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Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004
The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/
Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.
What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.
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Hans ZimmerGeoff ZanelliTrevor MorrisNick Glennie-Smith
ComposerAdditional MusicAdditional MusicConductor
Shark Tale (Complete Score)
Label: Unofficial Release
Length: 47'07
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 (5948 votes)
  1. Lenny's Worm Compassion (Part 1) (0:25)
    Hans Zimmer
  2. Lenny's Worm Compassion (Part 2) (1:06)
    Hans Zimmer
  3. Handing Over The Business (2:09)
    Hans Zimmer, Geoff Zanelli
  4. A Cold Blooded Killer (0:22)
    Hans Zimmer, Geoff Zanelli
  5. She's Gonna Blow (0:25)
    Trevor Morris
  6. Soap In The Eye (0:21)
    Hans Zimmer, Trevor Morris, Ryeland Allison
  7. Sykes Gets Serious (0:33)
    Hans Zimmer, Trevor Morris
  8. Top Of The Reef, Here I Come (0:55)
    Hans Zimmer, Trevor Morris
  9. Dreams Can Begin Small (1:30)
    Hans Zimmer, Geoff Zanelli
  10. Eat This Shrimp (Part 1) (2:05)
    Frank Marocco
  11. Eat This Shrimp (Part 2) (1:45)
    Frank Marocco
  12. Sykes Had It (0:37)
    Geoff Zanelli
  13. Frankie Tries To Teach Lenny (0:45)
    Hans Zimmer, Geoff Zanelli
  14. Lenny Goes For Oscar (0:25)
    Hans Zimmer, Geoff Zanelli
  15. Frankie Attacks (0:24)
    Clay Duncan
  16. Fallen Anchor (0:53)
    Geoff Zanelli
  17. Oscar Sting #1 (0:09)
    Geoff Zanelli
  18. Oscar's Story (2:35)
    Hans Zimmer
  19. Funeral Source (0:35)
    Hans Zimmer
  20. Frankie's Funeral (2:03)
    Hans Zimmer, Geoff Zanelli
  21. Angie & Oscar On The Balcony (1:41)
    Hans Zimmer, Geoff Zanelli
  22. Sharks! (0:17)
    Trevor Morris
  23. Go Get Them, Tiger (0:22)
    Hans Zimmer
  24. The Kelp Fields (3:40)
    Hans Zimmer, Geoff Zanelli
  25. Infiltration (1:08)
    Hans Zimmer
  26. Confessions Of A Vegetarian (2:07)
    Hans Zimmer
  27. Oscar Enters Warehouse (0:14)
    Geoff Zanelli
  28. How Could You Lie To Me? (0:58)
    Hans Zimmer
  29. That Shark Slayer's Crazy (0:14)
    Hans Zimmer, Trevor Morris
  30. Mock Fight (2:39)
    Hans Zimmer, Trevor Morris
  31. Watching The Shark Slayer Make Out (0:17)
    Hans Zimmer
  32. I Wanna Be Somebody - You're A Joke (1:22)
    Hans Zimmer
  33. I Don't Think This Is Gonna Work Out (0:30)
    Hans Zimmer, Trevor Morris
  34. Forget About It - This Is All My Fault (1:24)
    Hans Zimmer, Geoff Zanelli
  35. Oscar Sting #2 (0:06)
    Geoff Zanelli
  36. Lina Enters Sitdown (1:23)
    Hans Zimmer, Geoff Zanelli
  37. Lenny Grabs Angie (0:11)
    Geoff Zanelli
  38. Oscar Time (0:55)
    Hans Zimmer
  39. Lenny's Disguise Is Revealed (1:08)
    Hans Zimmer, Geoff Zanelli
  40. Lino Charges (2:18)
    Hans Zimmer, Trevor Morris, Ryeland Allison
  41. Out Of The Bubble (0:08)
    Hans Zimmer
  42. I'm Not The Shark Slayer (2:56)
    Hans Zimmer
  43. Soap In The Eye (Alternate) (0:21)
    Trevor Morris, Ryeland Allison
  44. I'm Not The Shark Slayer (Alternate) (1:10)
    Hans Zimmer
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vitor456kk reply Replies: 0 || 2020-05-10 18:27:56
love it

Milena Sorokina reply Replies: 1 || 2019-04-01 20:51:19
you can at least as something to download this soundtrack, I love it


Michael Baker2019-04-03 19:22:29
Oh man, THIS is a Zimmer score I never think about. lol.

Mr. Charles reply Replies: 0 || 2012-08-21 02:37:58
Fake?

Lasse reply Replies: 0 || 2010-04-09 00:00:00
there is a new Hannibal bootleg soundtrack whit soundtracks like :

-Lecter hunt
-Bring him home
-Investegation
-Eating the Nurse
-An Der Schonen
-The Abducting
-Come After You
-Aftermath
-Adjust To The Darkenss

Lasse reply Replies: 0 || 2010-03-14 00:00:00
gunplay is made by clay duncan and is the bass song that the "gangsters" are playing in the car in the begining of the movie

Mr Tweedy reply Replies: 0 || 2009-07-19 00:00:00
Weren't Rendez-Vous and Remembrance the cues from Hannibal featured on Jim Dooley's Website 4 or 5 years ago ?

V reply Replies: 0 || 2009-04-06 00:00:00
Lets just keep our eyes out for Gunplay.

V reply Replies: 0 || 2009-04-05 00:00:00
Seent Of Lecter
Lecter Kidnapped
Bring Him Home

I know these tracks were in the movie (Because I've heard them and have them), so I'm assuming Rendez-vous and Remembrance were in it too. Probably the fishmarket scene, and the aftermath of it.
Either way, how would you know if those two were not in the movie, Skyler?

Skyler reply Replies: 0 || 2009-04-05 00:00:00
Because I have this bootleg and have seen the film multiple times. The three tracks you mentioned are the only real unreleased tracks from the film, and they were available from some of Steve Jablonsky's and Geoff Zanelli's promo albums (see GZ's "Music for Film and Television" - I can't recall the name on which SJ's track appears).

According to IMDb, there exists a song called "Gun Play" by Clay Duncan and I'm assuming this could be the music for the fish market sequence - However this has never been released (even on the newer bootleg) and I suspect the only way to hear it might be on one of his unreleased promos.

But to answer your question more directly, I'm pretty sure "Rendez-vous" and "Remembrance" consist of Steve Jablonsky's alleged alternate tracks. I cannot say with full certainty that his "alternate tracks" were composed for the film (or even composed by Steve Jablonsky). They don't sound at all like Jablonksy's other work and don't fit in with Hans Zimmer's score. The three tracks you mentioned were by Steve Jablonsky and Geoff Zanelli, but they still kept it in continuity with the rest of Hans Zimmer's material. Regardless as to who composed them, the bottom line is that they were not featured in this film.

It's unfortunate that music as good as this should suffer such bad releases. :(

V reply Replies: 0 || 2009-04-05 00:00:00
Ok thanks for the info.

Skyler reply Replies: 0 || 2009-04-03 00:00:00
Many of the tracks on this bootleg don't even appear in the film at all.

This and all the other hannibal bootlegs listed on this site are just different arrangements of the regular soundtrack, with some "unreleased" music that came from a completely different movie. Don't bother looking for any of these.

However, last month a new Hannibal bootleg has circulated that does include some real unreleased music from the film, including a version of the infamous "Pazzi theme." The Anthony Hopkins dialogue bits are still there, but it does include a few minutes of new music that make it worth looking for.
It's not a complete bootleg or a recording sessions by any means, but it's certainly better than these.

V reply Replies: 0 || 2009-04-03 00:00:00
what is remembrance and rendezvous? I mean what parts are they in the movie?

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adriana reply Replies: 0 || 2009-02-10 00:00:00
Dear Hans

I love your tracker in this film, Thank you !!!

lasse reply Replies: 0 || 2008-03-31 00:00:00
Lasse= ridlazz :P

Lasse reply Replies: 0 || 2008-03-31 00:00:00
Kusi81= what si the so called "Pazzi Theme" called ?????
the music when he is sitting at the bridge ?????

kevin reply Replies: 0 || 2008-03-29 00:00:00
you guys are no real fans by hans zimmer. i you where you would share the music, not just hold it for your self.
i share music, thanks to many muisc bloggs i have found many CD-s whit black hawk down muisc, and i share it whit everybody who want it.
but kust keeping the soundtrack for your self. thats bad

ridlazz reply Replies: 0 || 2008-03-23 00:00:00
but if there is a Pazzi theme in the world, wich name wouls it perhaps had ???????????????

ridlazz reply Replies: 0 || 2008-03-22 00:00:00
yes its a great cue.

thanks any wat Kusi81 :)

and the pazzi theme i have loved and remembered in sins first time i saw the movie ;)

Kusi81 reply Replies: 0 || 2008-03-10 00:00:00
This music isn't available... I've rip it from the dvd with minor sfx... great cue! ;)

ridlazz reply Replies: 0 || 2008-03-09 00:00:00
pleeeeeez answer my question !!!!!!!!!!!!!

is the music when Pazzi is sitting on the bridge in this album ???????

i need to know if that soundtrack is exsist.
pleeeeeez anybody, if somenody tell me i would sleep better then i have done to now. i cant stopp think about the "pazzi theme" pleez anybofy tel me. is that soundtrack in this album ?

fateme reply Replies: 0 || 2007-01-20 00:00:00
i heard u re soundtracks by my man he showed me your music mr hans zimmer you are the biggest composer just forever

ARASH reply Replies: 0 || 2007-01-19 00:00:00
THE GREATEST COMPOSER OF ALL TIMMES EVER
YOU ARE VERY BEST HANS ZIMMER

jovao reply Replies: 0 || 2007-01-17 00:00:00
Absolutly the best, the music mixed with the dialogues.
somebody can help me for finf the dialogue by DEAR CLARICE ? the song forom the soundtrack, no the dialogues.
thanks. jovao

Peter John Varga reply Replies: 0 || 2007-01-03 00:00:00
When i First listened to this soundtrack i was totally blown away with it. Ibelive it to be some of your best work and is one of my fave cds in my collection. the music can be quite haunting and it accomplanies the film perfectly. vide cor meum was in my opinion the best track on this album it moved me and inspired me.
thank you for such an amazing soundtrack

Mikel Carmona S.i.W reply Replies: 0 || 2006-06-21 00:00:00
A great score Mr Zimmer. Fantastic and beuatifuld melody. You are the King Hans. My regards to you from Spain!! S.i.W

Jr COmposer reply Replies: 0 || 2006-04-25 00:00:00
I love the dialogues, Sir Anthony Hopkins makes it even better!

Sylvos reply Replies: 0 || 2006-03-15 00:00:00
Ya, it sounds magnificent!
Guess I have to start hunting for this new bootleg now!

Still, I'm too dissapointed to find Hannibal albums mixed with dialogues. I know the dialogues were performed fine, but I perfer the music better. Hopefuly, a proper, non-dialogue version will come around soon.

Thanks for the info Antas!

Antas, Webmaster reply Replies: 0 || 2006-03-15 00:00:00
This one does contain dialogues too unfortunately. However, track 10 is interesting (see mp3 extract)

Sylvos reply Replies: 0 || 2006-03-14 00:00:00
What is the difference between this and the old bootlegs? Is it true that this has all the music and there is no dialogue included? In the old bootlegs they just cut the parts with dialogues, what abou this one?

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Shark Tale (Complete Score) soundtrack - Hans Zimmer 2004