Music Composed by Hans Zimmer & James Newton Howard
Additional Music by Lorne Balfe Ambient Music Design: Mel Wesson Music Arranged by Henry Jackman Album Produced by Hans Zimmer & James Newton Howard Album Co-Produced by Alex Gibson & Lorne Balfe Soloists: Ryeland Allison, Michael Levine, Heitor Pereira, Satnam Ramgotra & Martin Tillman Synth Programming: Hans Zimmer & Howard Scarr Sequencer Programming: Thomas Broderick, Jacob Shea & Noah Sorota Music Editors: Alex Gibson & Daniel Pinder Assistant Music Editor: Ryan Rubin Technical Score Engineers: Peter "Oso" Snell & Stuart Thomas Technical Assistant: Chris Bacon Digital Instrument Design: Mark Wherry Sample Development: Claudius Brüse, Zain Effendi & Michael Hobe Orchestrators: Bruce Fowler, Jeff Atmajian, Brad Dechter, Elizabeth Finch, Kevin Kaska, Randy Kerber, Suzette Moriarty & Walter Fowler Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Charlotte Matthews Score Coordinator: Becky Bentham Music Preparation: Mark Graham, JoAnn Kane Music Service, Los Angeles, CA & Dakota Music, London, UK
Score Recorded at Air Lyndhurst, London, UK, Remote Control Productions, Santa Monica, CA & James Newton Howard Studios, Inc., Santa Monica, CA
Music Recorded by Geoff Foster Assistant Engineer: Chris Barrett
Music Conducted by Matt Dunkley, Bruce Fowler & Gavin Greenaway Orchestra Leader: Rose Warren-Green
Principal Viola: Peter Late Principal Cello: Anthony Pleeth Principal Bass: Mary Scully Percussion: Frank Ricotti, Gary Kettel & Paul Clarvis Horn: Richard Watkins Trumpet: Maurice Murphy Trombone: Pete Davies Tuba: Owen Slade Synthesizers: Hans Zimmer Piano: James Newton Howard & Simon Chamberlain
Music Production Services: Steven Kofsky Score Mixed by Alan Meyerson Score Mixed at Remote Control Productions, Santa Monica, CA
Additional Recording by Jeff Biggers Assistant Engineers: Katia Lewin & Greg Vines Album Compilation: Daniel Pinder Album Mastered by Louie Teran at Marcussen Mastering Studios Production Coordinator for Hans Zimmer: Andrew Zack Scoring Coordinator for James Newton Howard: Pamela Sollie Studio Manager for Remote Control Productions: Czarina Russell Album Business Affairs: Keith Zajic, Marc Cimino & Lisa Margolis Music Administration for Warner Bros. Pictures: Debi Streeter
Special Thanks: Christopher Nolan, Alan Horn, Jeff Robinov, Kevin McCormick, Greg Silverman, Charles Roven, Emma Thomas, & Thomas Tull
Hans Zimmer would like to thank Tiffany Bordenave, Ben Burfield, Ronni Chasen, Sibylle Engel, Will Greig, Andrew Kawczynski, Allie Lee, Christina Mansky, Tom Rann, Jeff Sanderson, Adam Schmidt, Shalini Singh, Chris Strong & Dr. Helge Topka. Special thanks to Suzanne Zimmer & the mini Z's, Zoe Zimmer & Brigitte Zimmer
James Newton Howard would like to thank: Annica Ackerman, Anouk Ackerman, Jackson & Hayden Howard
Hans Zimmer & James Newton Howard would like to thank: Christopher Nolan, Emma Thomas, Charles Roven, Lee Smith, Chris Barrett, Becky Bentham, Alison Burton & the staff at Air Studios, Phil Cirocco, Fiona Cruickshank, Ramin Djawadi, Geoff Foster, Doug Frank, Michael Gorfaine, Isobel Griffiths, Urs Heckmann, Richard King, Steven Kofsky, Abbie Lister, Lisa Margolis, & Sam Schwartz
Thanks: Rebecca Aguilar, Carter Armstrong, Ivona Belda, Maria Belli, Joseph Bille, Lor Blackstone, David Blaikley, Candace Carlo, Suzi Civita, Stephanie Comfort, Patti Connolly, Pamela Cresant, Kevin Delanoy, Suzanne Fritz, Diane Gascoigne, Kerrylyn Genetive, Jordan Goldberg, Danny Gould, Eileen Hale, David Hall, Dirk Hebert, Darren Higman, Carla Holt, Jay Hughen, Natalia Jacke, Gita Jackson, Ernie Johnston, Sue Kroll, Melisa Levine, Kris Little, Kathy Malloy, Nigel McCorry, Kari Miazek, Kristin Moffett, Melissa Musson, Joe Palmer, Keren Poznansky, Xavier Ramos, Kari Rohr, Susan Shapiro, Niki Sherrod, Jennifer Sink, Jodi Tack, Shane Thompson, Bobby Thornburg, Michele Wilcox & James Wood
Release date : 07/15/2008
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Hans Zimmer said that this style of music has been copied over the last few years and so it was time for something new - Interstellar. Anyway, can some of you call any movie score where you can hear these similarities or where even his music style has been copied? Thank you!
You for real? You know how many composers copied Inception?
All of them. Literally every single one.
Oblivion Tron Legacy Elysium District9 Transformers 1,2,3 Unstoppable Captain Phillips Dracula (tv show) X-Men Days of Future Past and countless advertising and trailer cues just to name a few...
Yeah, uhh....that list is not 100% accurate
District 9, Transformers 1 & 2, and TRON: Legacy (somewhat) all predate Inception. TRON I say somewhat because Daft Punk had been working on the score for how many years before the film opened, 3? I mean the first trailer (released in March 2010, 4 months before Inception) even contained music from the film.
What forum are we on right now? Inception? No, Dark Knight. I included it with Inception here and the Transformer scores are 100% dark knight rip offs. The main theme to district 9 is also dark knight heavy. And even though daft punks music was in the trailer for tron, inceptions score was already done at that point. Tron was released 5 months after inception, coincidence? I think not. Joseph Trapanese orchestrated tron and just like oblivion he took those themes and inception'd and dark knight'd the hell outta them. Hell Zimmer is even listed as a music consultant on the tron forum on this site.
Thank you guys! I also thought of Transformers, Obliviion and TRON. These movies sound very like Zimmer. I will give the other ones a listen. Are there further recommendations? Btw. who was first, the trailer music for Inception 'Mind Heist' or Steve Jablonsky with 'It's Our Fight' from Transformers 3?
I'm Not a Hero ... it's amazing how, using only score in the sound of a mantle that flutters in the wind, HZ has managed to encapsulate the essence of Batman ... heroic song and triumphant, despite the title.
Hybrid, at the 0:46 mark in the track "Always a Catch", there's a cue totally unused in the movie. I don't believe it's on the complete score either. Was in gonna be used, or did Zimmer just include it to flesh out the track?
It's 3m24 v7 in Batman Begins. I could swear it's used in TDK
I've seen this movie countless times and don't remember hearing that particular cue in any of it. Where do you think you heard it, //////? Because I could be wrong.
I could be wrong as well, but like I said - I could swear I've heard it in the film. And I JUST watched TDK 2 days ago after receiving TDK Trilogy UCE in the mail. I too have seen the film countless times. And I'm picturing a million scenes in which it could be heard, but I got nothing. It's gonna bug the shit out of me until I figure it out
Its An unused cue. Check out the complete score and its named "Dirty Cash". The dude with the ////// its right is used in batman begins when bruce met fox for the first time. But they only use the first part of that cue
Wow, you know what? You're right. It is indeed "Dirty Cash". For some reason I thought that cue was something different. Guess there's anonymous' answer.. It was a JNH cue, I see. I guess it would have been used right after the "Buyer Beware" scene? Wonder why they removed/didn't use it.
Yeah, I guess it was suppose to be in the scene where gordon and batman met to talk about the "dirty cash" after joker's robbery
Same with "Halfway to Hong Kong" in the complete score, its unused. It was supposed to be the scene when harvey, gordon and batman reunited. I dont if that last thing was writed right
the fact that the pencil trick in the movie, released a big laugh in the cinema, deeply disturbed me. you can argue with this thing endlessly but personally I think that in this movie the joker is not funny in any possible way. I am familiar with the notion of morbid jokes, I know Mr Tarantino. I mean that's point of the movie and that's point of this character. that's why it was so unusual as a summer blocbuster. that's the point of the Chris Nolan machine. he really pushed the music. even the sound design is really brutal in this scenes. but in the movie, if you watch it with people, they laugh when the joker comes. his family stories, the pencil trick, the party crash, everything becomes a big-funny-family-friday-night moment. my mind is simply unable to understand this. and then, 4 years later Mr Holmes comes in and suddenly the hole-wide-world saying that these movies should be burned in hell with their directors. I truly hope Nolan comes in with full bore seriousness in Interstellar. like in TDK. I do realize that there are jokes in TDK at some point...
You know laughing can be considered a defense mechanism... ...just saying...
No offense intended, but why is this on a page about the film's music?
usually when you hear a summer action sequel score, you almost hear the stupid jokes flying in the movie. the first minute of why so serious is not funny and basically that's his signature. this is not about the stupid fucking annoying attitude like: ohh oscar for Zimmer and Howard!! but shit, it's not yust an oscar worthy performance from Ledger, it's simply a world class presentation of a villain. that includes everything in filmmaking terms, so it's also about who did the score and how they manipulated the audience. music is important to Nolan, so it seems no matter how hard you push the score, people will laugh.
I do see your point matt i was kinda upset about that myself. But in terms of what this page is about the film music is good
Look, Mat go to nolanfans forum page and crap there, this is a zimmer page ;)
The heroic take on the Dark Knight theme found in "Like a Dog Chasing Cars": was that ever intended to be used in the movie and if so, where would it have played?
To be clear with people who, for years, have wanted this track to be some sort of unused car chase cue, it's NOT.
It's simply a theme suite ! It was never meant to be used like that in the film. From that suite is derived "Introduce A Little Anarchy" (aka Storming Pruitt Building).
I've never seen anyone asking where Why So Serious? or A Dark Knight would be in the movie... Why Like A Dog then ? ;)
Okay, danke. As for why people want it to be in the movie, well...I think perhaps it's because the rest of the score sounds so dark while that cue sounds, comparatively, so heroic. It seems like a theme that would play during some giant action scene. Just my two cents.
And for the short story, it was tracked again in TDKR, in the "Batman Chased" scene, it was even written (don't know if it was recorded though). But they replaced the heroic segment by something else (which is cool too, but I'd have prefered the other one :P) !
By "something else" I assume you mean the theme in Imagine the Fire, Risen From Darkness, and The Shadows Betray You?
Yeah, 1:37 to 1:55 of Batman Chased, it would have been there. :)
I would have preferred the original, too, but props to Zimmer, Nolan, and co. The music they used still made the scene really awesome.
What's so frustrating to me is to see Hans write these amazing theme suites, and then seeing them dumped in favor of repeated segments of music in specific scenes. It's not a huge problem in TDK, although the ending could have been better. I mean, the last section of A Dark Knight would have worked perfectly for the very end of the movie rather than having the "Barbastella" theme again. Introduce A Little Anarchy and the other segments of the Pruitt Building scene follow the structure of "Train Fight" from BB.
But it hurts the TDKR score, for me. Seriously, the latter half of the score feels like a rough draft. You have all of Bane's music, sure. But then you have music from BB and TDK formulaically filling in the empty spaces, when they had the "Moody Bruce" suites ( consider the fact that we haven't heard the eight minute "transfiguration" suite) just sitting there mostly unused.
I have no idea if this was just Nolan not wanting to use all the new music (he implies it in an interview) or a conscious choice from Hans, Lorne, and Chris. It doesn't matter, I suppose. But what a shame to hear so much unused (and great) music in the suites.
With regard to repetition, I noticed that a lot in the score for On Stranger Tides as well. They re-used so many cues in that movie, even the Davy Jones theme at one point!
Which why I truly believe Mr. Zimmer needs a break. Though I love his scores, they have been getting repetitive and a little vacation for a year or two couldn't hurt.
@Mike: it was truly appalling in OST. Beckett's theme used for Barbossa?! The less said about that score, the better lol.
@uga2: I completely agree. I don't really think he's losing it, but he definitely spreads himself too thin. I mean, look at his schedule. He's got at least four projects coming up! Man of Steel, Mr. Morgan's Last Love, Rush, and Winter's Tales.
I'm not a John Williams lover and a Zimmer hater; I often prefer Zimmer over Williams. But, Williams is really good at the re-using of themes. He does it subtly and occasionally. Many composers could learn from him in that respect.
The cue in question came very close in the Ferrari scene, if I can remember correctly, and I felt that The Pruitt scene cue was meant to reprise the Batman Theme Heroic, thanks to the Official soundtrack sequencing..
You used the perfect word: occasionally. Truthfully, I got tired of hearing the end credits theme in TDKR. Too much of a good thing... But I honestly think Hans can handle a sequel pretty well. Which goes back to the theme suites. They show the great ideas Hans can come up with.
The end credits theme was used a bit too much, but I don't think anyone can deny it: it made Batman's first appearance on the Batpod very epic.
A prime example of Zimmer doing well on a sequel is POTC 3. That was full of new and complex material.
Yes, POTC3 was my favorite of his pirate scores. He reinvented the love theme and created some new ones, he didn't go overboard when it came to reusing anything either. I think that's what I expected to happen in TDKR, but sadly not, however I still enjoyed it nonetheless. I'm hoping if they do a third Sherlock Holmes movie and he comes back as composer that he will do more new stuff and not have to reuse too many things from the previous. It's very rare you see a breath of fresh air zimmer score these days. I think the last one for me was Inception.
Admittedly, I haven't heard much of this one, but from what I have heard, I think Madagascar 3 was pretty good where making new music is concerned.
"Though I love his scores, they have been getting repetitive and a little vacation for a year or two couldn't hurt."
Zimmer is always contradicting himself. He said a couple of years ago he was retiring. Still hasn't happened.
What you guys don't get when you say "HZ needs a break" is that POTC 4 was a mess, and the heavy (ridiculous) temptrack was the director's choice, and Hans had to drop a lot of great ideas.
If you're saying, Hybrid, that we're blaming this on Zimmer--I'm not. I know for the Dark Knight movies that the repetition of cues was in large part Chris Nolan's fault. I remember in the booklet that came with the 2 CD Dark Knight score, Chris said how Hans and James insisted on new themes rather than just having them re-use old ones. It wouldn't surprise me if On Stranger Tides were the same way.
@Mike: yeah, indeed. Nobody speaks about Madagascar 3 on this board, but this score is the proof that Hans still can manage a VERY good sequel. So many new themes, new ideas. The score for Madagascar 3 was simply awesome.
Not to go back to Pirates 4, but I've got a question that maybe you can answer Hybrid. You said Zimmer had to throw out a lot of ideas in place for a bunch of music that originated from temp tracks...Do you know if there was actually any music written or even orchestrated from these ideas?
I ask because there are a couple special features I've seen on YouTube that have music that both sounds like Pirates as well as an imitation of Pirates. Bits and pieces of it sound like an 'inversion' of the "He's A Pirate" theme. A similar sample of the music could be heard in the film's website when it came out.
Nope I don't think so. Demo stuff.
"What you guys don't get when you say "HZ needs a break" is that POTC 4 was a mess, and the heavy (ridiculous) temptrack was the director's choice, and Hans had to drop a lot of great ideas."
I wish reviewers of soundtrack sites like Filmtracks knew details like this, instead of just bashing Zimmer.
They don't care knowing, they don't even ask...
Filmtracks is waaaaay to harsh on Zimmer scores. I don't give it the time of day lol.
Filmtracks is either ridiculously biased or has extremely pretentious and illogical taste.
I think the second. They did give a positive review to Crimson Tide.
Both. If it isn't John Williams, they do not wish to know. (A slight generalization but you get the idea)
They are very biased toward Mr. Williams. lol.
It's not exactly a question of "pro" or "against" or Williams or anything. The most annoying is that he generally doesn't know the facts, and presents what he thinks as facts.
He'd be an awful scientist, taking hypotheses as facts lol
As a Filmtracks regular, this sort of bashing always slightly gets on my nerves, so I thought I'd say something: first, Hybrid, you're absolutely right that he likes to present his thoughts or assumptions as facts, one of the few issues I have with Clemmensen as a writer. But to assume that he's "biased" towards John Williams or against Zimmer or whatever is just silly; isn't the whole point of a review to state what you think of a score? Bias would be if he actually thought, say, The Dark Knight Rises score WAS good but wrote a bad review of it anyway. But as it is he's just writing what he thinks, and there's nothing wrong with that. There are plenty of other positive Zimmer reviews at Filmtracks - and though I'd definitely not be as harsh as him on things like the Batman and Pirates scores, I can at least understand his viewpoint, even if I don't agree with him (personally, I think At World's End is one of Zimmer and co.'s best scores).
But when I read things like "if it isn't John Williams, they do not wish to know" I do wonder whether that person has actually read more than a dozen or so Filmtracks reviews. And you have to admit that Williams has written more "famous" themes than probably the rest of the film composers put together.
@Edmund: You're absolutely right about one thing, there's nothing wrong with him giving his opinion. In the words of the great critic, Roger Ebert, "no one can be wrong about their own opinion." That then comes down to whether you trust his taste. I have no problem with seeing a critic give a negative "score" to something I love. In fact it intrigues me. That's the whole point of criticism. But what happens with Clemmenson is that he brings up ridiculous and illogical points when he bashes certain Hans Zimmer's scores (you know the ones I'm talking about). In fact, he has often implied that the score is not that bad, even enjoyable, but he just can't bring himself to like it. You judge for yourself whether that's good criticism. I sincerely believe he prefers to write negative reviews when it comes to RCP scores. He follows traditions more than the premise of a score when criticizing. He seeks what he wants to find in a score and nothing more. He lets popularity and a composer's PR track record influence his opinion strongly. I do not believe for a second that he goes into every score with an open mind. If a score sticks to his rules, he'll like it. If not, he won't. You judge whether his rules agree with you. You know what they are.
I'd like to say one last thing because this always comes up in these conversations. I fell in love with film music because of John Williams. I'm fond of many of his scores. It personally doesn't matter much to me how many of his themes are popular. It's exciting when a theme gains popularity like so many of John Williams'. But there are too many good scores that receive little attention that I started to not care which ones are popular and which ones are not.
And my very last comment. I prefer your reviews to Clemmenson's.
After all the hoopla and price-gouging of the Movie Masters Joker fiurge comes the REAL DEAL, a right aerial's item. The Movie Masters Joker is cool in its own right, but this 1/6 scale DC Preside over Joker blows it out of the water. $89 is no pocket change but then over again, one must pay $40-$50 at eBay to get the Movie Masters Joker if they can't find it in stores, which is usually the case. And I'm no expert on action fiurge values, but I don't reckon one must be to conclude that this DC Preside over Joker will end up life a lot more valuable in the prospect than the Movie Masters Joker. In terms of detail, there is simply no comparison. This Joker even has real shoelaces, and his clothes are of a high-quality fabric. There are many cool extras accessories like a gun, knife and playing cards. I just watched the trailer for The Dark Knight over again and I'm amazed as to how this fiurge looks exactly like Heath Ledger's Joker. As tempting as it is to take it out of the box, I'd strongly recommend not doing so and keeping it mint. The accessories can be lost pretty easily as they're so small and besides, a fiurge of this value is probably better off not opened anyway (it can be very proudly showed inside the box due to the brilliant packaging). All in all, a splendid for any fan of The Batman franchise/Joker/Heath Ledger.
It was some time ago, i read an interview in which Nolan said talked about Hans Zimmer! Something like: There's no one other than Hans Zimmer that defines music like this.... I want to read this interview again, but can't find it on the internet! So if anyone nows what i mean !!!PLEASE!!! give me the link!
Anyone seen the second trailer yet? What's interesting is that Zimmer inserted the Joker theme in one part and we hear the chant again with percussion added to it. I'm very excited for this score. It'll be interesting to see what Zimmer comes up with for Catwoman/Selina.
Ya I saw it in front of Sherlock Friday night. At which part can you hear it?
The Joker's music is heard while Selina is talking to Bruce at the ball, and the chant with synth percussion is heard at the end before the logo appears.
I couldn't find anyone knowing if JNH is in or not... Even Lorne Balfe & Stu Thomas, at this point, couldn't answer me...
The only sure thing is that HZ started working on the score a couple of months back (Mel Wesson providing Ambient Music Design :)).
Hans did that "A Dark Knight" atmospheric reprise you can hear in the trailer... And the very few seconds of the trailer contain a weird cue, that was on the film website some time ago, also by HZ (some Bane idea ?) !
Thanks for looking in on this, Hybrid. It's hard to imagine a Batman score without JNH's beautiful and elegant theme input, but I'm confident Hans Zimmer will blow us away no matter what.
I had a hunch that the "chanting" was something for Bane. It's certainly an interesting idea. I like it though; it's chilling in the teaser.
Hybrid is there any way for us "average" people to get complete or additional musics to movies like sherlock holmes and inception?
There is ABSOLUTELY NO WAY that a new score, the soundtrack for TDKRises, will be NEARLY AS SUCCESSFUL AS were the previous ones, unless JNH is back for it (along with HZ and the rest of the 'crew' of Batman soundtracks).
Yes, maybe it can be done, a new score without JNH, and it might be a nice and cool one, powerful even, but THERE IS A VERY GOOD CHANCE IT WONT BE ABLE TO HELP the movie like the two previous scores.
Because it was them, TOGETHER (along with Lorne Balfe and a whole lot other musicians), that the previous ones were made, so Hans Zimmer and James Newton Howard MUST MEET AGAIN IF WILLING TO ACHIEVE A SOUND-PERFECTION score, in and out of the movie, similar to the work of the previous ones. Because also, after all, it was that BLEND OF DIVERSITY and the mix of THOSE different talents that created this unprecedented love of people for those Batman soundtracks.
Please dear administrators and loving fans of BB and TDK scores, make whatever is possible to spread the message out: WE, THE FANS OF THIS MUSIC, NEED AND WANT THE NEXT BATMAN SCORE TO BE MADE FROM THE SAME SUCCESSFULL AND TALENTED PEOPLE. NOT SOME NEW COMPOSERS AND NOT SOME RANDOM, UP-AND-COMING MUSICIANS.
Btw .. if u saw the teaser trailer for The Dark Knight Rises .. U Can See in the Credits that Hans Zimmer WILL Be the one to compose the music .. and u can actually here the music heard in the site at the end of the teaser .. So rest assured .. The Soundtrack will be Awesome :)
Dear JBourne, it's not about the music being good, or 'awesome' as you claim, or anything else.. IT'S ABOUT FUNCTION, FIRSTLY, (being good in the movie, help and enhance director’s vision) AS WELL AS FASHION (being able to be heard and be likable to the fans, without the movie).
If you were a musician or knew anything about the way film composing works, you would already have known that since the soundtrack for THOSE BATMAN MOVIES worked not only once but twice, it could definitely work for a third or a fourth film and be AN EQUALLY SUCCESSFUL one, IF ONLY ONE PARAMETER WERE TO BE KEPT THE SAME (STEADY): the recipe, the formula, BEING THE SAME. And by that of course, I mean its core, the ideas and sounds of the original creators of the first two Batman scores. Otherwise, yes, the new soundtrack it might sound good and do well in the movie, but it most probably won’t be like the Batman scores we already have heard from the previous two soundtracks.. But that’s another question, for a different topic, whether or not fans WOULD OR COULD LIKE a new approach of the Batman score in the next Chris Nolan’s movie..
By the way, thank you, but it has been common knowledge for quite a few months now that HZ was going to compose music for the next Batman film.. ; -)
You cannot imagine what I would give right now and how much I wish for it, one year from now, to be asking you for an apology. But, believe me, it would disappoint me even more, to hear a less interesting BATMAN-STYLE-SOUNDTRACK, than the previous ones. But you already know the answer in order for that ‘awesomeness’ to happen again: Zimmerish sounds MIXED TOGETHER WITH JNHoward’s sounds (and of course other composers of the RCProductions in minor roles, i.e. Mel Wesson, Heitor Pereira, Martin Tillman and others).
bruceV Couldn't Agree more .. I dunno if Zimmer is Gonna Deliver us with a Another Score as Good as the ones Before it .. I Do however know for a Fact .. that for the past couple of years, he's been trying new things .. like the Theme He Used for the Joker .. And Look what he came up with in Sherlock Holmes .. So I Guess I Can Safely Say that Something about the Soundtrack will be Surprising And Yet Beautiful ..
Can't Believe Tho its still a year far from happening :( ..
The year will go quickly and The Dark Knight Rises will be here before we know it. And I don't know if James Newton Howard isn't returning, but isn't it all up to Christopher Nolan? I may be wrong I don't know much, but that's the way I see it...
james N howard has the coice to opt out if he wants. its not all up to nolan
Well of course he can drop drop out if he wants, but what I meant was that it's possible Nolan wants just Hans on this one. Afterall, looked what he did with Nolan's last film, Which was Inception. Amazing score. But I really hope James will be on board.
A little over a year ago I stumbled acoss a piece of music that was unmistakeably a work by HZ & JNH and it was entitled 'A Bank Robbery' yet it was not the same piece as The Bank Robbery on the film's official score. It opens with heavy percussion and staccato strings and has a powerful middle section in which there is a reverb-laden female's vocals before an epic reprise of a progression extremely similar to the piece I keep finding on mp3 hosting sites called 'preview' which is a piano-based theme with descending minor scale. I NEED TO KNOW WHAT IT IS. It does not feature on either disc 1 or 2 of TDK. Upon download, it had The Dark Knight artwork but I understand that may have been misleading.
PLEASE HELP GUYS, THIS PIECE BLEW MY FUCKING MIND.
I think Hybrid is the right man to answer, but I don't think there are ANY vocals on the score whatsoever. I could be wrong, but I don't recall anything. There's nothing on the complete score. There's not even anything on Batman Begins. At least I don't think so....
I think the only vocals in either were the cues after Bruce's parent's death (Mugging Part 2, Courthouse Part 1, ect). But even so, those are the ONLY occurrences.
Personally I'm not much of a fan of vocals in action scores, but that's a whole different discussion entirely.
@ Nick thats probably "Why so serious" crystal method remix. and it iss on disc 2, it has synth vocals, but is not part of the score, so you probably didn't listen to the whole thing, I'd understand
@Dakota HansZimmerMusic tweeted this link Friday: h t t p://www.thedarkknightrises.com/ , which is basically just a blank black screen with a wav. file of some kind of chanting playing in the background. The whole 'secret message' was that if you looked at the actual wav file itself in an audio program, you would see the phrase "#TheFireRises" repeatedly written in the spectral view. Then, if you tweeted "#TheFireRises", you would have access to the Bane image. That last part never worked for me when I tried it, though.
Sorry my bad, thought I replied to the thread below with that.