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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Don’t even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldn’t change a thing about it), I must admit, it doesn’t have nearly the same effect as a stand-alone listen. It’s literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it “award” worthy? I’m not sure. If based solely on the film, you betcha. If based purely on the music itself, I don’t think so. That’s where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or “actual” music (again, works IN the film). It’s glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... I’ve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did it’s job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day

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Hans ZimmerJames Newton HowardRamin DjawadiMel Wesson
ComposerComposerAdditional MusicAdditional Music
Batman Begins
Label: Warner Bros. Records
Length: 60'26 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 (21712 votes)


  1. Vespertillio (2:52)
  2. Eptesicus (4:20)
  3. Myotis (5:46)
  4. Barbastella (4:45)
  5. Artibeus (4:19)
  6. Tadarida (5:05)
  7. Marcrotus (7:35)
  8. Antrozous (3:59)
  9. Nycteris (4:25)
  10. Molossus (4:49)
  11. Corynorhinus (5:04)
  12. Lasiurus (7:27)
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Mike (OTM) reply Replies: 1 || 2017-04-09 00:14:23
The last two minutes of Molossus/Batmobile Chase sound really quite awesome when slowed to 75%.

Mike (OTM)2017-04-09 00:31:09
While I'm here, "Brothers in Arms" (Mad Max) and "Fight Night" (Batman v. Superman) sound cool sped up by 25%. :)

Hybrid Soldier reply Replies: 27 || 2014-01-15 21:52:24
Batman Begins was a very collaborative work, that's why it's very hard to say who did what... They were 5, Hans, James, Ramin, Mel & Lorne working together in London for almost 3 months, discussing, sharing ideas & everything and co-writing/arranging the whole score. Apart from Backup being arranged by Lorne, I know that the Batmobile Chase was also a Lorne one. Everyone is wondering if Hans or James actually did Training, but it was Ramin... I was also told Ramin had a big role in "Lasiurus"... And JNH had much more influence on the thing than people usually think of it...

On TDK, it was not the same. The score was done in LA, and James worked from his studio, and Hans from his own. So more a split work with a few meetings, and a very big team, while Begins was a very short team for all the aspects of the score production.

Anyway, if the suites written by Hans for TDK & TDKR are fantastic, the "scores in film" in those are nowhere near the amazing Batman Begins...

Edmund Meinerts2014-01-15 23:00:54
I'm wondering why you posted it here, and not on the complete score. :p

But some interesting stuff. I'd never have guessed that Ramin helped out on the "Training" cue, that's one of my favorites (the way it previews the theme from "Like a Dog Chasing Cars" is amazing). Lorne working on the "Batmobile Chase" is I guess a little less surprising, but that's another favorite of mine. It always makes me a little sad to think that Hans wasn't personally responsible for those highlights, but given how he operates I'm not surprised anymore. :p

As for telling Hans and JNH apart, I've gone through and tried to do it by ear, but as you say, they're pretty seamlessly mixed. There are some parts that are obviously Hans('n'co) and some parts that are obviously James, but many bits really seem like a cross between the two, which is something unique to this score that I appreciate.

Were there ever suites for Batman Begins, by the way? The only two I can think of are Lasiurus (also cowritten by Ramin, you say?), and that Batman Theme cue. Since TDK and TDKR were so suite-based, it would be interesting if this one wasn't.

Hybrid Soldier2014-01-15 23:19:19
Well never sure but I don't think there's more... :)

Mike2014-01-16 02:03:32
I thought Zimmer said in an interview that he was responsible for the "car chase"...

Mike2014-01-16 02:06:40
And since "Training" basically contains Hans' New Batman Theme from TDK, does that mean Ramin is partially responsible for that theme? Or did he just arrange it from pre-existing material?

Anonymous2014-01-16 02:27:48
Are you saying Lorne was INVOLVED with Batmobile Chase (i.e., he and Hans actively co-wrote the cue, so Hans was indeed involved with the actual writing to that scene) or that Lorne arranged it on his own, using Hans' material/directions? Because it just has that pure Zimmer sound, a sound which only Hans himself can deliver if you know what I mean. Often it seems like the stuff not done directly by Hans lacks a certain "umph", but Batmobile Chase has it. Huh. Very interesting. I agree, both Hybrid and Edmund, that a) however much the suites from the next two movies might be good, the score within the picture is most impressive here and b) that it's a little saddening to know Hans wasn't entirely responsible for these standout cues.

Mike2014-01-16 02:56:20
It is kind of ironic that two of my favorite cues from Begins, Training and Batmobile Chase, were to some unknown degree "ghost-written". I'm not disappointed, per se, because the music is still as awesome as it's ever been, but knowing that those cues aren't just the creative genius of Hans Zimmer is a little bit of a letdown. But yeah, as Edmund said, I'm not surprised, knowing how Zimmer works.

This may be a dumb question, but if there were no suites (for things like Backup), where did the material come from for Lorne to arrange it? Did Hans write a demo version for the scene which Lorne amended as necessary? I know Zimmer reused/revamped Backup in one of the TDKR suites, so I guess it was originally written by him somewhere. But you can never tell, can you? :P

MacArthur2014-01-16 05:42:22
The Whole Batmoblie chase is a Lorne Alone cue. (or did he just Arrange it.)

In other words Molossus. Is that A lorne cue?

MacArthur2014-01-16 05:50:01
It might be safe to say Zimmer Did most of it. as the unknown guy said that umph that only Zimmer brings. now not saying Lorne didn't have a hand but it's probably safe to say Zimmer did most.

Edmund Meinerts2014-01-16 11:16:05
I think it's safe to say that MacArthur has absolutely no clue what he's talking about and everything that comes out of his mouth is pure and wild speculation.

Lol2014-01-16 14:38:50
In the complete score there's a track named "Batman Theme" which is the basic mock up of what Molossus would become. I'm confident that piece was originally by Zimmer. What they did with it by turning it into a batmobile chase and then using the sounds they made for that later to finish the molossus track seems to be what happened. So yeah, Lorn didn't compose the music, but he re imagined it and scored it to picture

Mike2014-01-16 14:45:42
We really have no idea how much Lorne did on that cue, MacArthur. Some of it came from the so-called "Batman Theme" by Zimmer and JNH, some of it is original material, and some of it borrows material from earlier action cues in the film, like Temple Fight (Myotis on the album). So it's definitely just "arrangements" at some points but may very well be originally Lorne Balfe in others.

If I had to guess, judging from 1) Hybrid's first comment and 2) the words of Hans in an interview from 2006 (and keep in mind this is pure speculation), I would guess that, unlike most of the cues from Zimmer that involve a ghostwriter, this one (Batmobile Chase/Molossus) was indeed actively co-written by Hans and Lorne together, hence that "Pure Zimmer Umph" that one comment mentioned. I feel like this is the case from Hybrid's comment: "They were 5, Hans, James, Ramin, Mel, & Lorne...discussing, sharing ideas and everything *and co-writing the whole score*". That really makes it sound like even in the "ghostwritten" cues, Zimmer had an active role in writing them, more than he usually does.

Reason 2 I would guess it was actively co-written by Hans and Lorne (not just arranged by Lorne with Hans giving the basic idea) is that Hans said in a 2006 interview, "On Batman Begins...I knew we were going to have a car chase, but I knew it wasn't going to be the stereotypical car chase, absolutely no way. But Chris [Nolan] hadn't really attacked that scene yet, and hadn't really figured it out. So *I wrote the car chase music* as a kind of Lego set, since I knew he was going to move the picture around like crazy...So it just became this Lego set, and as Chris was moving chunks of car chase around, it was very easy to adjust".

My thinking is that maybe Hans wrote the initial cue and is indeed responsible for the basic cue, then Lorne did the "adjusting" Hans mentioned. But I'd be happy if Hybrid wanted to share greater knowledge about this.

Edmund Meinerts2014-01-16 15:14:07
See, at least when Mike speculates, he does it by backing it up with reasoning and good arguments, and he admits that's he's speculating. Which is why I'm inclined to believe what he says, and inclined to ridicule what MacArthur says.

MacArthur2014-01-16 16:13:44
Thank you mike for answering my question.

Mike2014-01-16 17:02:33
No problem.

Hybrid Soldier2014-01-16 17:21:11
What to say, I don't know. Lorne was more of an arranger back in those days...

But I know he spent weeks on that particular cue... So yeah I guess it's the Batman Theme suite tracked in, arranged, with HZ at the end, and lots of programming & arranging and some writing by Lorne (& Mel for the ambient / samples). As I say it was very collaborative... Remember the Batmobile Chase has themes by JNH too lol...

Anonymous2014-01-16 22:10:06
"...with HZ at the end."

you mean "with hans doing the final part of the cue"?

Hybrid Soldier2014-01-16 22:32:54
Yeah I meant the Black Rain rip off...

Mike2014-01-16 22:54:58
Actually now that I think of it, that was another reason I figured Hans was actively involved with it, because of the carbon copy of the Black Rain cue. lol.

Anonymous2014-02-07 03:28:54
if lorne did the batmobile chase cue do you know if he also did the action cues heard in antrozus? cause it reprises a lot of the chase cues. and if the part beginning at 1:59 in antrozus (also in the chase cue) is originally by lorne and not hans, that would explain why lorne is credited with additional MUSIC and not just arrangements in the next two movies. :) but if the cues in antrozus (also in molossus :P) are orginally by hans, then the chase cue was just an arrangement of pre-existing material.

Jor_El_Hans_is_the_fucking_master2014-02-11 11:12:37
Lorne just told me that he didn't compose "molossus".

Hybrid Soldier2014-02-11 11:44:17
I've known Lorne for 5 years, if there's one guy you must NOT listen to get any info on HZ, it's him. He'll never say a WORD...

Hybrid Soldier2016-07-15 23:35:50
BTW to get back on that old subject, I should share Lorne's story he told about Hans for the HZ Live on Tour booklet :

Lorne Balfe : "Batman Begins was the first film I worked on with Hans. I had managed to get the man flu half way through the project and James (Newton Howard) and Hans did not want me anywhere near them! I got back to my hotel to find a doctor waiting in my room. Hans had kindly organized his visit. An hour later I was told I had a temperature of 103 Fahrenheit and I must stay in bed. The phone immediately went. It was Hans's assistant Abhay. "Hans wants to know how you are?" I was very touched by his concern and repeated what the doctor had advised. Then I heard a deep German voice screaming in the background, "Ask how long does he intend to be ill for, the bat mobile chase STILL isn't finished." I left my hotel room 50 seconds later..."


Anon-e-moose2016-07-16 00:19:02
so i guess the thing i need to get straight is this... how much does a guy like hans zimmer *need* help and how much does he just like it for the sake of a collaborative experience on the project? you say he doesn't right as fast as lorne balfe does, okay, but the man has been working on movies for 30 years and has gotten stuff done before lorne and others came around. and not only that, in batman begins' case he had james newton howard and ramin djawadi to work with, and it seems like between the three of them, the cue could get done with or without lorne.

i'm not saying this to criticize balfe or zimmer, but i'd be surprised if zimmer really *needed* balfe's contributions in order to finish his projects. does that make sense?

vced2016-07-16 18:28:53
The answer is both. Why would you collaborate with someone unless you enjoy it? Why would you work with them if you didn't feel they could add something. It's a stupid question.

Open up other composers pages on here and the additionals do a few cues. Open up some of Hans, and Lorne has written 80% of the music for him. No wonder he doesn't answer questions on it! LOL

He's never going to say in an interview "yes Hans wrote 2 minutes of basic sketches and I wrote most of the score". Hybrid has explained the process in detail plenty of times. But the music speaks for itself.

All that matters is the result. Would the scores be better without Lorne, Dooley and Zanelli etc. is the real question. I think the answer is no.

Mike2016-07-16 19:28:22
We all just need to accept that Hans has his own work style, and that, for better or worse, this involves collaborating with / getting help from other people. Hans may or may not "need" the help. Hans may or may not do better work with the help. But regardless of how or why he works, and regardless of how his scores get credited, we all know this **is** how he works.

I'm not trying to be harsh, and heck, I've been guilty of this in the past, but you'd think we'd stop *expecting* the highlights of Hans' scores to be done by Hans, or most of Hans' scores to be done by Hans. Sometimes it goes that way, sometimes in doesn't, but as Zimmer himself said, "He doesn't give a flying ****" about who ends up doing what. Batman Begins is no different. Future scores will be no different.

Mr Tweedy2016-07-19 23:22:16
Interstellar was written mostly (if not only) by Hans himself, and the score is one of his finest, in my opinion.

Some scores were very long to produce (without much time), I'm thinking about POTCs for exemple, and one man alone couldn't achieve that.

Or Rango for exemple, where Hans was asked pretty late in the process to start again the composing process because the first score didn't satisfy the production... Sometimes without Lorne, Geoff etc... there would be no music at all !

Mike2016-07-20 01:44:27
I agree about Interstellar, but I think its quality was mostly due to its genuine innovation, instrumentally / style-wise. I appreciate that Hans went at it alone (basically), but I don't think others' input would have made a drastic influence.

JamesGordon reply Replies: 0 || 2016-07-20 01:04:07
The best soundtracks i ever heared fron "The Dark Knight" trilogy!!!Good job to the creators!!

Mike reply Replies: 2 || 2016-06-11 03:19:17
So... can we expect any Nolan-Batman Easter eggs in Lorne Balfe's Lego Batman score?

Anonymous2016-06-11 03:25:35
idk why there would be... sure he worked on all three films to an extent but none of his contributions were massive as far as the overall imprint of the scores... and at that point he'd just as sensibly reference hans zimmer as danny elfman or any other batman composer... but we'll see!

Mike2016-06-11 03:29:38
Yeah, true. But I feel like he might throw in some little reference, considering he had a hand in three different movies for the character before the Lego one.

Anonymous reply Replies: 0 || 2014-07-30 15:58:31
hey Hybridius can you eventually add more JNH stuff to his page? :)

Anonymous reply Replies: 7 || 2014-05-14 02:54:00
funny how many fewer thanks jnh had to give.....there are a few names in his, in hans' there's like a paragraph of people

Zimson2014-05-14 08:19:42
Hans is a people person. :)

Hybrid Soldier2014-05-14 08:39:45
It's also the last time ever you can see Klaus Badelt thanked by HZ... lol

Poe2014-05-14 09:30:32
Why is that Hybrid? Are there no longer friends?

Zimson2014-05-14 10:02:11
I see Curse has left some complications. ;)

Hybrid Soldier2014-05-14 11:38:58
Well complicated story (which I don't know really anyway), but yeah, they avoid each other big time... lol

0-cool2014-05-14 12:15:49
didn't HZ suggest Badelt to Werner Herzog for Rescue Dawn?

Hybrid Soldier2014-05-14 12:18:31
Herzog is a close friend to Klaus, even in private life... And Klaus scored Invincible long before Rescue Dawn...

Anonymous reply Replies: 9 || 2013-07-27 03:09:27
Lemme see if I have this right, because the album has the cues way out of order:

1. Vespertilio = opening logos/the walk up the mountain
2. Eptesicus = the flashback after the campfire and the training scenes
3. Myotis = the temple fight, saving Ducard, and Bruce going back to Gotham
4. Barbastella = Death of the Waynes and the Batcave
5. Artibeus = Dock scenes and Ducard's first appearance
6. Tadarida = Rachel in the Batcave after the Tumbler chase, followed by "He's here" "Who?" "The Bat-Man!", followed by Batman on fire, followed by the scene where the microwave is stolen
7. Macrotus = the happy scenes with Bruce's parents, followed by the facing fear sequence in the monastery, followed by the music when Joe Chill is shot
8. Antrozus = Batman revealing his identity to Rachel and fighting the LoS
9. Nycteris = Bruce being shown Lucius' equipment and the "Why bats?" scene
10. Molossus = Tumbler chase
11. Corynorhinus = the final scenes
12. Lasiurus = a theme suite

Mike2013-07-27 03:15:34
Antrozus also includes Batman talking to Gordon at Gordon's house. ;) Otherwise, it looks right. I kinda wish the album had the end credits rather than Lasiurus. Lasiurus is a lovely piece, but having the end credits would have really rounded out the album more for me. If we had the end credits, we'd have Back Up (slightly edited, sure), part of Bruce Left for Dead, and the "Batman theme" all in one, and the album length would have been about the same.

0-cool2013-09-30 20:04:43
I don't get it why Zimmer never used the Batman theme again in any of the sequels!

Macejko2013-09-30 20:47:18
I don't want to sound like a moron (or like MacArthur), but where can I find this mysterious, never-again used Batman theme everyone is talking about? It bothers me that I think of something as a "Batman theme", and everybody seems to know about some other, "more true" theme.

Mike2013-09-30 21:02:55
Look up "Batman Begins Expanded Score - Batman theme", or if you're willing to skip about the first minute of it, skip to about 6:57 in the end credits (which can be easily found on YouTube) and listen from there. Pieces of the theme are used in "Molossus", and it has the typical Zimmer-Batman-staccato sound.

If you're familiar with the score, said theme is nothing groundbreaking or different. And besides, even if it was written to be a fully-fledged theme, the two notes took it over in the end and became the theme instead.

0-cool2013-09-30 21:35:54
it's from 0:40 on in Molossus. The leitmotiv is also heart in the "I'm Batman" scene and at the end when he jumps of the rooftop after talking to Gordon.
It's also heard in the TDK trailer

0-cool2013-09-30 21:39:57
it's also differently arranged in the boy soprano

Mike2013-10-02 00:30:17
0-cool, I see you were thinking of a different "theme" than I was. I was referring to the officially titled "Batman Theme" from the expanded score.

billy2013-10-03 17:42:50
I think that the theme 0-cool is talking about was changed a bit and used from JNH as the Harvey Dent theme, because the music underneath is approximately the same. The "Dent theme" version was also used in Myotis (3:16).

RealFfingMusic2014-02-11 14:38:25
You know An, this way it's scientific.

But I do like that BATMAN easter-egg :)

Mike reply Replies: 7 || 2014-01-17 15:21:38
So, Hybrid, if Mel Wesson did the more ambient cues, does that mean he did Dockyard Ambush Part 1, Why Bats, and Crane Interrogated?

Hybrid Soldier2014-01-17 18:59:34
He didn't do "the most ambient" cues, he did all the ambient stuff in the whole score... He's like everywhere... And yes of course he has some "solo" cues as well, which are pretty obvious : B Titles, Bruce Discomfort, Mugging Pt 1, Crane Warns Rachel Pt 2, Crane's Mask & Crane Interrogated... And for the rest I think there's just a dozen cues he didn't have a hand (directly or indirectly) on...

Mike2014-01-17 19:14:42
Hmm, interesting. Thanks!

Edmund Meinerts2014-01-17 21:42:07
Wesson gets credited a lot on the cues that have the "bat flaps" in them, I've noticed. I'm guessing they were Zimmer's idea, but Wesson was the one who actually designed and implemented them?

Mike2014-01-17 21:59:23
That seems to be the case if the following interview statement from Zimmer is correct (but, you know, a lot of what's said in interviews needs to be taken with a grain of salt):

"I was in Los Angeles and Chris was in London. Mel Wesson was in London too, so I suggested Mel go to over to the cutting room, to see what sort of thing we needed to start off with. My feeling was that it didn’t even really have to be a piece of music. It just had to be something really iconic, like the flapping of ginormous wings or something. So Mel created that, and that was a good start."

Anonymous2014-01-18 03:50:37
I'm rather surprised no one has really mentioned (that I've read -- apologies if someone has) what I consider to be a stark resemblance of the superb theme at the end of the TDKR "Moody New Bruce Hero Suite" (which, on that track, really begins at 19:10) to the MOS theme "What Are You Going To Do....".

Obviously, the TDKR theme in that track is MUCH slower, but the overall cue has a very similar emotion, epicness, chord progression, etc. I always wondered why it was not used in the film. A superb cue to me. (For those wondering, it's also available in the Z+ App).

Am I alone on this one?

Anonymous2014-01-18 03:52:02
Sorry everyone. Thought I was on a MOS post!

Mike2014-01-19 00:14:20
I quite agree about wondering why it wasn't in the film. Darned Chris Nolan always insists on reusing old music, but there was a lot of good material in that suite besides the part you mention which would have been awesome onscreen.

vikrant yadav reply Replies: 0 || 2014-01-16 01:45:25
Mr. H zimmer .. truthfully m nt a huge fan of urs bt i hve olways been an admirer ov ur work.....besides the cossack's chase ...d soundtrack of davy jones in pirates of Caribbean was owsm.....thanx fr such gr8 tracks

Anonymous reply Replies: 0 || 2014-01-12 22:52:38
Has anybody else noticed that in TDKR's "Wayne Manor" suite, there are new, more staccato versions of two Batman Begins cues (the one in "Tadarida", played when the Scarecrow lights Batman on fire, and then the "Backup" cue)?

Anonymous reply Replies: 1 || 2013-10-11 17:21:03
Go listen to Bernini's Angels by Kerry Muzzey, you'd swear it's Batman. Ostinato, two notes, the whole shebang.

Mike2014-01-09 22:04:46
I've noticed this before. Assuming Muzzey's was written later, how is he not guilty of plagiarism?

Prometheus reply Replies: 1 || 2013-05-03 19:43:30
Hybrid, can you tell us, which tracks by Zimmer, and which by Howard?

Anonymous2013-05-04 21:49:36
He's said many times that doing that is impossible, since the whole score is truly the work of both composers (with Hans sometimes using James' themes and James sometimes using Hans' themes). Apparently TDK was more clear-cut.

Mike reply Replies: 2 || 2012-12-31 09:11:00
Hybrid or anyone, there's an interview out there where Hans says, "We started off with two massive themes – one James wrote and one I wrote – which we ultimately combined..."

Does anyone know what the two themes are, or what the combination of them is?

Hybrid Soldier2012-12-31 10:48:45
I don't know exactly.

But if you check the Batman Theme track, the big part starting at 2:21 is basically a big brass theme (by HZ), and the background strings are playing a JNH theme (sharing notes with Dent's Theme).

Maybe that's the combinition mentioned. :)

Mike2013-01-01 01:47:07
That would make a lot of sense, actually.

Rene reply Replies: 0 || 2012-10-17 20:28:55
@Hybrid Soldier; can you give us a complete track list with the full credits for BB Original Score.

Mike reply Replies: 4 || 2012-10-15 23:33:19
Was the training music in Eptesicus the template for A Dark Knight? They sound similar.

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MGDrone2012-10-16 05:26:20
Yup, it's the same theme from Like A Dog Chasing Cars too. That's why in the complete score to The Dark Knight that suite is called "Action Ice Theme". "Ice" refering to that scene in BB.

Mike2012-10-16 05:40:20
That makes sense. I was wondering for a while what the heck "action ice" was talking about.

Mike2012-10-16 05:44:43
(and thanks, by the way)

MGDrone2012-10-16 17:16:01
No prob. :)

Michael reply Replies: 2 || 2012-10-07 01:49:11
Did anyone notice that the music that plays right before Batman says, "...and you'll never have to" is essentially the same music sung by the boy in Rise from TDKR?

tree2012-10-07 05:28:39
Once you mention it, it becomes quite obvious to the point where I must have noticed it subconsciously.

cheesy2012-10-07 06:50:55
Well that theme was from Begins initially anyway. Listen to Barbastella/Mugging (Part 2).

MGDrone reply Replies: 0 || 2012-09-16 01:07:16
I'm pretty baffled by the credits here. The are moments that, to me, clearly sound like Zimmer's contributions. I'm thinking of Eptesicus, Myotis, and Lasirius. There are parts in those tracks that sound so much like HZ that I wonder if the credits are wrong or JNH was really trying to copy HZ's sound.

Lona reply Replies: 1 || 2012-06-12 21:12:04
Vespertillio (2:52)
Eptesicus (4:20)
Myotis (5:46)
Barbastella (4:45)
Artibeus (4:19)
Tadarida (5:05)
Marcrotus (7:35)
Antrozous (3:59)
Nycteris (4:25)
Molossus (4:49)
Corynorhinus (5:04)
Lasiurus (7:27)

i cannot understand the tracklist meaning

Poe2012-06-12 21:23:54
They are all species of Bat. Also notice how the first letter of each track from Barbastella onwards spells BATMAN :)

Anonymous reply Replies: 1 || 2011-06-04 08:52:47
Complete score showed up:

1. Opening Titles - Young Bruce Falls (2:04)
2. Prison Nightmare (1:04)
3. Meeting Ducard (2:00)
4. The Long Walk (2:24)
5. Monastery (2:47)
6. Father to the Rescue (2:13)
7. Bruce's Discomfort (0:37)
8. Mugging (Part 1) (1:18)
9. Mugging (Part 2) - Gordon Comforts Bruce (2:50)
10. Training (2:51)
11. Campfire - Bruce Goes Home (3:28)
12. Courthouse (Part 1) (2:40)
13. Your System is Broken (0:57)
14. Meeting Falcone (3:10)
15. Decision (2:31)
16. Hide in the Dark (3:01)
17. Initiation Into the League - Temple Fight - Saving Ducard (6:29)
18. Return to Gotham (0:53)
19. Crane Warns Rachel A (1:00)
20. Crane Warns Rachel B (1:21)
21. The Bat Cave (3:01)
22. Wayne Enterprises (1:26)
23. Prototypes (1:40)
24. Preparing Equipment (1:48)
25. Batman Visits Gordon (1:12)
26. I Need You at the Docks - Why Bats (2:35)
27. Dockyard Ambush (3:09)
28. Rachel Attacked (2:24)
29. Microwave Stolen (1:26)
30. Meeting Rachel (1:38)
31. Crane's Mask (0:43)
32. Gordon At Home (1:27)
33. Batman On Fire (2:33)
34. Finder's Keepers (1:41)
35. Fox is Fired (1:13)
36. Making Medicine (4:10)
37. Fight in Crane's Lab (5:01)
38. Back Up (1:34)
39. Batmobile Chase (5:01)
40. Rachel in Bat Cave (1:26)
41. Your Father's Name (0:57)
42. Crane Interrogated (0:34)
43. Ducard Appears (1:10)
44. Ducard and Gotham's Fate - Bruce Left For Dead (6:39)
45. Rachel Gives Gordon the Antidote (3:32)
46. Batman Arrives (2:29)
47. Batman Rescues Rachel - Fight With League (2:55)
48. Final Confrontation (1:20)
49. Train Fight (3:18)
50. Danger Over (0:54)
51. Surveying the Ruins (3:21)
52. Gordon Says Thanks (1:50)
53. End Credits (9:03)
54. Batman Theme (3:16)
55. Prison Nightmare (Alt.) (1:04)
56. Monastery (Alt.) (2:46)
57. Father to the Rescue (Alt.) (2:13)
58. Mugging (Part 1) (Alt.) (1:07)
59. Mugging (Part 2) - Gordon Comforts Bruce (Alt.) (2:51)
60. Training (Alt. 1) (3:00)
61. Training (Alt. 3) (2:52)
62. Campfire - Bruce Goes Home (Alt. 1) (3:29)
63. Campfire - Bruce Goes Home (Alt. 2) (3:29)
64. Your System is Broken (Alt.) (0:56)
65. Meeting Falcone (Alt.) (3:10)
66. Decision (Alt.) (2:32)
67. Crane Warns Rachel A (Alt.) (1:00)
68. Crane Warns Rachel B (Alt.) (1:21)
69. Preparing Equipment (Alt.) (1:54)
70. I Need You at the Docks - Why Bats (Alt.) (2:35)
71. Batman On Fire (Alt.) (2:28)
72. Batmobile Chase (Alt.) (4:52)
73. Gordon Says Thanks (Alt.) (1:51)
74. Original End Credits (7:15)

real, sfx free

Dakota2011-06-04 22:57:39
Dude, the Complete Score has been out for several weeks, if not a month now. Where have you been?

Iceboy reply Replies: 1 || 2011-04-22 06:20:19
Thanks, Uga. What about the last 1m40s or so of Antrozous? Its certainly not the train fight score

Uga2011-04-22 06:30:54
It starts right after Crane poisons Falcone and cuts to Batman and Gordon talking outside Gordon's home.

Uga reply Replies: 1 || 2011-04-20 00:00:00
It's the moment right after Bruce asks "Does it come in black?"

Iceboy2011-04-22 05:39:27
Thanks, Uga. What about the last 1m40s or so of Antrozous? Its certainly not the train fight score

Iceboy reply Replies: 0 || 2011-04-20 00:00:00
Does anyone kno where the 2nd part of Nycteris is from in the movie? I cant seem to find it anywhere in the actual mix??

Iceboy reply Replies: 0 || 2011-04-20 00:00:00
It is? Whereabouts in the film is that, I forget?

Uga reply Replies: 0 || 2011-04-20 00:00:00
If you're referring to the part that starts at 1:34; it starts at the scene when Falcone and Flass are talking in the restaurant about rachel

T-Mann036 reply Replies: 0 || 2011-04-13 00:00:00
Not at this thread... BTW, is Michael Kamen a member of R.C. Productions?

Anonymous reply Replies: 0 || 2011-04-12 00:00:00
Are there any Michael Kamen scores in complete form out there?

- reply Replies: 0 || 2011-04-11 00:00:00
here tracklists of (some) complete scores:


Gav reply Replies: 0 || 2011-04-11 00:00:00
Of course not, but some big movies from the past by big composers have missing masters, or even no masters.

Uga reply Replies: 0 || 2011-04-11 00:00:00
I used to have the 42 track version. The legit are either from the ost or tracks that were ripped from the dvd with little to no sfx i believe.

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Batman Begins soundtrack - Hans Zimmer - James Newton Howard 2005