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I'm so mad at DC right now I'd rather promote Marvel !! lol<br><br><br>Well jokes aside I add cause Andrew worked on it. And btw he posted another 5 min cue on his Soundcloud, dunno if it's unreleased, there'll better specialists of that score than me !Yeah, I happen to have seen the film and the score is not really "coherent", it's more like many different cues put together...Okay, thanks for clearing that up. The Tracks released were kind of interesting, a kind of mix of soundsAnyone else think Hans knew about all the studio meddling during pre-production, the rewrites etc and walked away ? I mean, when I heard Elfman's score I thought it was generic and wouldn't fit the movie. Then I watched the movie and it fits well. The movie is just as bland as the music in the background.I don't have to ask, that movie was a failure that barely got distributed... No one had any interest in releasing this score...
Hybrid, did you ever ask Hans why this score wasn't released?After watching the movie, I just have to say it was okay. It had some great moments but for me it had also many problems. And one of them was the music. For most of the part it wasn't even noticeable and when it was, it was like random background music with no really emotion or heart.<br><br>BvS and MoS movies can be criticized for some things but the score is not one of them. The movie gave the movie a strong and powerful side, as well as a heart and emotion into it. In this movie there were so many moments that needed different score. <br>***SPOILERS***<br>Superman's resurrection needed the MoS in full epic form. Wonder Woman at the bank at the beggining needed her theme with the electric cello in full power.<br>The Batman theme at the beginning when he is after that Parademon.<br>We should have a really memorable theme for the whole Justice League as well as for each individual member.<br>The scenes with Clark and Lois at the house in Kansas and when his mother sees him, this needed the piano theme from This Is Clark kent or something like that.<br>And that final moments with Superman opening his shirt showing the Superman logo and then flying to the sky, we needed something like "What Are You Going To Do When You're Not Saving The World?" or "Flight" and not that unmemorable music we got.<br><br>I really hope that the petition of the Extended Cut of the movie made by Zack with Junkie's music gets to be released someday, but for now, I'm disappointed.Sounds fun!!<br>Thanks for the linkAny ideas on the Chronological Order of the Tracks?<br>I made a start here...<br><br><br>Logos<br>Batman On The Roof<br>Everybody Knows - Titles<br>Wonder Woman Rescue<br><br>...<br>Icky Thump<br>Aquaman In Atlantis<br>...<br>1m1a Krypton (from Man Of Steel)<br>Spark Of The Flash<br>Friends And Foes<br>...<br>Come Together - Credits<br>Anti-Hero Theme - CreditsNo, they are the full score cues- as presented in the film. The presentation of the final three tracks on the first disc are edited down for timing.
* I posted this at filmtracks and wanted to share it here as well. <br><br>Danny Elfman's comments are very disrespectful and so disappointing for a creative person to hear, especially for composers. Nostalgia is a big problem with Hollywood and it's a simple Jedi mind trick. It's slightly different, but the same meal over and over with different seasoning. Imagine if James Horner didn't get to write the score he wanted for Spider-Man? Or Zimmer had to use Elfmans Batman theme for the DK triliolgy or BvS? Or Shirley Walkers incredible Batman theme for Batman: Mask of the Phantasm. Or Giacchino just used the original star trek theme, or the original Star Wars themes for Rogue One and created nothing new at all? How boring and uninspiring for the composers not being able to challenge themselves to create new original music.<br><br>Whether you like these scores or not isn't important, the pursuit to create something new is what drives a creative person and gives us freedom in choosing something to enjoy and not enjoy. I love the original Batman theme by Elfman but I love it in the Burton films. I love Zimmer scores for both the DK trilogy and BvS. I am happy I can enjoy both types of scores and films but there are those who don't and that's a great thing because that means we are not all the same and that brings variety of opinion and taste which creates real conversation and most importantly gives an identity to a project.<br><br>It's easy to go back to original ideas, but I respect the creators who actually take the risk and want to try and do something new. If Danny Elfman stands by his words he should have just used the original Batman theme from the Tv Show and film or the original Spider-Man theme. Oops he didn't and we got a whole new Batman theme and Spider-man theme which most of us love. Thank god he didn't stick to using the original themes. The Batman reboots and superman and Spider-man reboots are completely different takes on the characters and that's why they deserve their own new themes and soundscapes. The only time I think an original theme from a film should be used in a new film with the same characters is if it's actually a sequel or prequel connected to that actual original film. Re-boots should always have new original music.<br><br>In the end the comments from Elfman are simply stupid and uninspiring and it's definitely a hidden ego coming through I never new he had which is a shame. I remember what Zimmer said about Danny Elfman's Batman theme being a bit jolly, but that's not attacking Elfman at all, it's how he felt and heard the music and felt that that style wouldn't fit in the new batman films ect.. I have always found the original Batman theme a bit on the jolly side too and I love it because it nails Burton's take on the character and world. That theme is for Keaton's Batman, no one else's.<br><br>One final point, if we keep wanting to just revisit the past and hear and see the same thing over and over and not be challenged with new ideas, what a damn uninspiring and boring world of creativity we will live in.<br><br>All the best to you all!<br><br>so...based on what junkie says here, Elfman is basically just rehashing old shit, as well as other people's old shit....Unless you want to say he's taking his Batman theme into a whole different direction that he didn't really have a desire to do before...until now....<br><br>In that case, "whatever" is all I have to say.Nice stuff! I still can't believe this score hasn't gotten a release.That's unfortunate. With this score, I think it's obvious that the majority is Jablonsky, as it has a ton of elements from scores he's composed exclusively, but it would still be nice to know who did what, especially with the first and second films. Not sure why there's rarely any proper additional music credits for a lot of the RCP guys, especially considering Zimmer's credits are almost always complete. <br><br>However that cuesheet of the extended score is very interesting. Hopefully if it leaks, all those cues remain there.Damn that sounds different from Elfman's comments
The funny thing is an interview he gave 1 months before being replaced... Saying pretty much the opposite of Elfman !<br><br>"It’s a massive undertaking. And I can’t say anything about Justice League specifically, but I’ll tell you this, and this was exactly the same experience that Hans and I had when we did work together on Man of Steel and Batman v Superman: It’s like when you see a movie like that, these iconic superhero movies, some of them have a 60 to 80 year legacy, multiple composers had a go at their themes, multiple filmmakers did their version of these characters—it’s very scary. You watch a movie and it’s like, “Holy shit, now I have to come up with something.” You’ve got sweaty hands and you’re nervous, and you talk about it over and over again—and I have exactly that relationship with Zack Snyder—and then Zack said, ”There’s only one thing you can do, and that is embrace this character as if it’s your own, keep it close to your musical soul, and just do whatever you feel is the right thing to do for this character.” That’s the only thing we can do. That’s what all these great directors did back in the day, and that’s what all these great composers did back in the day. It makes no sense for me to do extensive quoting of Hans’ score of the really amazing Batmans. It makes no sense for me to quote Superman from John Williams. Because all fantastic composers, they all did the same thing, they did something that was close to their heart, and I have to do exactly the same thing on this movie. You know this is Movie Number 4 that I’m doing with Zack, so you build a friendship and it’s built on trust and loyalty. You know how to challenge each other, you know what to expect on the other side, and it’s this really open, amazing dialogue about where to take this franchise."I can confirm that he had already worked on it quite a bit, because he said so in one of his Studio Time episodes.I wouldn’t be surprised if he wrote another long sketchbook for it...I honestly have no idea... But I can't believe back in June when he left he hadn't done a bunch of the score already...The thing is with Jablonsky scores composers rarely get cuesheet credits, so you can't really draw conclusions out of it. Here's a small part of the cuesheet :<br><br>QUINTESSA PT 1<br>QUINTESSA PT 2<br>QUINTESSA PT 3 OPTIMUS REDEMPTION<br>KNIGHTED<br>WE HAVE TO GO ZERO GRAVITY<br><br>OPENING BATTLE<br>MERLIN<br>MERLIN GETS THE STAFF - BATTLE WON<br>TROUBLED TIMES<br>CADE DRIVING - AMULET<br>WE HUNT - DECEPTICONS HUNT<br>KEEP A SECRET - VIV ARRIVES CASTLE FOLGEN<br>WITWICCANS<br>ROUNDTABLE ORGAN SOURCE<br>COGMAN CHOIR<br>STAFF<br>BETTER GET CRACKING<br>PLANETARY VAMPIRISM<br>TOO OLD<br>SUBMARINE<br>TWO MOONS<br>MERLIN'S TOMB<br>SPACE STATION<br>CLAIM THE STAFF<br>SHIP RISE<br>YOUR VOICE<br>SOLDIERS TAKE POSITION - BURTON DIES<br>FALL AND GRAB<br>ENDING
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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 (4054 votes)
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  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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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