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I agree that Elfman's theme fits into Nolan's films as long as they are adapted to them. However, I think the way things have gone was not bad. TDK trilogy was marked as a project fruit of Nolan's unique vision. Although the themes do not respect the orchestral tradition are more memorable than those composed for more than half of the films of heroes of the last 25 years.Zimmer's entry into the genre can be interpreted as a breath of fresh air in a saturated marketplace at the time. But I agree that the lack of originality these days falls on Zimmer and his company and that the goal of it goes far beyond bringing talents to light.Now we need something new, again.@Hybrid any news on Season 2 soundtrack release?Of cause Balfe worked on it !!! His whole team are credited !!!!!!!Honestly, the purpose of RCP is essentially to take Zimmer's style and make it widespread for use...WB not using ANY RCP to score this seems to have been deliberate, as there's literally no reason it couldn't be done.^ hahaha :D<br><br>I think you're forgetting that Balfe also ghostwrote The Lord of the Rings?
They're starting to send screeners. Finger crossed for the FYC :DThe score reflects the situation of DC movies very well. If Zimmer, like Snyder, continued, the result may not please everyone. A lot of people were unhappy with Snyder's work in the genre, just as many fans of soundtrack were with Zimmer's contributions that never followed the path taken by all the other composers who came before him.<br><br>The two left (regardless of the reason that led them to do this).<br><br>When Zimmer left everyone knew that XL would not hold the pressure or that the result would not be satisfactory for most.<br><br>When Elfman and Whedon were announced we all knew that they were hired to go against everything DC has done before to try to reach the first film of the franchise to reach 1 billion. Even if they were to follow Marvel's script and drop their originality.<br><br>But the hiring of Elfman and Whedon shows that the studio was long lost. Snyder succumbed to BvS. The only salvation for the DCEU are the solo films like Wonder Woman, the next Batman, Aquaman ...and freedom. Freedom for the directors, composers... Warner has always had this advantage over Marvel.@Edmund <br>Given the chance I think Junkie probably could deliver a pretty fun score that stayed thematically consistent with the current universe. It all depends on what the studio/director wants out of the music. The biggest disappointment to me is that this was a huge missed opportunity to do a heroic take on Zimmerís Superman theme, something we havenít heard since MoS. Hell, even the trailers did that.... -_-rumor has it Lorne Balfe did this score<br><br>I guess if we do not get any credits then that proves it<br>======================================<br><br>Oh, absolutely! I'm sure we will soon find out that Balfe also scored Star Wars and Titanic. And Harry Potter. And Indiana Jones.Edmund, I somewhat agree - I've seen very little from Junkie to make me think this would have been a groundbreaking, wonderful score. However, maybe it's the Zimmer fan in me, but I would have loved to hear "stock, barely-altered reprises of Zimmer's themes all over the place" in this score. So many scenes begged for just that. Compositionally it doesn't make for an interesting soundtrack or film score, I agree, but I would be willing to sacrifice that for thematic continuity.
I certainly understand the criticisms leveled at Elfman's JL score, but I'm not at all convinced Junkie would have been a better option. I've never been too convinced by him anyway (Mad Max was a situation where his sound happened to be a good fit, but even then I think a better composer could have made much more out of the same ingredients). And since anything worthwhile in the previous two (and yeah, I'm aware I like MoS and BvS waaaaaaaay less than the average reader of this site) ended up being by Hans anyway, I really doubt Junkie flying solo would have been up to much. My guess is he would have pulled out stock, barely-altered reprises of Zimmer's themes all over the place without adding much new material on his own, which would have satisfied the DC fans more than what Elfman did, sure, but would have been a lot less interesting as a score album. I mean, say what you want about the questionable thematic decisions Elfman made, the two gigantic full-length action cues are pretty solid in and of themselves. I'll take that over Junkie letting the drums pound for eleven minutes straight, any day of the week.The studio is the music owner now.There you go. So we probably will never get to hear what Tom planned/did for this movie. I really believe that it would've been great compared to the generic score we got. <br>Only two tracks stood out to me and only one was an actual cue from the movie.Gabriel Yared leaked his Troy back in 2004 but I think he got in quite a lot of trouble for that. There's a reason he hasn't done too many high profile films since then, I think. A few rejecteds have slipped out over the years but it's pretty unheard of for the composer himself to be the one to leak it I think, that would be career suicide if they got caught. Usually they come out the same way complete scores do, some anonymous person working on the scoring team probably did it.and Zimmer criticized Elfman...back and forth, etc. So what? The movie is lame, the score is about as lame as Bat V Sup
@JBSO99 you're right. It's so big and widely spread.<br><br>And you're right about me forgetting those score. I just picked these three because Elfman critized Zimmer@Iamtommie  You forgot the theme by Elliot Goldenthal for Batman Forever and Batman & Robin, for not to mention the theme from the 60's TV show and all the themes for all the different animated motion pictures such as The Dark Knight Returns, Mask of the Phantasm, or the videogames like the Arkham series.<br><br>Batman's musical legacy is very big so him saying there is only one theme and his the one he created is really disrespectful to a big amount of composers.Yeah, that's what I thought you meant. And that's what Elfman should have done if he wanted to use the old themes.I think what Elfman said is not true.<br>Batman has different themes for different movies because every Batman is different.<br><br>Michael Keaton as Batman: Elfman's Theme<br>Christian Bale as Batman: Hans' Theme<br>Ben Affleck as Batman: Hans & Junkie's Theme.<br>Of course much more but the most important.<br><br>Each one if dies Batman's have a different story and a different universe. I think that for each universe a new theme is the best thing you can do. With a different theme you can relate more to this Batman than a previous one.<br><br>By the way, I think TDK, MoS & WW are 3 of the top 10 themes by Zimmer. I think what Elfman did the WW theme is an abomination. He removed the key instrument in the theme because he thought it was childisch.<br><br>I think the Justce League score is way worse than previous DCEU or Batman movies. I hope that Lorne of Junkie will do future DCUE movies instead of Elfman.<br><br>(Seeing Justice League thursday. I am curious if it is really that bad as everyine says)GITS was unreleased, JXL's JL score was completely rejected. The real qustion is how many rejected scores have leaked in the history of modern film scoring?
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Additional MusicGuitar
Hans ZimmerNick Glennie-SmithJay RifkinPete Haycock
ComposerAdditional MusicAdditional MusicMusician
Calendar Girl (Complete Score)
Label: Bootleg Release
Length: 62'56
HZimmer.com 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 (3066 votes)
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  1. Opening (0:55)
    Nick Glennie-Smith
  2. The Blonde (1:38)
    Nick Glennie-Smith
  3. Hoody Doody - Nude Picture (1:13)
    Nick Glennie-Smith
  4. Marilyn Obsession (1:13)
    Hans Zimmer
  5. Scott - Roy - Ned Montage (2:57)
    Hans Zimmer
  6. Some Like It Hot Screening (0:32)
    Hans Zimmer
  7. Leaving Without Ned (1:29)
    Hans Zimmer, Nick Glennie-Smith, Jay Rifkin, S. Ellis
  8. Moment Of Truth (0:26)
    Nick Glennie-Smith
  9. Dog Chase (0:19)
    Nick Glennie-Smith
  10. The Gallo Brothers (1:07)
    Hans Zimmer, Nick Glennie-Smith
  11. Poolside (0:50)
    Hans Zimmer, Nick Glennie-Smith, Jay Rifkin, S. Ellis
  12. This Is Jail (1:53)
    Nick Glennie-Smith
  13. Roy's Parents (1:07)
    Hans Zimmer
  14. Missed Opportunity (0:41)
    Hans Zimmer
  15. The Wrong Guy (1:19)
    Hans Zimmer
  16. Chasing Marilyn (1:54)
    Hans Zimmer, Nick Glennie-Smith
  17. Nude Beach (2:45)
    Hans Zimmer, Nick Glennie-Smith, Jay Rifkin, S. Ellis
  18. The Gallos After Roy (2:14)
    Hans Zimmer, Nick Glennie-Smith
  19. The Boys Fighting (1:24)
    Hans Zimmer, Nick Glennie-Smith
  20. The Set Up (3:32)
    Hans Zimmer, Nick Glennie-Smith
  21. Getting In (0:52)
    Hans Zimmer, Nick Glennie-Smith
  22. Red Carpet (2:23)
    Nick Glennie-Smith
  23. Tattoo (2:20)
    Hans Zimmer
  24. Preparing For Marilyn (3:39)
    Hans Zimmer, Nick Glennie-Smith
  25. Best Friends (1:35)
    Hans Zimmer
  26. There She Was (1:29)
    Hans Zimmer
  27. Out Of My Dreams (The Date) (3:19)
    Hans Zimmer, Carole King
  28. The End (5:43)
    Hans Zimmer, Nick Glennie-Smith, Jay Rifkin, S. Ellis
  29. Out Of My Dreams (4:22)
    Aaron Neville, Hans Zimmer, Carole King
  30. Out Of My Dreams (The Date) (No Vox) (3:20)
    Hans Zimmer
  31. Out Of My Dreams (Instrumental) (4:20)
    Hans Zimmer
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Calendar Girl (Complete Score) soundtrack - Hans Zimmer 1993