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Bay should work with Jerry Bruckheimer again. Except Bad Boys 2 (which was way too long) they made really entertaining films together.@Mark<br>You composed this?  It's pretty damn solid work, man.<br><br>Not sure if I hear a whole lot of 90's Zimmer in there, at least not until the last couple minutes.  If anything it gives me modern Lorne Balfe vibes.  But it's not a bad execution of that sound.  Far from it.<br><br>Could just be me.  I'm curious how the more attuned ears around here feel about it.Not bothering with any more of your bullshit.  This already gets down to the crux of the issue.<br><br>"Look at your first comment here, pal. Look at it good! Snarky, dismissive, almost trollish, and with a clear intention to provoke people."<br><br>You chose to take a comment whose only direct provocation was at Bay himself, as a direct insult to YOU.<br><br>Despite the fact that Bay and his work were the only things mentioned, despite the fact that those were the only things being dissed, you chose to take it as an attack against YOU.  <br><br>And when I elaborated on my full opinion, and even capped it off with a "you do you" olive branch, you chose to take it as me "unleashing my true self."<br><br>That speaks volumes about your mindset.<br><br>Y'know, we could keep talking and going in circles like this.  <br><br>We could talk about how you keep staking the worth of Bay as filmmaker on how much money he's made (and how much less money action films I considered better made) and then turning around and claiming "B-b-but I didn't say box office was a sign of quality!"  <br><br>We could talk about how 300 wasn't trying to start a franchise and how you keep pulling that uncited lie out of your ass to write off its merits under the very faint guise of "objectivity."<br><br>But that'd all be beside the point.<br><br>That point being, how people can only shit on a director according to your arbitrary standards, and how your inherent obsession with "disproving" them or "giving them what they deserve" or whatever self-serious crap you've concocted inside your head is dogmatic fanboyism at BEST.<br><br>Nice day indeed.LOL @ 1/5 star rating, before release.<br><br>Good job, Internet.You should credit Trapanese wherever there is an orchestral prescence in the cues as he handled all the arranging and orchestration.
I know what you mean. When I listen to this, I basically hear a Hans & Lorne score with some DP stylings.<br><br>It's fairly frustrating for me, as I'm big on proper crediting; I neither want to give anyone undue credit, nor fail to give credit. With this one, honestly, my only strong intuition is that DP did almost nothing.There's not much besides the general consensus that Joseph Trapanese did a lot of the heavy lifting with DP's ideas (though they still contributed a fair bit). Toby Chu doing "Adagio For TRON" is about it, unless you do count the cues that were once listed on JT's website.<br><br>Quite frankly, I'm still having a hard time believing the duo stayed on a project that apparently was primarily managed by someone else. These are guys that have always stressed to have full creative control on their albums and ventures, so to hear that they weren't really driving the wheel here sounds off to me. It certainly would explain why they haven't done a score since, but hey. I probably won't ever know the full story.Good question. I honestly get the sense this largely scored to picture, given how varied the cues are, plus the fact Hans did the Day of the Dead and Tuesday cues alone.<br><br>The Batman Suite itself almost sounds like it was done after the score itself was composed, but I could definitely be wrong about that.<br><br>By the way, pretty fucking cool Hans did all (six?) of the themes on this. IMO that goes a long way to show he can still do really solid thematic work when he wants to.So, any confirmation of who actually did what on this score?<br><br>It's one of my favorite RCP-styled scores ever, but I have to admit, it sounds far more Hans & Lorne than Daft Punk. I mean, several of the cues are almost direct copies of Inception cues, albeit more heavily electronic and very differently orchestrated.Shaken.... Not Stirred ;)
California here. Will travel to Europe to see you. No need to come to USA. We will come to you. Best regards, GarySingle from Ben's score for The Invisible Man was released and I'm pleasantly surprised by it. https://youtu.be/f-aH9kDKVBYI’ve been coming back to “But I Will Always Be Faster” and “Sonic The Hedgehog” repeatedly, I’m genuinely impressed by how strong the writing is in both cues. Honestly it doesn’t sound like Holkenborg (mixing aside).Hi there,<br><br>i have seen that the Score (Soundtrack) will be released on 27th of march. But i would like to know somthing maybe any of you knows:<br><br>Will the Song itself be released physical as a Single CD? Or will it be available just for download?<br>Because if there will be no CD, it would be the first James Bond Song which is not released as a Single CD.Rejected scores have gotten official releases before, such as Timeline by Jerry Goldsmith. So even if the Snyder Cut never gets released, I'd hope Junkie could potentially still work out a deal to get his original score out there. Keeping my fingers crossed.
No Time to Die coming by Decca 27th March<br><br>https:// www.udiscovermusic.com/news/hans-zimmer-no- time-to-die-soundtrack/?fbclid=IwAR1UtjXatRpCQyXWJ9f7YYfT9Eb k5jy4d7XnlS6XzX4vTiOTxFfvQ0PWgaIIt all depends on whether WB releases the Snyder Cut OR no I don't even want to think about the other case & with the way things are going now it looks like we'll definitely get Zack Snyder's Justice League if not today then tomorrow and only then your question will have any meaning.<br>TL;DR the score will only happen after WB #ReleaseTheSnyderCutHybrid, Oscar Senen and Joan Martorell orchestrate the score ?Budapest, please :(Same question here, is concert in Poland even concidered to occur?
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Additional Music - Orchestrator
John PowellTJ LindgrenJohn Ashton ThomasGermaine Franco
ComposerAdditional MusicAdditional MusicScore Coordinator
Robots
Label: Varese Sarabande
Length: 43'45
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 (4167 votes)
  1. Robots Overture (4:02)
  2. Rivet Town Parade (0:54)
  3. Bigweld TV - Creating Wonderbot (2:45)
  4. Wonderbot Wash (2:08)
  5. Train Station (3:50)
  6. Crosstown Express (1:19)
  7. Wild Ride (1:36)
  8. Madam Gasket (1:00)
  9. Chop Shop (1:50)
  10. Meet The Rusties (2:07)
  11. Bigweld Workshop (3:13)
  12. Phone Booth (1:29)
  13. Gathering Forces (3:28)
  14. Escape (4:42)
  15. Deciding To Fight Back (1:13)
  16. Attack Of The Sweepers (1:27)
  17. Butt Whoopin' (3:42)
  18. Homecoming (1:33)
  19. Dad's Dream (1:24)
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sofia reply Replies: 0 || 2007-03-30 00:00:00
I wont it I wont if I wont it!!!!!!!

Anonymous reply Replies: 0 || 2007-03-08 00:00:00
good a very good score. and 1000 times better as harry gregson-williams

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Hybrid Soldier reply Replies: 0 || 2006-11-29 00:00:00
12 - Phone Booth and 13 - Gathering Forces are amazing tracks...

Maybe it is the best animated film score Powell wrote !

Ant reply Replies: 0 || 2006-08-13 00:00:00
Good idea bringing the Blue Man Group into the Mix Powell. That worked out really well, but I can't help feeling they died down during the second half of the CD.

Aah well, Wild Ride is the best!

Hans Zimmer reply Replies: 0 || 2005-04-28 00:00:00
Congratulations John!

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Robots soundtrack - John Powell 2005