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Most of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Thanks MIKE, Any ideas of how can I Google it?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
Does anyone know where you can get a digital version of the Japanese versions 2 bonus tracks?Comparing it to YFM’s sfx edit this is what I’ve got;<br><br>“The Mole” seems to be an alternate of the opening sequence. The first minute or so is used, while the rest isn’t. “We Need Our Army Back/Regimental Brothers” are both made up of several cues from different points in the film. <br>“Home” is completely different in the film, which makes me think it may have been recorded specifically for the album. Similar situation with “Oil”. <br>“Supermarine” is definitely a suite. The rest is chronological.<br><br>Interesting thing to note, it seems like a lot of the tempo changes/ticking effects/bass overlays were removed from the album release, making almost every track sound different from the actual film versions. The music in context has a constant pulse going, especially in the way cues segue into each other and change tempo.It's not really possible to chronologically order the album because the album doesn't use the same tracks as the movie. Plus, the album is more or less chronological anyway, given the areas where they are the same.<br>With the complete cue sheet out now. Does anyone know what the chronological order of the album would be?Movie credits:<br><br>Music Composed and Mixed by:<br>TOM HOLKENBORG<br><br>Additional Music:<br>ANTONIO DI IORIO<br><br>Music Supervisor:<br>DAVE JORDAN<br><br>Music Editor:<br>PETER MYLES<br><br>Score Conducted by:<br>CONRAD POPE<br><br>Score Orchestrated by:<br>EDWARD TRYBEK, HENRI WILKINSON, JONATHAN BEARD, TOM HOLKENBORG<br>Score Copied by:<br>EDWARD TRYBEK, HENRI WILKINSON<br><br>Score Contracted by:<br>PETER ROTTER<br><br>Choir Contracted by:<br>JASPER RANDALL<br><br>Score Recorded by:<br>ALAN MEYERSON, BRAD HAEHNEL<br><br>Digital Recording by:<br>KEVIN GLOBERMAN<br><br>Technical Score Engineers:<br>ALEX RUGER, EMILY RICE,<br><br>Synth Programming by:<br>JACOPO TRIFONE, JONAS FRIEDMAN, MAX KARMAZYN<br><br>Score Recorded at:<br>NEWMAN RECORDING STAGE<br><br>Music Production Services by:<br>MICHIEL GROENEVELD<br><br>Score Mixed at:<br>COMPUTER HELL CABIN<br><br>Newman Stage Engineer:<br>MARC GEBAUER<br><br>Newman Recordist:<br>TIM LAUBER<br><br>Newman Stage Managers:<br>DAMON TEDESCO, PETER NELSON
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Additional Music
Hans ZimmerJohn Van TongerenJay RifkinPete Haycock
ComposerAdditional MusicScore RecordistMusician
Thelma & Louise (Complete Score)
Label: Unofficial Release
Length: 40'50
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 (4714 votes)
  1. Going To Mexico (2:10)
  2. J.D. Appears (J.D.'s Blues) (3:23)
  3. Butt Talk (1:12)
  4. Happy Birthday‚ Lady (0:44)
  5. Picking Up J.D. (0:40)
  6. Cops (0:57)
  7. Jimmy's Money (0:30)
  8. The F.B.I (0:57)
  9. The Robbery (Drive‚ Drive !) (2:45)
  10. Homecoming/Railway Station (3:38)
  11. Loading Guns (1:32)
  12. Cattle Stop (2:05)
  13. Wide Awake (3:01)
  14. Bitches From Hell (0:45)
  15. The Chase / Grand Canyon (7:54)
  16. The Decision - End Credits (3:58)
  17. Thelma & Louise (ThunderBird) (4:05)
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Bayhem reply Replies: 3 || 2018-08-25 15:47:36
What with all the noise around Hans scoring the "female empowering" Wonder Woman 2, let me just remind the skeptical folks that it was Hans who successfully scored the ultimate "female empowerment" movie - 'Thelma & Louise'.

I still listen to that score. "The Decision" alone is a masterpiece, as far as I'm concerned. The ending wouldn't have been as powerful and memorable if it wasn't for that track. It's so refreshing listening to that score now. It brings you back to the time when scores were more than just crazy, weird sound design.....


mpolonest1232018-08-25 19:40:27
^ This.
Aside from being an incredible film that gets overlooked, I think Zimmer did an impeccable job of crafting a score that tackles the depressing story without getting heavy handed and actually fun at points. Very similar to Rain Man in that regard. It’s a bit repetitive but it does suit the film great.


Scorefan2018-08-26 03:27:37
And mention too, all the women who participate in many Zimmer's scores, Shirley Walker, Anne Marie Simpson, Tina Guo,


Josiah2018-08-26 08:52:53
*sigh* why does it matter to be honest? A female lead movie needs a female composer? Hans Zimmer of course in my opinion is the best option for any movie regardless of any situation. Hans Zimmer was the first person who actually got me interested in movie soundtracks but the way he works and operates works for any type of movies. The last samurai, Gladiator,Super hero movies war movies etc etc. He has done 190+ movies and i love pretty much all of them. He truly has an idea of the music to picture perfect.

Dakota reply Replies: 0 || 2010-12-28 00:00:00
MGM announced the 20th Anniversary Blu-ray of Thelma & Louise last week, so maybe there will be an official 20th anniversary soundtrack? And by soundtrack I think everyone knows I mean Hans' beautiful score. Who knows......if not, maybe someone will rip it all from the Blu-ray.

Anonymous reply Replies: 0 || 2008-04-03 00:00:00
Hans Zimmer Proves That He Can Compose Any Movie

That's Why Mr. Zimmer Is The Best Composer EVER

Thomas reply Replies: 0 || 2006-03-25 00:00:00
Hello Hans &-- co.

regarding soundpiece for "--Thelma &-- Louise"--

I believde that your sound piece "--Bitches from Hell"-- is from the scene where Thelma and Louise shoot up the the gas truck and it explodes, followed up by some really sweet and great fast western country slide/blues guitar. Im not sure if that is "--Bitches fromm hell"--, but is there any way i can download this piece of music?..it is really great and for me, the definition of what modern fast country guitar is all about. Thanks in advance...Thomas

Zedman reply Replies: 0 || 2006-02-13 00:00:00
un score qui continue dans la lignée de ses scores prolifiques et riches en coup d'eclat artistique comme pour "--Rain Man"--, "--Black Rain"--, "--Bird On A Wire"--, "--Days Of Thunder"-- ou encore "--Backdraft"--...
Hans Zimmer continue sur sa lancée et prouve sa maturité en n'utilisant en plus du synthetsiseus habituels, guitare electrique, choeurs de femmes...
La b.o. ne deroge pas a la regle, jouant sur ses bases instrumentales tout en les rendant plus interssant et reelements plus matures que ces precedentes oeuvres.
comme toujours, Thelma &-- Louise a pour particularite d'avoir plusieurs motifs (ou meme de themes) qui se croisent, le tout premier théme entendu est un motif mis en valeur par la guitare electrique et le synthetiseurs utilisé dans "--Going To Mexico"-- ce théme est attribué au voyage des deux femmes, victime de leur innocence et de leur "--train-train"-- quotidien.
Le second théme est celui des policiers, un théme fort qu'on entend brievement dans "--Cops"--, "--The F.B.I."-- et "--The Chase/Grand Canyon"--
L'autre théme est surement l'un de mes preferes, entendus dans "--Cattle Stop"--, "--Wide Awake"-- et "--Thunderbird"--.
Mais le théme a proprement dit memorable est celui entendu dans "--Cattle Stop"--, "--Wide Awake"--, "--The Decision/End Credits"-- et "--Thunderbird"--, un théme d'une trés grande beaute qu'on entend dans toute sa splendeur dans l'excellent "--The Decision/End Credits"--, grace a ce théme Zimmer a prouvé sa grande maturite et a prouver au systeme hollywoodien que ce n'etait surement pas un compositeur a sous-estimé.

Herman reply Replies: 0 || 2005-04-28 00:00:00
Un excellent score de Hans Zimmer qui des Going To Mexico nous prouve qu'il est l'un des meilleurs compositeur mais on retiendra surtout le grand The Decision/End Titles qui conclue brillament le film de Ridley Scott nous menant ainsi dans le grand saut de Thelma &-- Louise

Jayrip reply Replies: 0 || 2005-04-23 00:00:00
Such a brilliant score! I mainly bought it for "--The Decision/End Credits"-- 'coz it makes me shiver every time I hear that fantastic climax and the female singing coming in. Hans has always said he's not released it because there's not much score except for the same repetitive theme, but that's EXACTLY what I wanted!! I will never understand why this wasn't commercially released coz it really has to be one of my most listened-to CDs. I just love the melancholic twangy guitar tune that really conveys the strain and strength of the two characters. I'd never heard the music for "--Regarding Henry"-- before but it sums up the reason I love Hans Zimmer's music!

I did, however, have the hardest time tracking it down, so for anyone who wants to know, try placing an ad in the forum for it at

www.soundtrackcollector.com

The people there are really helpful. The other places I know that still have it (at this moment in time) are Hurricane Records, a European site:

http://213.239.206.44/hurricane/product_info.php?products_id=809262

I nearly vomited when I saw the price - 79.99Eur, which is a bit pricey to put it VERY mildly. Another very reliable collector is

http://www.majestyx.com/discsale.html

The price is $35 which isn't bad I guess. The guy is very good at transactions, and I've been told you can't get better service from him!

Anyway, if you're a fan of the movie, or more importantly, a fan of the simply gorgeous music of it, then it's an absolute must have. Worth every single penny of its pricing. You may have to loads for it, but trust me it'll be worth it, if just for "--The Decision/End Credits"--. Good luck!

jovl77 reply Replies: 0 || 2005-01-07 00:00:00
Excelent Score from both movies. I heard the score from Regarding Henry never before, the score from Thelma &-- Louise I know from the movie, but this CD is a long waiting for the score from T&--L, now I have it and it is absolutly fantastic sounding. I don't know why this score wasn't released yet.

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Thelma & Louise (Complete Score) soundtrack - Hans Zimmer 1991