinion. For me, Pain and Gain is one of the best modern satires while for you it is - I'm guessing - "droll and annoying".<br><br>It's funny tho......people always complain how Hollywood plays it safe and how movies don't take chances..........but when a movie with tonal shifts that challenge the viewer and offer something bold shows up, people bitch and complain. <br><br>Some of you folks are indeed very hard to please. <br><br><br>===============<br>The first POTC earns it. The Bad Boys 2 doesn't. Infinity War earns it. TF 1/2/3/4/5 doesn't.<br>==============<br><br>Okay, now that statement is the best joke of the year! Thank you for the good laugh! Really! Oh, and I've definitely argued with you before, my friend. You are clearly one of those ten Bay haters from the IMDb forums who claim to hate everything the man does, yet they have seen EVERYTHING he had done. Why is that, I wonder?<br><br><br>===========<br>Fitting, as Synder and Bay are cut from a very similar cloth. Difference is, unless we're talking Man of Steel, I'd sooner rely on Snyder for consistently good action sequences<br>===========<br><br>Well, I would trust Spielberg on this. Because it was Spielberg who said, and I quote: "Michael (Bay) is one of the greatest action directors. He has the best eye in Hollywood." Spielberg works with a lot of directors. But he never said anything like that about any other director. So clearly he means what he says about Bay. know......unlike most people, Speilberg actually knows a thing or two about filmmaking. <br><br><br>================<br>300 didn't try to start a franchise. It was a one-off adaptation of a graphic novel in the same vein as Sin City, and was successful. They tried to make a cash-grab sequel almost a decade later, without Snyder, and it failed. That's hardly the first film's fault.<br>================<br><br>It is a clear proof that people weren't that excited to visit this world again. And mind you, that happened with the first sequel! Talk about a one-time thing, huh?<br><br>At the same time, Bay made FOUR Transformers movies - with different casts - before there were any signs of audience fatigue. <br><br>That speaks for itself.<br><br>===========<br>Pacific Rim suffered from lackluster marketing, and yet still managed to turn a profit and attract a strong following.<br>==========<br><br>Excuses, excuses, excuses.....So you can display all the excuses in the world for Pac Rim but when it comes to Transformers, you don't accept anything. <br><br>Double standard much?<br><br>P.S. That "strong following" is on the internet. The same following that was supposed to make Scott Pillgrim a huge hit. Everyone knows that internet hype is not real-world hype. I know very well the type of people who act as if Pac Rim is the best thing since sliced bread. Total geeks who are angry that Transformers is much more popular and much more successful than Del Toro's "let's shoot all the robot fights in pitch black so audiences can't see shit" movie.  <br><br>Also, let's not pretend that Pac Rim is a universally beloved film. You know very well that there are A LOT of detractors as well. That's what you get when people can't tell what's going on during the movie because you shot it all at night. Just like that Godzilla movie. <br><br><br>============<br>Versus something like Transformers, which has piggybacked on an established IP, relentless marketing campaigns and tie-ins, and a fairly consistent release schedule. And even then, recycling the same bullshit eventually took its toll.<br>============<br><br><br>Wrong.<br><br>Do you read Forbes? You should. Because it's a place where objective people write. It ain't a stupid militant film geek site like Ain't it Cool News or Screen Rant.<br><br>Forbes published multiple articles explaining in great detail why the Transformers movies were successful EXACTLY because they were directed by Bay. Whether you like it or not, my friend, Bay is a brand. He is an auteur. There were multiple polls before the first two Transformers movies and Bay being the director was one of the main reasons for people to watch the movies. <br><br>But I guess you missed all of that, huh?<br><br>How convenient.<br><br><br>==============<br>Friendly reminder that AoE also relied on China (more pathetically then even Pacific Rim did) to compensate for diminishing domestic returns. To say nothing of TLK outright bombing.<br>==============<br><br>First: according to ACTUAL real data, the only TF movie that was saved by China is.......Bumblebee! Yeah, you better believe it. Go to Deadline and Forbes and read it for yourself.<br><br>Second: TLK bombed domestically, yes. <br>But not internationally. No one with actual knowledge of the situation refers to that movie as an international "bomb". Besides, there were 4 super successful TF movies before TLK. So Bay got nothing to prove. He already created one of the biggfest film franchises in history. <br><br>How many directors can say that?<br><br><br><br>==================<br>I know you like debunking Bay naysayers with "facts and logic," but it helps to not be grossly disingenuous while doing it<br>==================<br><br><br>Goes both ways, my friend. But unlike most naysayers, I don't treat my own personal opinions as facts. And if I'm being "disingenuous" then I don't even know what to say about some Bay haters who refuse to accept even the most obvious facts and truths.nope
You realize there is a very easy and free method to get the music from that site, dont you?Random thought but this got me thinking about Zanelli's history with fantasy.<br><br>Whatever happened to his score for Delgo?  I know it's been accused of being super derivative of his other works anyways but still, it's weird to see a RCP score just drop off the face of the Earth like that.There's just something really charming about seeing a prototype for a famous future theme showing up in an old score.<br><br>Or in PotC's case, SCORES.The only ones I've seen properly confirmed are the cues Badelt had listed on his website. The issue with everything else is that there's certain themes that's been associated with certain people, but aren't credited for every appearance. Not to mention that I've never really seen much official credits elsewhere, so I take any that I've seen with a grain of salt.This comment was made before that was properly confirmed, so he was likely going to do it solo at the time.
I thought Hans was collaborating with Faltermayer For Top Gun 2From both ASCAP and GEMACan these be accessed anywhere?The dream is collapsing... :oHoly f*ck, just listened to "Too Many Notes..." and its containing pirates theme itself from Pirates of the caribbean
'No Good About Goodbye' was never the intended song for QOS. It was composed after the film was completed using thematic material from the film for Shirley Bassey to perform on her, David Arnold produced album, 'The Performance'Those files are just sitting there.<br><br>Undownloadable.<br><br>Taunting me.@Ds<br>Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br><br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br><br>I already discussed 300 and Pacific Rim.  Clearly deep scripts aren't what I'm aiming for here when I talk about good blockbusters.<br><br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br><br>300's a great example of this, though unfortunately a lot of Snyder's other work isn't, and Bay is close behind.  Their films get bogged with way too much obnoxious bullshit to make the odd sequence worth it.<br><br>The Scorponok sequence from TF1, the warehouse fight from BvS, that's real standout stuff.  Stuff that loses a lot of its luster when surrounded by two-and-a-half, or god forbid THREE, hours of self-serious pretense, lazy humor, and/or annoying characters.<br><br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br><br>They just aren't very good filmmakers on the whole, and need to learn to consolidate their efforts into something that brings out their best and subdues their worst.  Snyder in particular has SERIOUSLY misjudged where his talent is lately.Well, Steve, about the score, says he still working on it.<br><br>I can't wait.A snippet of the verse (at 0:49) also shows up occasionally in the score, in Somebody Wants to Kill You, the end of Greene and Camille, and Field Trip.

Please install Flash®
and turn on Javascript.

Rate those CD:
Top 50

Hans ZimmerSteve MazzaroDavid FlemingAndy Page
ComposerAdditional MusicAdditional MusicMusic Producer
Xperiments From Dark Phoenix
Label: Remote Control Productions, Inc. (Digital Download Only)
Length: 78'43 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 (917 votes)
  1. X-HZT (17:27)
    Hans Zimmer
  2. X-X (5:59)
    Hans Zimmer, Steve Mazzaro, Andy Page
  3. X-LGDP (8:07)
    Hans Zimmer, David Fleming, Andy Page
  4. X-SI (6:25)
    Hans Zimmer, Steve Mazzaro, Andy Page
  5. X-HD (3:32)
    Hans Zimmer, Andy Page
  6. X-MP (3:21)
    Hans Zimmer, Andy Page (Henry Purcell)
  7. X-MT (5:03)
    Hans Zimmer, David Fleming, Andy Page
  8. X-TX (8:48)
    Hans Zimmer, Steve Mazzaro, Andy Page
  9. X-MDP (9:06)
    Hans Zimmer, David Fleming, Andy Page
  10. X-F (3:56)
    Hans Zimmer, Steve Mazzaro, Andy Page (Henry Purcell)
  11. X-CH (4:58)
    Hans Zimmer, David Fleming, Andy Page
  12. X-SS (2:01)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
Create Topic

Pages << 1 2 >>

John G. reply Replies: 7 || 2020-02-16 01:31:19
Just came back from Mazzaro’s website. Why didn’t they include the extended versions of some of the tracks? Not to mention an entirely unreleased track.

This is the closest we’ll get to having an “original” album by Zimmer and his team. Darn...

Paul2020-02-16 04:24:09
Anybody who heard from Steve Mazzaro's website to listen by The Rhythm Section with soundtrack, it's ain't not bad at all.

MrZimmerFan2020-02-16 09:42:58
Man, i wan that score

MrZimmerFan2020-02-16 19:22:46
Well, Steve, about the score, says he still working on it.

I can't wait.

Cynical Makooti2020-02-16 20:38:41
Those files are just sitting there.


Taunting me.

Anonymous2020-02-17 10:40:17
You realize there is a very easy and free method to get the music from that site, dont you?

paulus2020-02-17 13:30:06

FaresTdkr2020-02-17 16:17:31
well the composer confirmed he is working on it to be released very soon

John G. reply Replies: 0 || 2020-02-16 01:50:10
Seriously, the complete score needs to come out. We NEED those Mazzaro suites on our devices!

int reply Replies: 3 || 2020-02-14 23:06:24
There's a different 11 minute version of X-X (Gap theme) on Steve Mazzaro's website. Also longer version of X-TX. I guess it's Mr Mazarro we need to thank for the most memorable tune of this score.

Hybrid Soldier2020-02-15 01:05:59
Oh because you think they expand suites based on... nothing ? lol

It was like on Pirates 2/3, Lorne wrote a shitload of theme suites... of not his themes ! ;)

Mr.Unbreakable2020-02-15 01:22:51
Then there is unpublished Lorne material waiting to be heard? Hybrid could you do your magic and get those suites?

Mr.Unbreakable2020-02-15 01:23:30
Then there is unpublished Lorne material waiting to be heard? Hybrid could you do your magic and get those suites?

Knight reply Replies: 0 || 2020-02-14 23:50:00
Hmmm... The cuesheet lists Space Scene as just Hans and Dave but the spotify credit has Mazzaro as well. Hybrid do you know which is correct?

isildur reply Replies: 50 || 2020-01-07 05:37:20

https: // o-time-to-die-1203458908/amp/#click=

Mephariel2020-01-07 06:46:49
I don't know about this. If this was Zimmer from the start, then maybe. But as it is, I just feel like this will a hack-it-with-a-hammer type job.

I am excited, but I don't have any high expectations.

Mephariel2020-01-07 06:50:38
So is Zimmer officially off Spongebob? I haven't heard a thing about Spongebob and recent sources never mention that movie. Film music reporter doesn't have it listed.

Powellfan2020-01-07 07:49:38
Why would he take on something like this if he's so busy and it's this late? Just to be able to say that he did a Bond score?

px2020-01-07 07:50:08
Feel sorry for Dan Romer but honestly listen to his stuff... he really had to impress to keep this gig and it looks like he was found out of his depth. Hopefully he'll get another chance.

Really excited to hear what Hans can do with Bond.

Anonymous2020-01-07 08:17:47
blame eon or Barbara. nobody knows who Dan Romer is. no name recognition. I am not saying he’s not talented but honestly when has a composer with zero name recognition scoring a single film in a franchise worked out?

Andreas2020-01-07 08:40:01
Kind of dissapointed Dan Romer didn’t deliver, was really looking forward to his Bond score. Maniac was one of my favourite scores of 2018 and really like his other work. Maybe his style wasn’t indeed the right fit for a film like this. Zimmer scoring No Time Do Die doens’t really get me that hyped for what probably will be a team effort by RCP.

Shince Thomas 2020-01-07 11:49:14
This makes me wonder why Hans said no to Tenet and then said yes to No Time To Die.

Hybrid Soldier2020-01-07 12:35:56
Because as I said, Tenet was never about scheduling conflict...

And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.

Johnny2020-01-07 12:47:47
@Anonymous Nicholas Hooper for example. He took over the job of John Williams and Patrick Doyle and composed the music for Harry Potter 5 and 6.

@Shince Thomas Indeed, this surprises me as well. I hope Chris doesn't feel fooled.

mpolonest123 2020-01-07 13:44:31
Really can say I didn’t see this coming. Hell, I expected Balfe to get it before Hans. Now here’s to hoping he delivers an amazing score.

I’m super curious as to why he really didn’t take on Tenet, I hope it has nothing to do with Dunkirk being as stressful as it was.

Mr.Unbreakable2020-01-07 14:47:27
I think Zimmer could have composed Tenet without problems (with Balfe and Wesson). I don't think Nolan calls Zimmer again ...

Ahmad2020-01-07 15:08:58
I’m so excited because I’ll soon find out what would a Zimmer Bond score sound like :D

About TENET. It seems like an artistic divorce which is sad but not the end of the world lol. After DUNKIRK, it’s clear that Nolan is VERY involved in the scoring process and TENET seems to be going in the sane direction as TDK trilogy, INCEPTION and DUNKIRK. Mixing electronics and orchestral elements. Having distinctive and simple themes and simultaneously relying on single sounds or sound design elements to serve the moment and provide tension. I think even Zimmer fans would be satisfied with it - if they don’t hold a grudge against Ludwig.

If course I’m only judging by the teaser and the 5 minute cue featured in the prologue.

Anyway, we’ll get a new Zimmer score in less than four months! How exciting!!!

Ahmad2020-01-07 15:11:04
Forgot to add: I hope their work relationship hasn’t affected their friendship, since they seemed to be very good friends. This is a proper divorce lol.

BC2020-01-07 15:41:30
I'm really excited about this, but I'm worrying that Hans is juggling too much. The Variety article I read during break earlier said that the score pretty much needed to be done by the end of February. That gives Hans and team about 7 weeks to get it done.

Either the crunch is going to make something super special, or it might just be okay. Overall, just happy that Hans has so much material releasing this year.

Hybrid Soldier2020-01-07 17:09:55
BC, read what I wrote...

Mr.Unbreakable2020-01-07 18:45:06
Hybrid, I know Lorne is not working on Top gun and Dune. Do you know if he works in Bond?

Mephariel2020-01-07 19:32:12
We should have a contest speculating who will be working on Bond.

I think Fleming and Mazzaro for sure right? I thinking Wallfisch and Balfe and maybe Zanelli?

Mr.Unbreakable2020-01-07 19:59:49
I think there will be Fleming, Mazzaro and maybe Kawczynski. Although I would like to see a team with Lorne, Wallfisch and Wesson.

anon2020-01-07 21:16:31

Do you know anything about why they weren't happy with Romer's score? Why did they not go for Hans or a big name composer to begin with?

Oscarilbo2020-01-07 21:54:52
So hybrid, without any more details.. are Nolan and Zimmer in good terms right now, as usual?

Hybrid Soldier2020-01-07 22:15:56
Well I happened to be around RCP when Hans was finishing Dunkirk just before the 2017 tour. And it was tough (Nolan wasn't there in the studio, he was working from Warner studios), to me it came with no surprise that they wouldn't do the next one together. I think a break was needed. I'm sure they'll work again. And it has nothing to do with "personal relationship", Hans loved Tony Scott and is still in touch with Ridley Scott regularly, but they just moved on working together.

You can be good friend with someone and don't want to work together !

Oscarilbo2020-01-07 22:23:35
Thank you man. That's all I wanted to hear, and I'm glad they are both fine.

Mr.Unbreakable2020-01-07 22:33:26
We assume that Mazzaro will be, but, and Lorne? Hybrid, I would like to know what you think.

Mr.Unbreakable2020-01-07 22:38:56
We assume that Mazzaro will be, but, and Lorne? Hybrid, I would like to know what you think.

Mr.Unbreakable2020-01-07 22:39:27
Regarding Nolan / Hans seeing how Nolan treats his collaborators, I see it difficult for Hans to return. But they tell you Wally Pfister (I think Nolan is going to be captivated by the sound of Göransson).

FaresTdkr2020-01-08 21:40:18
Well I'm sure Hans will do a great job on this project its a great way to start a new decade..Like Gladiator, Inception...i think Balf will be involved..

Hybrid Soldier2020-01-08 22:24:12
Lorne told me he's not part of it but... well, it's Lorne, you never really know... :)

Mr.Unbreakable2020-01-08 22:32:46
Hybrid do you know who accompanies Hans?

Sonnenfeld2020-01-09 02:46:48
Is it true that someone from Remote Control will be scoring Leigh Whannell's Invisible Man?

Scorefan2020-01-09 05:33:20
As @Hybrid said before, Hans is working on Bond since 1 month ago. The rumors about Romer is out from the movie are from 1 month ago. The critics about Zimmer on Bond is like another composer on Star Wars films. Many fans (many are toxics) want what they wish. On Bond, they criticized George Martin, Marvin Hamlisch, Bill Conti, Eric Serra, David Arnold and Tomas Newman. The critic was they were not John Barry. So in this case, the same with Hans. I can imagine if Hans will score one Star Wars film. That, for sure, would explode the internet.

Iamtommie442020-01-09 13:50:21
@Scorefan. I agree with you. If a franchise has been running as long as Star Wars or James Bond people have a certain expectation about the music. With Star Wars that's big and orchestral in the style of John Williams. Both Giacchino & Powell delivered scores in the same vein as this and those scores are both spectacular. Then The Mandalorian came along an Göransson was announced as composer, and people started to get worried. When the music finally came out, people were mad and all sorts of things because it didn't sound like Williams. Now for me the score of The Mandalorian has grown on me quite a lot en I think it works perfectly in the series. Because it's more grittier than the movies.

Now with James Bond, the same thing happend. John Barry was Mr. Bond in music. Than Martin came along and people were dissapointed. With Hamlish people thought it was a bit strange en even Barry got some critisism about his Living Daylights score. When Eric Serra scored Goldeneye and the album was released a lot of people were just angry because it was so different from Barry.
Then Arnold happened. He, in a lot of ways, brought back the Bond sound in a lot of ways. But people didn't like some of the heavy use of electronics in TWINE or DAD.
When Thomas Newman came along, it was the same. Too little Bond, too much Newman.
I myself quite like Newman's two scores, but that's neither here or there.

Now when Romer was announced as composer for NTTD people were exited but scared as well. He wasn't well known and never scored a big action movie.

Now that Zimmer is announced as composer people are exited and scared for the reason that Zimmer is great at action writing as well as the emotional parts, but does his 'sound' fit in the Bond Universe?

Now, I am exited for a Zimmer style Bond score, with a great rendition of the classic theme. A new action motif and a theme for one of the 3 Bond girls.

And as for that he might not have 'enough time'. There are scores that have been written in 4 weeks or less and which are great. Listen to King Kong for example.

I'm very exited and lets just wait and see (listen) what Mr. Zimmer comes up with. I have a lot of confidence it will be great!

Edmund Meinerts2020-01-09 18:25:03
^ Agree with pretty much everything you just said. Expectations can be a tricky thing in a long-running franchise. Generally speaking my rule of thumb in situations like that is "don't fix what isn't broken UNLESS you've got something really good to replace it with". I'm not against shaking things up on principle but generally speaking, a franchise will have an established sound because that sound is proven to be successful and good, so the odds of improving on that are pretty slim, and generally I find most "modernizations" of that type to be inferior to what went before. (I prefer the "update" approach, like what David Arnold brought to Bond - still big and brassy and jazzy but with the heavy electronics added as well).

I also think you can radically change the sound of a franchise but still stay loyal to its themes, and I wish composers would dare to do that more often...I actually quite liked (some of) Göransson's music for The Mandalorian, but think it would have been even better if he slipped in some Williams theme cameos - but filtered through that gritty-space-western sound rather than in a grand orchestral way. Disney owns the whole world so surely it's not a question of rights.

Hybrid Soldier2020-01-09 18:47:44
Don't put Giacchino & Powell on the same level for Star Wars.

Cause John Williams hated what Giacchino did and loved what John did... lol

mpolonest123 2020-01-09 18:52:41
I think you hit the nail on the head. There isn’t really a need to completely abandon/stick to a franchises musical heritage if you can improve on what already exists and actually evolve the music.

The Mandalorian works because it serves as world building in a musical form, although I still think there are a number of scenes that could have worked great with Williams’ style, not necessarily his themes. I imagine Bond will be a mixture of Zimmer’s sound and action writing, with the Barry/Arnold style throughout. At least that is what I’m hoping for...

mpolonest123 2020-01-09 18:54:52
LOL really?

I’m not a huge fan of Rogue One personally but I still found parts which I thought worked well (Jyn’s theme in particular). I wonder what exactly Williams hated about it?

Edmund Meinerts2020-01-09 19:03:00
There are definitely parts of Rogue One that sound kinda like a music student trying to be John Williams (unlike Solo, which is basically a Powell score with Williams "spice"). I only have a little technical music knowledge but even I notice it sometimes when Giacchino does things that are just...awkward, somehow. Not quite right. It happens to Giacchino quite a lot because I feel like he always reaching for a Williams/Goldsmith/Horner level of complexity but he just doesn't have the same elegance as those masters. I'd imagine to someone with Williams' level of knowledge - who would be able to pinpoint exactly what he's doing wrong - it would be even more grating.

I like Giacchino as a composer and I think Rogue One is a pretty decent score given the circumstances, but that is his biggest flaw for me - he's trying to fill shoes that are bigger than his feet rather than just wearing ones that fit.

Hybrid Soldier2020-01-09 21:03:40
Yes that's true ! :)

mpolonest123 2020-01-09 21:37:34
Ok that does make sense, I remember watching the film and being put off by the music in certain scenes. Something just didn’t feel right. It’s funny considering how well he captured Williams’ style in the MoH games.
This also makes me wonder if Williams has any opinion on the Potter scores that followed his three.

And Giacchino definitely sounds best when he is sticking to his signature style. Jupiter Ascending, Up, Incredibles, etc. all are great examples.

Scorefan2020-01-10 02:02:59
@Hybrid, What kind of opinion has Williams about Giacchino's score?
It's something that involves the replacement of Alexandre Desplat for Giacchino after the reshoots? Or it's just how the music sounds, Williams thinks Giacchino try to emulate his sound?

Powellfan2020-01-10 07:03:33
Any specific moments in Rogue One's score you can pick out that are a little off or awkward?

Hybrid Soldier2020-01-10 09:57:47
From what I heard, Williams is very "protective" of Star Wars and was not happy he was not even asked to do Rogue One, or be involved with it. Well, don’t get me wrong, if he was asked, he would probably not have done it anyway. And he just didn’t like the result of Giacchino’s final score. Which was heartbreaking for Giacchino obviously to hear of such a feedback.

So for Solo, they went for Williams first, Powell had to have an interview with Williams to discuss about the approach etc.

rockound2020-01-10 10:08:11
Rogue One is my favourite score of all the new films. Right after that comes Solo. A bit strange, that Williams doesn't like Rogue One, and not just because he wasn't involved.

Edmund Meinerts2020-01-10 13:04:30
@Powellfan there are two moments that stand out for me in that respect, both involving the use of Williams music ironically. First, the title card (at the end of "A Long Road Ahead"), where he acts like he's going into the Star Wars main theme and then instead plays his own Hope theme which just sounds cheesy and childishly simple in comparison. It really pulls the rug out from under you as a listener and not in a good way. Secondly there's the Force theme statement at 0:40 of "Trust Goes Both Ways", especially the way he ends the second phrase is just...messed up, somehow. The notes are emphasized all wrong (that phrase is meant to "land" on the final note but the way Giacchino arranges it makes it seem like the second-to last note, the highest, is the most important) and the harmonies are clunky. He does the same thing at the end of "Hope" which is a shame because otherwise I really like that cue.

I'm not against composers playing around with other composers' themes AT ALL (Powell did some brilliant stuff with the Williams material in Solo) but it has to come from a place of understanding why those themes worked the way they did in the first place, and I don't think Giacchino quite got it with Rogue One.

NM2020-01-10 13:43:00
Good examples Edmund. Especially that first one. Even my friends who are not into film music laughed at that cue. It's embarrassing.

BC2020-01-10 14:07:56

Oops! I was browsing this during a break at work and missed that last part. Now that I know Hans has been working on this for awhile I'm even more excited. I'm really excited to see just what kind of tone and sounds he plans on using for the movie, and I hope that he releases an experiments disk like on Dark Phoenix for the scores releasing this year.

As for Giacchino, I'm kind of mixed on his work. I really enjoyed his scores for both Incredibles films as well as the recent Star Trek trilogy, but other scores like Rogue One and the Jurassic World are lukewarm for me. Ironically, both of those are Williams scores, and as Edmund pointed out, it seems to be because he's trying to copy Williams sound and technique and failing at it hard at points. One of my biggest criticisms of his work even before he did Star Wars and Jurassic World was that he seemed to be a wannabe Williams, and it would be nice to see him do something more along the lines of Jupiter Ascending, where I could feel a little more of him in the music.

HunterTech2020-01-10 23:36:32
I'd actually be quite curious if NTTD got many suites, considering the very last minute nature of it. Stuff like Xperiments stemmed from the amount of time he was able to work on the score and being able to refine his ideas. Sure, he'll likely have some suites, but maybe not to the extent of his previous projects. We'll just have to see.

Powellfan2020-01-12 04:32:35
@Edmund I see what you mean. Those statements of the Force theme are not good. I get what he was trying to do, and changing up the timing and emphasis of a theme is something that's done a fair bit in film scores for transitions and what have you, but here it's very clunky. I have to assume that the time constraints is why that was kept the way it is instead of figuring out a better version of what he was attempting.

Williams wasn't asked to do Rogue One? Interesting to hear that some genuine negative feedback reached Giacchino given how Williams always seems so... discreet?... Diplomatic? You know what I mean.

DvirBA2020-02-14 14:35:04
Thanks Hybrid for making sense in the whole Tenet thing, I never believed it was a scheduling conflict.
I wish Nolan would have chosen to work with Djawadi though. Game of Thrones might be the best non-Hans Zimmer score Iv'e heard and Ramin's collaborations with Chris Nolan's brother Jonathan in Westworld and Person of Interest are amazing. I always though he'll be next in line if not Zimmer, since Chris and Jonah are so close, and since Djawadi is extremely apt.
Do you think we might see them ever collaborating? Perhaps when Chris will do another movie with Jonah? Or is it not the type of things Djawadi is working on these days

Mr.Unbreakable2020-02-14 15:25:13
If everything goes well on Tenet, Nolan will not separate from Göransson.

Backbiter2020-02-14 16:14:30
"I get what he was trying to do, and changing up the timing and emphasis of a theme is something that's done a fair bit in film scores for transitions and what have you, but here it's very clunky."

It didn't felt clunky dude, it felt MCCLUNKY!!!!

Anon reply Replies: 8 || 2020-01-13 22:36:26
Official press release from EON on Zimmer:

"Producers Michael G. Wilson and Barbara Broccoli confirmed today that composer Hans Zimmer will score the latest 007 adventure, No Time To Die. “It’s a dream come true to be working with the legendary composer Hans Zimmer on our twenty- fifth James Bond film, No Time To Die,” said producers Michael G. Wilson and Barbara Broccoli. While director Cary Joji Fukunaga echoed their statement, “I’m beyond excited that Hans is scoring No Time To Die. The music of Bond has always been iconic and I’ve already witnessed Hans adding his touch of genius to the Bond legacy."

anonymous2020-01-17 17:12:41
Johnny Marr has been confirmed to be performing on the score...

Is there going to be a separate discussion thread for this btw?

Mr.Unbreakable2020-01-17 17:36:15
I can't say that I am happy. I love Marr, but I don't want Marr in Lorne's position. #BalfeforBond

Edmund Meinerts2020-01-17 20:08:51
Marr is probably performing the James Bond know, on the electric guitar? Which is the instrument he's famous for?

Jesus, I swear there are some people who won't be happy until Lorne Balfe is singlehandedly both composing and performing the score to every film that is ever made.

Macejko2020-01-17 21:06:55
If some time down line it gets revealed that all of these Lornanists were on someone’s payroll, you heard it here first.

Mr.Unbreakable2020-01-17 22:17:41
Journalists say he will act as a composer.

Hybrid Soldier2020-01-17 22:40:50
The same "journalists" who said Hans was hired a week ago ?


Mr.Unbreakable2020-01-17 23:53:19
I have made a mistake.Although you should have more mercy with people.

Hybrid Soldier2020-01-18 00:06:16

Mephariel reply Replies: 3 || 2020-01-10 07:04:54
Of all the Zimmer scores in 2020, which one excites you the most?

For me:

1. Dune
2. WW84
3. No Time to Die
4. Top Gun: Maverick
5. Spongebob

BC2020-01-10 14:13:03
It's a hard 2 way tie between Dune and No Time to Die. While I know there's going to be pleasant surprises, I kind of feel like I have a general idea of what it will sound like for the most part. I have zero interest in Spongebob, and I'm doing a wait and see for Top Gun. I'm not NOT looking forward to it, but it ranks above Spongebob.

Dune will probably take the cake because of the story and setting. A big sci-fi film like that will be really interesting, and I'm wondering if we might get a little of the Blade Runner feel to it. And No Time to Die is just a huge question mark. Will he lean more towards the general feel of the previous Bond scores, or will he completely go a separate way and just retain the iconic theme? I'd personally love it if he did a Dark Phoenix and completely reimagined the Bond theme, but the Broccoli producers will likely not be down for that.

BC2020-01-10 14:14:44
While I know there's going to be pleasant surprises, I kind of feel like I have a general idea of what Wonder Woman will sound like for the most part.

mpolonest123 2020-01-11 02:40:32
No Time To Die by a huge landslide, if only because I have no idea how this is going to sound. If Zimmer goes full on Bond mode this could be one of his best scores in recent years, if not the results will more than likely still be interesting.

All of the others are tied for me honestly, I feel like this might be one of the most diverse group of projects he has tackled in recent years. WW84 and Top Gun will probably lean towards the signature 80’s sound, Spongebob will definitely be ‘animated Zimmer’, and Dune will probably be more atmospheric and rely heavily on sound design.

Sonnenfeld reply Replies: 2 || 2020-01-10 14:40:57
Is it true that someone from RCP will be scoring Leigh Whannell's The Invisible Man??

Hybrid Soldier2020-01-10 22:59:31
How many times do you intend to ask that ? lol

Sonnenfeld2020-01-11 00:23:54
It got lost in the other topic, didn't know who you were answering to, LOL

But anyway... is there any reason why it's being kept in the dark? Movie comes out like next month... it's not being rushed, is it?

Mephariel reply Replies: 0 || 2020-01-07 23:55:19
From Variety:

"Zimmer has his hands full in 2020 with the scores for Wonder Woman 1984, Top Gun: Maverick, Dune, and The SpongeBob Movie: Sponge on the Run, and he’s also on tap to score Space Jam 2."

So is SJ2 confirmed or Variety just got this from IMDB?

Hybrid Soldier reply Replies: 3 || 2020-01-07 21:28:21
I don't have much info to be honest since Hans & co have been silent since day one (NDA, people, NDA...). But I understood Bond became RCP (and 99% sure Hans was in) a little more than a month ago.

As for Romer (and I love his score for Beasts Of No Nation), he simply was Fukunaga's composer. I guess it just didn't work out. Steve Mazzaro (produced by Hans) replaced a score for The Rhythm Section produced by... EON (Bond)...

MrZimmerFan2020-01-07 21:50:28
Btw, The Rhythm Section has going to get a release by Paramount Music

mpolonest123 2020-01-07 21:58:49
Listening to portions of Megamind (Black Mamba, Game Over) I can definitely hear Zimmer (and Lorne if he is attached as well) capturing the sound of Bond really well. And I’m sure there will be electronics, even Arnold utilized them consistently throughout his scores.

I’m cautiously optimistic about this project, if Zimmer stays true to the “Bond Sound” and can avoid what Thomas Newman did I think this might be a pretty cool score.

megamind2020-01-07 22:34:03
Megamind has a lot of Bond parody material. I know everyone here thinks Balfe did all of it but I think there's a heavy Zimmer hand in the mix.

Jakob Wohn reply Replies: 0 || 2019-10-17 00:13:36
Sehr geehrte Hans Zimmer, und Ihre komplette Gruppe, Ihr seid bestimmt nicht von dieses Weld. Ich kann einfach anders meine Begeisterung nicht besser beschreiben. Ein tausend mal danke für ein bombastische CD, bitte nur noch es auf Hi-Res Audio Format zu Verfügung auf irgendwelche Musik Platform beibringen. Im voraus danke! LG, Jakob.

SPECTER reply Replies: 0 || 2019-10-03 03:29:08
I like that new X-Men theme. It had to grow on me, but I like it a lot now. I think a little bit of Crimson Tide style male choir could have been added to this theme/score for good effect. Theme is excellent as is though.

Plankton1997 reply Replies: 2 || 2019-09-30 21:43:21
I can't find this one on Google Play Music. Would like to purchase it, but I can't. It might have something to do with the fact that I live in the Netherlands, but does someone know why I can't find it?

  Your name :   

Please enter number: 1760 

Paul2019-09-30 21:48:08
It is on spotify. Also in the netherlands

Ds2019-10-01 10:07:01
Sometimes in some countries some platforms don't have some albums. Either they dont have the rights, or they were not sent the files in the first place...

Stargazer_21 reply Replies: 1 || 2019-09-19 06:47:11
Everything is great, except one thing - he did not add that intense music that played on the train when there was a battle. Well maybe I missed something while listening the album.

Stargazer_212019-09-19 06:57:04
But maybe at that time he didn’t have that version yet (in his mind i mean)
But... the intensity was crazy!

Mr.Unbreakable reply Replies: 2 || 2019-09-17 19:46:09
Lately I have been listening to the album carefully, and the truth is that I did not quite understand why Hans did not just use a big orchestra instead of the synthesizer.

Edmund Meinerts2019-09-18 15:56:01
...because that's what Hans does

Knight2019-09-18 16:14:41
The synth man creating a mostly synthesizer score? what a shock

nvictor reply Replies: 0 || 2019-09-07 00:57:29
all my love for Loire Cotler and what she does. i am glad she was the inspiration the vocal rhythms. but after listening for a while, i realized that Hans Zimmer and co. took her art to another level. and i would like to see her do the same with her own production.

i like the more subtle, the more in tune with the tone and the rhythm, the more in sync with the sound design. all that which brings out the art she wishes to impart.

her eastern indian rhythm gets boring after a few minutes for me and i am very sorry that i can't connect with it for a much long time... but the way i see it used in DP is different. totally novel. totally transformed.

she is probably not reading this message board, but who knows? i love what she did on DP and just getting it out there. i would get anything she does that sounds like this.

Mephariel reply Replies: 0 || 2019-08-17 19:51:44
I am still surprised that "X-SS" isn't inserted into "Gap." That is easily the best iteration of the main theme.

Mike reply Replies: 1 || 2019-08-05 19:23:18
My goodness, 1:30-2:35 in "X-MT" is quality. Reminds me of The Rock.

fabian2019-08-05 20:46:36
True.. love that part too (sounds also like some of Hans Call of Duty tracks)! This rythm style and theme could be from the 90s, which sadly never will really re-appear. At least those classic Media Ventures drums appeared in the Lion King :)
They should really dig out some of those old synth samples.

John G reply Replies: 5 || 2019-08-01 19:54:01
So in most of the tracks, you can hear many people (most likely the cast and crew) speaking. I think I heard Hans himself speak in one of those weird cuts of their conversations...

Hybrid Soldier2019-08-01 20:20:27
Yeah Andy Page produced & edited that album, apparently he had a lot of fun remixing all those various voices & solo recordings... lol

badbu2019-08-01 20:30:02
@hybrid haha sounds nice :D what u think about that score? :-)

Mcbain2019-08-03 07:39:12
Random question, Hybrid, do you know if Andy Page still produces solo electronic music?
(Xperiments is a stunning release btw, I've enjoyed it much more than the official soundtrack)

Hybrid Soldier2019-08-03 10:03:15
Honestly no idea.

Andy's very nice, Hans keeps him busy (another guy, after JXL, Hans stole to HGW ! :P).

Mcbain2019-08-05 19:32:18
Haha, yeah and I suppose Harry got to meet Andy through Hybrid, the electronic band. I look forward to him being a more prominent part of Hans's upcoming projects. He's a very talented musician and producer.

nvictor reply Replies: 7 || 2019-08-04 22:38:17
you know what makes me happy most? to see all these people who criticized the original release be all over the experimental release for some reason...

since that's what it takes, can we start a petition to release all the unheard music from dunkirk too? :) we really can't be few in numbers who love that soundtrack!

Der Profl2019-08-05 00:16:21
Oh, yeah, I love the Dunkirk soundtrack. It's such a cool suspensful atmosphere. Very inspiring if I want to write on my mystery novel.

Do I remember correctly that Hans wrote some melodic pieces for Dunkirk in the first place, before Nolan was like, no, I want like atmospheric sounds with the ticking of my watch in it? Or is it like a dream I had? I don't know. But that would be pretty neat to hear.

I would like to hear so many experimental second soundtracks for so many films Hans worked on. And if he doesn't want to do this for some older projects, he should probably do it for some of his upcoming work like Dune or Wonder Woman 2. It would be pretty neat to hear some wild and experimantel remixes on the themes he will write for these movies which didn't make it into the movie. Or like experiment with other genres like doing some really fancy EDM Club Soundtrack as a second release for like Dune to which we all can dance to (if we want). Or like make a really sad and quiet ambient piece out of the Wonder Woman theme. The possibilities are endless and I am so down for it.

Ahmad2019-08-05 01:15:34
Right? If Hans had released Xperiments (a suite album) instead of the OST, people would be crying for the film versions :D
It's a miracle we got both.

And I totally agree about Dunkirk. That score deserves an extended release with film versions but it seems like it'll never happen. And according to interviews and album notes, Hans always started a long tempo map that consisted of ticking, heartbeats, footsteps sounds, etc...

Someone also asked him about the "orchestral score" that was scrapped and as I understand it was about one character in particular and that material kind of got used somehow in the score anyway but was used differently.

Mike2019-08-05 04:06:20
"Someone asked him..." Hi. That was me. lol. I didn't know if I'd get an answer, but I was grateful he answered the question. He said it was basically the same score. So I don't think we're missing out too much.

Der Profl2019-08-05 04:28:24
Oh, now I'm curious about which character in particular had to get an orchestral theme. And wait, what is the orchestral theme now? Is it slow-mo-Nimrod? The Home Theme? Now I want a second suite album for Dunkirk.

Der Profl2019-08-05 04:30:33
Wait. I just realised, that the already existing Dunkirk soundtrack is like a suite album...

Nevertheless I want a second album. Dunkirk was sooo good.

Mike2019-08-05 06:07:52
I asked 2 questions, one about Nimrod in that version of the score and one about the score itself. And he said Nimrod was always in there. So I don't think the "more orchestral" stuff was Nimrod. He didn't say which character, but based on the movie and which character would make sense with a more traditional sound, I imagine it might have been the civilian boat group. Mark Rylance's character, one of the boys, or the Cillian Murphy soldier. He just said "one of the characters," so I don't think it was the main protagonist.

Ahmad2019-08-05 13:48:46
Oh, hi Mike :D I personally have so many questions about Dunkirk so I'm glad you asked Hans about the score and I'm glad he answered.

If I had to guess, I'd say it might be about George. That theme at the end of "Regimental Brothers" is used with brass at the beginning of his arc then with strings in one scene. Another strings theme plays in another moment.

Nicklas reply Replies: 0 || 2019-08-05 11:03:32
I really like the tracks X-X, X-CH, and X-SS.

But overalt I'm a little disappointed, because, like many in here, I was hoping for a bigger and more epic variation of Hans new Magneto theme, which is very awesome, but underplayed in the film and the OST. Hans could easily do a variation of that piece with his back tied :)

But overall, that we actually got them to release it, with the help of the petition is amazing, and I agree that Hans should do a similar release next year, for both Top Gun 2, Wonder Woman and Dune...

Imagine a 2 cd with big themes from these films - that would make all us fans explode from happiness! :)

HunterTech reply Replies: 3 || 2019-08-04 02:10:29
I was always curious in this release, but I didn't think it would enamour me this much. The final score I do like, even if it isn't close to my favorites of the X-Men series, but it could've stood to be more unique. With this, I was impressed by just how varied and fun it is. "X-HZT" might just be my favorite Zimmer suite currently. I almost want Zimmer to do more "bad films," since projects like this, M:I-2, and TASM2 are what I liked most of Zimmer. Just that feeling of him doing whatever he feels like and absolutely owning it. Am interested to see where he goes from here.

Also, to the 3 other people who heard Ottman's Apocalypse, did anyone feel the start of "X-LGDP" sounded a bit like the villain material from that? It's definitely coincidental, but I thought it was interesting nonetheless.

nvictor2019-08-04 05:28:06
you know, i have never listened to the amazing spiderman soundtrack. i might just get it based on what people say about it.

but i have heard that freedom to compose you talk about in scores like the sherlock holmes, lone ranger, madgascar, and to some extend the pirates series. i have come to realize that it has to do with the gypsy/carefree vibe from those movies. and that some movies don't give you that freedom to explore (or maybe really it's some directors that don't...). we are truly blessed with this release.

sorry never heard Ottman's Apocalypse but will check it out.

LS100 Studios2019-08-04 14:52:14
@Hunter Totally agree on that Apocalypse opening, those vocals sounded straight out of Ottman's score. A few minor differences but it's really similar, definitely coincidental like you said.

mpolonest123 2019-08-04 19:50:22
My first listen I really liked this album a lot, after several listens I’m confident when I say this is probably my favorite Zimmer release in the past few years. It’s such an amazing blend of 90’s Zimmer power anthems and guitar solos with current Zimmer sound design and experimentation. I can definitely see why he was proud of this music, it’s almost a culmination of different portions of his career.

Hybrid Soldier reply Replies: 23 || 2019-08-01 20:43:49
BTW I have the explanation for one of the titles, the cuesheet gave it away since it's used in the credits :

X-SS => Space Scene

(in the cuesheet the cue is called End Credit 1 - Space Scene)

Let's try to guess the rest... :P

Bob2019-08-01 20:53:15
The game became harder since Batman Begins lol

BC2019-08-01 20:54:54
Still waiting to hear it, so I'm not sure, but is the Space Scene track from the beginning of the movie, or was it written for the original finale that was supposed to take place in space?

Hybrid Soldier2019-08-01 21:07:11
Beginning one actually ! Before Hans rewrote it ! :)

BC2019-08-01 21:12:27
@Hybrid Soldier

Yaaaassss!! Can't wait to get off of work and give this a listen!

Ahmad2019-08-01 21:22:56

I'm waiting for it to be out officially for me so I can listen to it in full.

badbu2019-08-01 21:30:20
yes, me too!
btw, is the only way to get this score via amazon?
or can we get it via itunes, spotify?

mpolonest123 2019-08-01 22:19:36
6. X-MP definitely is related to Purcell and the descending “Dido’s Lament” tune.
4. X-SI is the villain theme, not sure of the initials though.
5. X-HD (Hans Dancing?) sounds like a techno dance track to me lol

mpolonest123 2019-08-01 22:23:24
This has got to be the weirdest Hans album I think I’ve heard in a long time, it’s like he approached his usual “sketchbook” technique in the form of a crazy jam session/live concert.

And I’m loving every second of it. Also props to Andy Page for how he mixed this, the distorted studio sounds add to the surrealness

Mike2019-08-01 22:57:48
Where can we get this album? iTunes?

Der Profl2019-08-01 23:56:16
@mpolonest123 Maybe SI stands for space invader if it's the villain theme. I haven't seen the movie, but I thought Jessica Chestain is an alien like creature, so space invader would make sense.

Ahmad2019-08-02 02:42:45
Man, where to begin? This album is a wonderful expansion to the OST. To hear some of Hans' original ideas without the constraints of picture cuts and edits is always exciting. I'm so grateful this got released.

BC2019-08-02 03:21:11

I'm thinking that HD is the template that the action pieces of "Intimate" and "Reckless" were built off of. The tempo is right for Intimate, and once you slot in Magneto's theme and the action version of the X-theme it fits pretty well.

For Reckless, around the 2:30 mark in HD lines up pretty well with the middle portion of the track. Spent way too much time analyzing it, but it bothered me that HD was the only track that I couldn't identify compared to the OST.

mpolonest123 2019-08-02 04:11:46
That would definitely make sense, I like Space Invaders as a cue title.

Good catch! It’s pretty much the rhythmic action without the thematic material. Kinda like MOS had “This is Madness” as an action demo.

Also, would love to state how awesome Magneto’s Theme and MDP are

nvictor2019-08-02 04:57:42
one more hour to wait lol all i can do is read these comments here...

Mike2019-08-02 06:33:29
I'm not gonna lie...I think I like the suites and ideas heard here even more than the score as written for the film. The ideas sound awesome when just played as music, without picture constraints. I was expecting this to be the less exciting little sibling of the main album, but it really stands on its own and is worth experiencing on its own.

BC2019-08-02 06:49:50

Thanks! It was driving me insane, so I had to figure it out.

Ugh, Magneto's theme, MDP, TX, X-X. There's so much goodness here. I was kinda thinking I'd have a favorite, but every track has something special in it and it's making it impossible to choose.

And Magneto's theme is so good I'm actually frustrated that he wasn't in the movie more so that more of it could have actually been used. It's almost a complete waste of an amazing 5 minute suite.


I'm glad we/Hans fought to get it released. I was totally just expecting something along the lines of the second disks for BvS or MoS, and instead we got something that's honestly way better than the finished product. I love the xperimental versions of the Phoenix theme the most. With them not being polished, they feel more raw and aggressive.

mpolonest123 2019-08-02 07:06:30
^^ Have to agree. I still think the finished score is great, but this fleshes out each idea so well without having to be constrained to the film edit. And this is probably Hans at his most experimental.

As for Magneto’s theme, I fully agree with you BC. It’s so underused in the film. Interestingly enough, the suite version has an almost “punk western” vibe to it, something which doesn’t come across in the film.

Mike2019-08-02 07:35:55
X-HZT is a fascinating does things with vocals that I've never really heard in a score before. Is that the thing Hans had "always wanted to try" on this movie? Also, the piano motif around 11:30 is great. Reminiscent of MOS and Interstellar.

I also love when the really low piano notes come in during "X-X" (at 1:43). Adds real depth to the theme. The mix of the piano with the larger ensemble was really well done for this score.

BC2019-08-02 08:34:48

Totally. Experimental Hans is something way different than I would have thought, and I hope we get more in the future. I'd love to see something like this for WW84 next year, or for Dune.

It's amazing to be able to be able to compare and contrast the bones of the score to the finished product too, as well as how they were finished and arranged. "Dark" is pretty much just a polished, abbreviated version of X-LGDP, while a track like "Intimate" has pieces from MT, SI, HD and X-X to make the final track.

And Magneto's theme does have kind of a lone gunslinger vibe to it, now that you mention it. It seems like it was lost or toned down during the final phases of revision.


I'm a sucker for great choir arrangements/vocals and it's the thing I've loved most about this score, as well as the way the guitar is used throughout. I think that might be what he was talking about when he was wanting to try something. The opening vocals of X-HZT gives me chills everytime I hear it.

With the piano, I love how it's used in X-XT starting at about 6:40 on out. Combined with the slow, melancholy guitar riffs and the light vocal arrangement, it's utterly beautiful.

Anonymous2019-08-02 15:44:59
Is that true about the original version music was so different of about movie before the reshoots

nvictor2019-08-03 01:37:00
i am so grateful for this release. it reinforces my opinion that we should appreciate scores as work of art in their own right. we should give more credits to artists and anyone who contributes to big projects like this movie.


people, here, misled me. they told me Henry Purcell this and that. well Henry Purcell sounded only twice in the experimental tracks. that clearly was not the inspiration for the "whole" score. it seems to be a solution that came later.

the novelty and main idea is in my opinion the "voice instrument". that's the element that pushed all the boundaries. i heard a similar sound in music that used native american chants. it sounded so familiar to me on the original score. this release shows that the effect was re-discovered through experimentation. that blew me away! another thing about the first track is that at some point it has that new-age, enigma, enya-like vibe. that made me feel very nostalgic...

finally, we don't often recognize people who work with Hans. the cello that played in track 1 was so good i can't help but think Tina played it. but it sounded like "the last samurai" at moments. and i am not sure she worked on that score so i could be wrong. but she deserves kudos anyways. and Andy Page too for the awesome recording and mixing. oh and Steve Mazzaro who somehow manages to appear on all my favorite HZ scores :) and all those people who deserve more appreciation.

thanks everybody :)

Nahuel2019-08-03 02:47:38
Take into account that this might be from the original complete cut of the movie, not the one released on theaters with missing scenes and forced reshoots.

HunterTech2019-08-04 01:56:45
It's very possible these were used as the base for earlier versions of the score, but all signs point to every track besides X-SS being purely suites currently.

For being "forced," Kingberg is quite lucky that he still got to supervise and be onboard for the reshoots. It's unfortunate the same couldn't be said for Snyder.....

Dark Knight reply Replies: 0 || 2019-08-03 01:12:39
Does that awesome short cue of magneto that appeared at the end of Intimate appear in any of these tracks except X-MT?

LS100 Studios reply Replies: 0 || 2019-08-02 19:08:58
This is an awesome score, so glad it was released. Really brings out the themes from the score and presents more of what Hans imagined. Many of these tracks are partly based off existing ones, but they all bring something new to the table - perhaps with the exception of X-F which is basically "Amity" again.

Here's a quick analysis of the tracks, feel free to add anything I missed.

1. X-HZT - An experimental composer sketch, brings in some elements of the Phoenix theme at times. Love those unsettling chants and yells, some really crazy stuff there.

2. X-X - This is the kind of track I was hoping for with this score - a more gentle suite for the new X-Men theme. Brings in some elements from "Gap".

3. X-LGDP - A suite for the Dark Phoenix theme, extends parts of the track "Dark".

4. X-SI - A suite for the D'Bari, extends parts of the track "Negative".

5. X-HD - A suite for the techno action cues that pop up in tracks like "Intimate" and "Reckless".

6. X-MP - A suite for the ending cue of "Reckless", seems like those thirty seconds were originally a whole track in itself.

7. X-MT - A suite for Magneto's theme, another thing I anticipated with this score. Brings in some new cues while focusing on the themes used in the original score.

8. X-TX - Another suite for the new X-Men theme, this one is much more dreary compared to "X-X". Similarly, it brings in some elements from "Gap".

9. X-MDP - Another suite for the Phoenix. Brings in some elements from "Dark".

10. X-F - A shortened version of "Amity", I think the instrumentation is slightly different but it's much of the same.

11. X-CH - A reworked version of "Coda".

12. X-SS - The end credits for the film, rendition of the new X-Men theme.

Hari Haran reply Replies: 1 || 2019-08-02 16:05:12
This is the best extended release/second album for a score in goodness knows how long.

An absolute experience.

That opening track's Carnatic-esque vocals and contrapuntalizations are sublime. This is the kind of creativity that makes Hans an unparalleled force.

isildur2019-08-02 18:30:19
Came to post just this. The way Hans used Carnatic vocals with his absolute craziness is effing epic. I don't think I have enjoyed this much listening to a piece of music in a long time.

Johann's ghost reply Replies: 1 || 2019-08-02 14:31:50
Hey guys,

Those vocals you've never heard before? Have a listen to Johannson's Arrival, co-incidentally from the director of Dune.

Hybrid Soldier2019-08-02 14:44:44
Who said they've never heard that before ?

BC reply Replies: 5 || 2019-08-01 23:45:28
Anyone have any personal favorites yet?

Der Profl2019-08-01 23:54:24
I'm just listening and it switched to X-X right now. But X-HZT was pretty nice and a little bit weird. The right amount of weird for me. And X-X starts like my favorite song Gap from the original soundtrack. So it will be one of my favorites as well.

Der Profl2019-08-02 00:28:55
Update: I love all songs. Every single one of them until X-MT. But I guess I will love the last ones as well.

Mike2019-08-02 02:31:16
To be honest, I'm impressed by all of them.

Der Profl2019-08-02 11:17:44
Mike, I have to say that I am as well. That album is so great and well made. I like every one of the tracks. But my absolute favorites would be X-HZT, X-X and X-MT, if I have to choose some.

Der Profl2019-08-02 11:19:30
EDIT: I mean X-MP instead of X-MT. But X-MT is also great.

Mpolonest123 reply Replies: 0 || 2019-08-02 07:06:00
^^ Have to agree. I still think the finished score is great, but this fleshes out each idea so well without having to be constrained to the film edit. And this is probably Hans at his most experimental.

As for Magneto’s theme, I fully agree with you BC. It’s so underused in the film. Interestingly enough, the suite version has an almost “punk western” vibe to it, something which doesn’t come across in the film.

Pages << 1 2 >>© 2001-2018 OST 
Xperiments From Dark Phoenix soundtrack - Hans Zimmer 2019