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I'm sure the academy would love to know that Hans souldn't been nominated.    The Dunkirk Score is a masterpiece, but as I said if you have a problem with the score that's because you have a problem with the movie itself.Dude Dunkirk soundtrack wasn't even good, i love Hans but it should not of gotten nominated. Desplats music is clearly superior to Hans. well at least in these particular movies. I think honestly hans should of won for Interstellar when they announced desplat who had two nominations.... i was like what? but that's just my opinion.Dude Dunkirk soundtrack wasn't even good, i love Hans but it should not of gotten nominated. Desplats music is clearly superior to Hans. well at least in these particular movies. I think honestly hans should of won for Interstellar when they announced desplat who had two nominations.... i was like what? but that's just my opinion.Well john powell left RCP as well and he still has a great career, i think Klaus just has a shitty agent, it makes me so angry cause he's so talented and I want to hear more from him but he doesn't get great movies. Or even big summer movies, I don't know about his career going downhill though.LOL. You clearly have no idea how Hans always worked like this, collaborating with people. There are no ghostwriters when everybody is credited.
Track times<br><br>1. Return to Croft Manor - Junkie XL (8.13)<br>2. Seeking Endurance - Junkie XL (1.09)<br>3. The Bag - Junkie XL (1.49)<br>4. Path of Paternal Secrets - Junkie XL (3.39)<br>5. The Devil's Sea - Junkie XL (4.11)<br>6. Let Yamatai Have Her - Junkie XL (13.23)<br>7. Figure in the Night - Junkie XL (4.15)<br>8. Remember This - Junkie XL (3.26)<br>9. Never Give Up - Junkie XL (5.36)<br>10. Karakuri Wall - Junkie XL (4.38)<br>11. What Lies Underneath Yamatai - Junkie XL (8.35)<br>12. There's No Time - Junkie XL (4.01)<br>13. Becoming the Tomb Raider - Junkie XL (7.15)<br>14. The Croft Legacy - Junkie XL (2)again alexander desplat beats hans zimmer and won bafta !! why ?! maybe it is time for hans to write his scores all by himself not his all by his ghostwriters , and come up with a whole new idea like his old scores for example lion king that even beat 2 great works of thomas newman in oscar !!! <br>good luckhybrid, what do you mean with downhill? to compose music for smaller movies doesn't mean you don't earn money or your career is ruined. i really don't see the problem with his career.Then explain to me why his career went downhill after he left Remote in 2006 ?Johánnsson was hired for Christopher Robin little time before his death. Now will be another composer.
Johánnsson was hired for Christopher Robin little time before his death. Now will be another composer.Well, Klaus did compose a lot of the essential music from 1997 to 2005. As we know, Hans says - Hans does. Why do we trust this 'Hybrid Soldier', who calls them themselves that anyway? Tell us more mr rcp. How are you top of the line when you are French. Who is Hybrid - must be a reject from HZ line....<br><br>he is doing Christopher Robin (2018, its disney<br>that is a big movie is it notwhen i take a look on IMDB, klaus is still busy with filmmusic. just because he doesn't score hollywood blockbusters anymore and is not busy as lorne balfe, doesn't mean that he destroyed his career.From the way you talk it even seems like the man turned into a criminal. lol
Download button doesn't, hasn't ever and won't ever work. It came along with the player design but they disabled the download functionality.Did a bunch of comments get deleted? I posted the other day about the "Ghost In The Shell - Suite" download button not working. Still isnt't :(@Hybrid,<br>Speaking of klaus, do you know how the other rcp members feel about him? Do they still keep in touch or is he persona non grata?<br>I know that geoff zanelli is completely pissed (check his website, for all the projects he names his colleagues like steve jablonsky or else, and then for the klaus projects he just puts « the composer »), and you told that hans avoids him as much as he can ( which I can see when the pirates topic is brought during interviews post 2006...no mention of klaus)<br>Hell even michael levine in his post about « why hans gets the job » name-dropped EVERYONE at rcp but klaus <br>So i was wondering how people act towards jim nowadays, especially ramin djawadi who is really popular now and started as his assistant!Meh. As long as Steve is still there trying to salvage the movies with his music I'll be fine.Not so fast!<br><br>h t t p s ://screenrant.com/transformers-movie-universe-reboot-cancell ed-rumors-denied/amp/
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Hans ZimmerKlaus BadeltHeitor PereiraMartin Tillman
ComposerCo-ComposerAdditional MusicAdditional Music
The Pledge
Label: Milan Records
Length: 40'18
HZimmer.com rating:        4/5
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 (4470 votes)
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  1. The Angler (5:24)
  2. Boogie Man (1:28)
  3. Jerry & Lori (1:01)
  4. Church Nightmare (2:19)
  5. Revisit Crime Scene (1:16)
  6. My Coat (2:47)
  7. The Wizard (4:05)
  8. Ex Cop (1:50)
  9. He'd Rather Not (2:00)
  10. Land Of Christmas (1:22)
  11. Reading Stories (3:03)
  12. Turkeys (1:36)
  13. The Pledge (1:19)
  14. The Swing (2:20)
  15. Ginny's Picture (2:31)
  16. You're Crazy (5:57)
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Barbara reply Replies: 0 || 2012-03-10 10:17:44
This is a superb DVD! For a ivnlioist, Frank Peter Zimmermann represents the highest level of musicianship. The Documentary is not just about Bach, in fact it has lots of other footage, including his son and his own performance of the Sibelius Violin Concerto with the Danish Radio Symphony (this is excellent). He plays like Kogan, not surprisingly and his technique is as flawless as any ivnlioist I have seen or heard.

Anonymous reply Replies: 0 || 2004-12-01 00:00:00
Hans Zimmer and Klaus Badelt also worked together on various works including the GLADIATOR and INVINCIBLE soundtracks, but don't expect to listen to anything similar, in the score for THE PLEDGE.

Unlike the last few Zimmer scores, which were vast, dramatic, intense and epic, THE PLEDGE, is built on a more down-beat atmosphere (and that’s of course due to the nature of the movie) The score opens with a beautiful and haunting melody sang by a woman and repeated by a violin.
Track02 contains several percussion beats and creates a scary atmosphere. Parts like this can be found a lot in the score -- where percussion, electronic sounds and effects, scary voices, piano, violin, the female voice and mandolin create a creepy atmosphere, like track04, track05, track09, track12, track13, track15.
In track03, the main theme makes its first appearance. It consists of guitar, mandolin, violin and piano and can be heard several times in the film, sometimes in different versions - the main instrument could be piano in one, violin or guitar in other (track07, track08 (more upbeat and fast, played by beautiful guitar), track11, track15).
The score also has a piano theme that can be firstly heard in track06 and repeats itself several times during the film (like in track10). It has a sad and lovely tune, a real treat for the ears!
In track 12 we have the beautiful female voice again in another haunting melody that features great atmosphere, feeling and depth.
Track14 is a combination of all the themes and great parts of the entire score. It consists of the female voice, vastly beautiful and sad piano melodies and the violin for escort-- probably the best track in this album and some of Zimmer's greatest works up-to-date.
Track16, which closes the film, is also a combination of several themes and parts of the film. It starts with the piano theme (heard in track06 and track10) and goes on with haunting and scary electronic effects and sounds created by percussion, guitar, mandolin and creepy violin. Then the piano theme is played by violin this time and makes a great difference. The track, (at about 3 minutes of play), gets loud, creepy and scary-- then calms down and ends with a more intense variation of track 14, played by violin (as the main instrument) piano, mandolin, guitars and loud percussion, providing the score (and film) with a more up-beat ending.

The entire score is a great work, which has lovely melodies and themes for easy listening. All these create a sad and sometimes creepy atmosphere that fits perfect in the theme and subject of the film. THE PLEDGE is not your typical Hans Zimmer or Klaus Badelt score for sure, with the great choir themes, loud brass and dramatic, epic atmosphere and feeling. It's just lovely, sad and hauntingly beautiful - quality music for all the music and movie lovers, and -of course- Zimmer followers.

Demetris Christodoulides

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The Pledge soundtrack - Hans Zimmer 2001