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"Not to mention the huge chunks of silence at the beginning and end (and sometimes middle) of tracks"<br><br>Edmund Meinerts, Sessions without chunks of silence at the beginning and end was released on rutracker site about month agoGreat. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
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<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
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<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
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<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!
Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?
I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.
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
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Additional Music - Conductor
Hans ZimmerHarry Gregson-WilliamsDon HarperJay Rifkin
ComposerAdditional MusicAdditional MusicScore Producer
Broken Arrow (Complete Score)
Label: Unofficial Release
Length: 95'32
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 (7509 votes)
  1. Rope-A-Dope (5:04)
    Hans Zimmer
  2. The Bomber (1:53)
    Hans Zimmer
  3. Campers (0:39)
    Hans Zimmer
  4. Going To War (6:17)
    Hans Zimmer
  5. Wreckage (0:16)
    Hans Zimmer
  6. The Pentagon (1:16)
    Hans Zimmer
  7. The Search - Broken Arrow (2:42)
    Hans Zimmer, Harry Gregson-Williams
  8. Desert Dawn (3:41)
    Hans Zimmer
  9. Day Search (1:28)
    Hans Zimmer, Harry Gregson-Williams
  10. Right Down There (3:26)
    Hans Zimmer, Harry Gregson-Williams
  11. Something's Coming (3:50)
    Hans Zimmer, Harry Gregson-Williams
  12. 10,000 Years (2:15)
    Hans Zimmer, Harry Gregson-Williams
  13. Humvee Chase (4:54)
    Hans Zimmer, Harry Gregson-Williams
  14. Mine Shaft 1 (1:53)
    Hans Zimmer, Harry Gregson-Williams
  15. Mine Shaft 2 (15:49)
    Hans Zimmer
  16. Big Bang (2:15)
    Hans Zimmer
  17. Butterflies (1:57)
    Hans Zimmer, Don Harper
  18. The Boat - Stowaway (3:27)
    Hans Zimmer, Don Harper
  19. Breaking Orders (2:19)
    Hans Zimmer, Don Harper
  20. Eat A Bullet (2:15)
    Hans Zimmer, Don Harper
  21. Hammerhead (17:04)
    Hans Zimmer
  22. Nuke Disarmed (End Credits) (7:33)
    Hans Zimmer
  23. Eat A Bullet (Alternate) (3:35)
    Hans Zimmer, Don Harper
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Hybrid Soldier reply Replies: 1 || 2019-09-12 23:04:52
Little credit update.


Edmund Meinerts2019-09-14 15:02:27
Huh. Weird how Harper and HGW worked on continuous chunks of the movie, like Hans assigned them reel by reel or something...

Bayhem reply Replies: 5 || 2017-07-15 21:34:04
No need for me to say that I absolutely adore that score. Some truly amazing cues. I wonder though, are there any other Zimmer scores, or tracks, with heavy Western influences and elements? Aside from this and Rango...


Bondo2017-07-17 01:04:33
Listen to his unused Gladiator theme "Duduk of the North" and you'll hear some serious Western influences ;)


...2017-07-17 01:06:48
And Lone Ranger of course....


Patrick2017-07-17 01:11:03
...and of course "Parlay" in Pirates Of The Carribbean 3


JR2017-07-17 04:37:12
A bit of Western elements, you should also check :
- Thelma & Louise (action cues are Nice!)
- An everlasting Piece (a good jam session with a large variety of instruments, including Western influence)


Bayhem2017-07-17 13:20:39
Awesome! Thanks for the recommendations, folks. Off to check them out.

Anonymous reply Replies: 0 || 2009-08-03 00:00:00
@ Sam, "For me... There is no difference between Comercial Released and This kind of Bootleg CD.."

Then you clearly dont know the score that well! The commercial CD is mixed (badly) in places and the cues are not standalone like on this edition.

Anonymous reply Replies: 0 || 2009-07-08 00:00:00
Much appreciated! I always like knowing who wrote what and trying to figure it all out based on each composer's "sound."

Mr Tweedy reply Replies: 0 || 2009-07-08 00:00:00
@ Bondo

Some licensing sites are giving credits to Gregson-Williams for the Main Titles ("Brothers") along with Harper and Zimmer. That's everything I have about HGW on Broken Arrow.

I know for sure that Harper wrote the cues Boat (CD2 track4), Breaking Orders (CD2 track5) and Train Fight (CD2 track6). I know, the tracknames aren't the same... but the bootleg's tracklist is fanmade, not official. Boat and Train Fight are mixed together and named "Broken Arrow Suite" on one of Harper's promo.
And Harper is given credits for Breaking Orders on some licensing sites. It's fun to see he wrote many cues that follow each other, like if Zimmer told him "from reel #20 to reel #26, YOU write ALL the music". :-)
I don't know if Harper composed other cues.

Zimmer is credited ALONE on the following cues : "Desert Dawn" (CD1 track8) and Mine Shaft (*probably - due to the track name* CD1 track12, but could also be CD2 track1).

Hope it helps.

I have also noticed that there are a few cues missing on this bootleg, mostly from the scene with the nukes in the canyon, just after the crash. Not the best cues of the score, but enjoyable ones nonetheless.

Bondo reply Replies: 0 || 2009-05-05 00:00:00
Any ideas what tracks Harry Gregson-Williams worked on?

Ruthlessgravity reply Replies: 0 || 2009-05-05 00:00:00
@ Bondo

Besides writing additional music? Not sure, could be possible that he just wrote filler music - the songs that are like a 40 some seconds long.

DemonStar reply Replies: 0 || 2008-07-17 00:00:00
Great thing that this one has a proper good quality No FX version - IMHO it's one of Zimmer's finest action scores. Now only if The Lion King also gets a similar quality boot... ;D

Sylvos reply Replies: 0 || 2008-07-02 00:00:00
Really good stuff in here. But I think they ran out of creative juice when it came for a tracklisting! hehe

Mikel Carmona S.i.W ( from Spain) reply Replies: 0 || 2008-03-26 00:00:00
You are right, Hybrid Soldier

Hybrid Soldier reply Replies: 0 || 2007-06-21 00:00:00
No, axel...

The theme of Broken Arrow IS in Scream !


;-)

axel reply Replies: 0 || 2007-06-21 00:00:00
It's a good score.
N.B. : The love theme from Scream 2 (theme which is not on the complete score 2 CD composed by Marco Beltrami) is in the score of Broken Arrow !!!

fabien reply Replies: 0 || 2007-02-19 00:00:00
my favorite score. I have searched a lot for it and I'm not disapponted. Many adds by comparison with the commercial score. Amazing !!!

Anonymous reply Replies: 0 || 2006-08-20 00:00:00
Got my hands on this one, awesome to say the least.

Anonymous reply Replies: 0 || 2006-07-26 00:00:00
Yeah you try finding it! :P

Took me a while to get it and I did stumble on it through a friend but that was after I bought it. This CD is laser etched etc. and I got it pretty cheap! =D

Anonymous reply Replies: 0 || 2006-07-25 00:00:00
Wow, you paid money for a bootleg? Crazy nut!

xeriouxi reply Replies: 0 || 2006-07-23 00:00:00
Just bought this... hope that it's the real thing! ^^;

ReddragonAvidFan reply Replies: 0 || 2006-06-18 00:00:00
here's the covers
i made 3 different back for people who like the movie
choose the one u prefer

http://plissken.free.fr/Covers/B/B.htm

ReddragonAvidFan reply Replies: 0 || 2006-06-17 00:00:00
Excellent idea this 2cds

will do a new cover asap!!!
will let u know

Dark reply Replies: 0 || 2006-06-12 00:00:00
this one is a true must-one
excellent quality

S reply Replies: 0 || 2006-06-12 00:00:00
Indeed, this one is the BEST version so far.

But the cover inserts are sooo bad....

Antas, Webmaster reply Replies: 0 || 2006-06-11 00:00:00
yes, the official release contains the main interesting cues fortunately

Sam reply Replies: 0 || 2006-06-11 00:00:00
For me...

There is no difference between Comercial Released and This kind of Bootleg CD...

Antas, Webmaster reply Replies: 0 || 2006-06-11 00:00:00
All tracks are stereo and very good quality :-)

Sylvos reply Replies: 0 || 2006-06-11 00:00:00
Ah... Good old Broken Arrow. Nice find guys! I think you guys at HZ.com have come across a treasure vault of the former Media Ventures compositions, eh? You seem to find more no-fx soundtracks than ever before!

Anyway, don't tell me there are mono tracks in this one like TLK!! ;-)

Angel reply Replies: 0 || 2006-06-11 00:00:00
So there was a complete score afterall...

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Broken Arrow (Complete Score) soundtrack - Hans Zimmer 1996