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Edmund - given the rationality you've displayed in your comments, I'm disappointed Goldsmith isn't in your top three. ;)<br><br>In all seriousness, I'd put money on Powell fucking nailing the integration of Williams's theme. While Giacchino did a solid job on Jurassic World and Rogue One (I tend to think my assessment of the latter is a bit more positive than most), frankly I just think Powell is a far better composer - a genuine A-level guy, whereas Giacchino is moreso very competent without that spark of pure talent seen in Williams, Goldsmith, Elfman, Zimmer etcI think it's worth noting that Zimmer's popularity at this point is largely under his direct control - meaning that if he were to decide to stop touring, go back to writing full-time, and return to his 'epic' thematic style, I think we'd see a surge in his popularity of the sort we saw from Batman Begins through til Interstellar. However, I just don't think he's interested, which is totally his right.<br><br>I certainly agree that the RCP proteges at this point are, frankly, shit compared to how they used to be. I mean, even a guy like Steve Mazzaro (who I genuinely like and who wrote some of the coolest cues in Chappie, and basically co-wrote BvS - a score I actually like) just utterly pales in comparison to the Powell era.<br><br>Actually, I have to take that back a bit; Wallfisch is a very, very talented guy, honestly so much better than someone like Junkie that I weirdly tend to forget he's under the RCP roof now.@HunterTech<br><br>"I only get annoyed when people decide he's suddenly the most amazing thing ever, which he really isn't. Even on his most competent scores, it's unlikely many would recognize him as one of the greats. Respect him, sure, but not think he's out of this world."<br><br>Exactly. Hans, for all the criticism he gets (much of it for good reason), has written some of the best film music of all time (seriously, having listened to huge amounts of Williams and Goldsmith, I still find Science & Religion my favorite cue ever). On the other hand, Lorne has written innumerable adequate-to-good scores, but none that I can recall are iconic. I'd say the closest he's come is in the form of his contributions to some of Zimmer's work (personally, I think his Kick It theme is the most interesting of those in Inception), but even then he hasn't done anything as memorable as Djawadi's theme from Batman Begins.Michael - reread the second half of my previous comment. And no, I don't think Genius or Churchill are no good; I wasn't impressed by the second, to be honest, but Genius is really cool - like an updated version of Frost/Nixon, one of my very favorite Zimmer/RCP scores.<br><br>Edmund - much appreciated.<br><br>Overall, I too am baffled by many of these comments; clearly there is a middle ground between "Lorne is shit." and "Lorne is absolutely amazing.", but this seems to be missed.<br><br>And by the way, I'm actually super happy for Lorne's success - I think he deserves it given the quality and quantity of his work, and he seems like a super nice guy to boot (how many composers regularly respond to people on Facebook?). However, this doesn't mean I can't simultaneously point out the fact that much of his work is very, very similar to work he's done previously. Indeed, I think this is more of an issue for Lorne than Hans, perhaps because he takes on sooooooo many projects.I agree. His Justice League theme is just a deconstruct of his Batman theme. Clever, yeah sure - he's done similar things with the Men In Black sequels and I'm sure there's others I can't think of right now - but I personally dont consider Elfman's involvement in this new DCEU to be very welcome. Zimmer paints a different canvas than Elfman, and I love both their works.
It was a missed opportunity.<br>Yeah... I'm not sure about Elfman's wave. The guy decided to bring back his old Batman theme instead of actually writing a new one. He has to re-invent himself. <br>Seven with ZimmerYeah, Silvestri, Newman, Goldenthal and JNH too. The six most popular "new" composers, along with Horner, of the  80's and 90's.I saw a few clips from the movie on youtube. The score sounded really good. Very unlike Djawadi and very beautiful fantasy music! Can't wait
I saw a few clips from the movie on youtube. The score sounded really good. Very unlike Djawadi and very beautiful fantasy music! Can't waitHonestly, I do feel bad for Elfman, because for Chrissakes hes been doing 50 Shades of Grey these days, and the last memorable scores I have of him are from 2012. But I don't think Zimmer or even Elfman for that matter are done as yet. I predict by the end of this decade Zimmer will have a new wave in popularity wash in. I'm just waiting for Elfman's wave right now...not quite seeing it yet.Glad you caught it Rockhound. Think the others were too wound up to notice !!i was trying to be funny.Pete you are funny, although u demand from others to talk about the actual soundtrack from this page, you start to talk also about another soundtrack. but ok.... i think Forgotten is a very boring track and adds nothing to the actual scene. a variation of his theme from the track Hero would have been much more intense for the ending. sadly we got 9 boring minutes of thematic development and instrumentation. Lorne can do much better as the track Hero from the same soundtrack shows.Zimmer got X-Men: Dark Phoenix this year. And I have a hard time believing he is only scoring that film this year. Zimmer always does more than 1 film a year.
No need for petty cursing .<br><br>We can discuss the soundtrack instead ! <br><br>Forgotten is cool track.Itís definitely one of Bayís best movies. Wish he would make more drama based film obvious with some action. Canít cope with more robots ! The ending of the film is so emotional and this track gave goosebumps at the end. Did sound very similar to the end of The Last Knight"Boring . Talk about the actual soundtrack or change the subject."<br><br>Ok, so someone else gets us on this topic, an arguement occurs, and NOW, only when you've realized you're losing the arguement, do you decide that this page is only for 12 strong. Which it's not. This is a forum we talk about whatever we want here.<br><br>But what a childish and pathetic attempt at avoiding our points. Just dismissively saying "Boring! Change the subject! My ears can't handle this criticism!!! Wah, wah, wah!" I guarantee you the next step after this is going to be petty cursing.Boring . Talk about the actual soundtrack or change the subjectUpset about success? Sounds like someone doesn't know a thing about reasonable criticism. :p<br><br>If anyone likes Balfe, then good on them. I only get annoyed when people decide he's suddenly the most amazing thing ever, which he really isn't. Even on his most competent scores, it's unlikely many would recognize him as one of the greats. Respect him, sure, but not think he's out of this world. Especially if people are still gonna be excited about hearing the work of someone else when a different person is hired (i.e. what JL might've been).Can we please change the subject !!!!!!!!it is so boring now.This page is ment to be about the sound track to 12 Strong
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Composer - Musician : Synthesizer
Hans ZimmerLorne BalfeAtli ÷rvarssonGeoff Zanelli
ComposerAdditional MusicAdditional MusicAdditional Music
Angels & Demons
Label: Sony Classics
Length: 54'17
HZimmer.com 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   3/5 (40113 votes)
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  1. 160 BPM (6:42)
    Hans Zimmer
  2. God Particle (5:20)
    Hans Zimmer, Lorne Balfe, Atli ÷rvarsson, Mel Wesson
  3. Air (9:08)
    Hans Zimmer, Lorne Balfe, Atli ÷rvarsson, Geoff Zanelli, Mel Wesson
  4. Fire (6:51)
    Hans Zimmer, Lorne Balfe
  5. Black Smoke (5:45)
    Hans Zimmer, Lorne Balfe, Mel Wesson
  6. Science And Religion (12:27)
    Hans Zimmer
  7. Immolation (3:38)
    Hans Zimmer, Lorne Balfe
  8. Election By Adoration (2:12)
    Hans Zimmer, Nick Glennie-Smith
  9. 503 (2:14)
    Hans Zimmer, Lorne Balfe
  10. Bonus Track : H2O (1:51)
    Hans Zimmer, Lorne Balfe, Atli ÷rvarsson
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Kerem KOBUL reply Replies: 0 || 2009-07-16 00:00:00
To be honest so far i thought that even Zimmer has been repeating himself in his works for a while; every soundtrack resembled one another and you could feel the motives of Badelt, Doyle etc. in various scores. Furthermore, I wouldn't expect there would be another original, authentic, unique score like the last samurai, gladiator or as good as it gets soundtracks, I was even disappointed by the score of da vinci code. However, this work has got the privilege of being one of your masterpieces, Hans, great job, well done. Last but not least, THANK YOU for producing sucha good work.

Anon-Y-Mous reply Replies: 0 || 2009-07-15 00:00:00
Film order edit:
1. Main titles
2. Antimatter
3. Sealing Conclave
4. To Raphael's Tomb
5. Air
6. Fire
7. Cross Rome
8. The Illuminati Church
9. The Camerlengo's Destiny
10. Election By Adoration
11. The Cross Keys
12. Immolation
13. The Last Preferiti
15. End Credits (I60 BPM)

Anonymous reply Replies: 0 || 2009-07-13 00:00:00
My theory about all this : Before hans wrote around 90-100 % of his soundtracks, and 90 % of his arrangements. Thin Red Line for instance , was completely hans, thats the true hans. All the melanesian chants are arranged by klaus Badelt. The rest of the orchestral dramatic score is 100 % Zimmer.


Same thing for Rain man, crimson tide, backdraft, lion king , peacemaker, as good as it gets, its true hans. Even if for lion king , in the movie you can hear 1 or 2 tracks that are clearly not hans but more Nick glennie smith ( and these are the LESS interesting tracks by the way, go figure.. :) )

For me, one of the last Zimmer solo effort in recent years is Gladiator. It was the last Zimmer soundtrack to be composed almost entirely by him. Progeny, The battle, Earth, honor him.. its all Zimmer. The result is a great soundtrack , one of his most famous soundtrack... go figure ;)

Oh no , I dont mean Zimmer is less good nowadays, it's still great. But the method changed. Zimmer writes big suites, from fifteen to fifty minutes long, where he develops all the themes, with detailed arrangements. Then he gives these suites to his additionnal writers and they "apply" the themes on one particular scene of the movie.
Then he gives lot of directions on how one cue must sound, express, etc... He's not laying on santa monica beach while his ghost writers work hard in a deep cave :D

This is an interesting method, and after all , it's still Zimmer writing, zimmer point of view. When i hear henry jackman solo score, atli orvarsson Babylon A.D, man I think it sounds good but that it lacks something. It lacks a personal voice, it lacks a memorable melody ( can you sing a melody in babylon AD ? )
So all this to say Zimmer scores are still Zimmer. It's just a little less personal than it was in the beginning of his career.

Pridelander/Miya reply Replies: 0 || 2009-07-13 00:00:00
I didn't intend to participate this kind of discussion (it occurs everywhere and never ends!) but just one thing to say...

>no name
>My theory is that he writes main theme(s) and says: "Ok boys/girls - you'll do the rest". Just check Simpsons or Holiday tracklist.

Multiple people credited doesn't always mean Zimmer worked less, I believe. From what I've heard (in Zimmer's interviews or Casi Divas director's blog, The Weather Man making video, etc.), his process, at least on projects like The Holiday, is more teamwork-oriented, or "rock band" type process. He gathers musicians (instrumentalists, vocalists, fellow composers) in his room, and they "jam" his tunes, improvise, give ideas and opinions, and discuss together.

Is this kind of process wrong? I don't think so. I even think he couldn't create something like The Holiday without other musicians... What I love about this score is, that it feels like I'm in a room filled with musicians. Isn't it great? :)

Of course projects like Pirates 1 must be different. I don't know about Simpsons, which I don't have. But I just wanted to say many names in credits doesn't mean bad quality.

Bettmusicmaker reply Replies: 0 || 2009-07-13 00:00:00
I love the music. I don't care who wrote how much ... it's awesome!

I came to this site to find out about the lyrics, especially for 160 BPM. It seems like others are wondering, too. So, I went to my sources in the music industry and learned that this is a real choir -- no synthesizer! It's the Los Angeles Master Chorale. Apparently they are not listed on the CD jacket due to licensing issues. (I don't think anyone understands how Hollywood works!)

I've been told that the text is Latin (as expected). My sources are working on getting the actual text; once I have that information I will post it here for others.

DemonStar reply Replies: 0 || 2009-07-12 00:00:00
He wrote around 4 hours of music for Lion King too, I remember. Only about 65 min was used in the final film. The man's really hard working, hehe.

no name reply Replies: 0 || 2009-07-12 00:00:00
@DemonStar

That's my point. He was hard working man. Now it seems that he prefers to others do his job.

@Adrian
There is hope
http://www.petitiononline.com/ttrlcut/petition.html

maybe with film they will release 5/6 CD complete score:)

DemonStar reply Replies: 0 || 2009-07-12 00:00:00
Well, he still does most of the job and the RC people "polish" it a bit and provide a few additional cues.

no name reply Replies: 0 || 2009-07-12 00:00:00
My theory is that he writes main theme(s) and says: "Ok boys/girls - you'll do the rest". Just check Simpsons or Holiday tracklist.

DemonStar reply Replies: 0 || 2009-07-12 00:00:00
I think he gives credit to whoever worked on the tracks with him. Doesn't mean he wasn't involved.

Adrian reply Replies: 0 || 2009-07-12 00:00:00
Don't record companies they can make millions if they're going to release ''complete directoral box sets'' or whatever a promotion bureau thinks of it?

and yes, i heard more of the theory that you're talking about... more like a supervising composer.
but, i still like his work a lot! i dont mind how many people are involved, as long they are credited or when it sounds very very good :P

Adrian reply Replies: 0 || 2009-07-11 00:00:00
That is a lot... I heard he also wrote 5 hours for BHD, but I do think that his students have contributed a lot on Prince of Egypt/ Thin red Line. But that's just me, perhaps you're right.. Perhaps I am, we will never know for sure. Or they will have to release a complete score someday someway hehe

no name reply Replies: 0 || 2009-07-11 00:00:00
No 100% but I bet over 85% (Hans wrote over 6 hrs of music for TRL).

Skyler reply Replies: 0 || 2009-07-10 00:00:00
"As a young student of art, Langdon had wondered how single artists could create so *much* work in their lifetimes. Later he learned, much to his disappointment, that famous artists actually created very little of their own work. They ran studios where they trained young artists to carry out their designs. Sculptors like Bernini created miniatures in clay and hired others to enlarge them into marble. Langdon knew that if Bernini had been required to *personally* complete all of his commissions, he would still be working today."
- Angels & Demons, chapter 84

no name reply Replies: 0 || 2009-07-10 00:00:00
I don't hate Hans or any other composer. I love his work. But I don't like his politics to use others work.

Adrian reply Replies: 0 || 2009-07-10 00:00:00
''No name'' read what Skyler quoted.

I Love You Hans reply Replies: 0 || 2009-07-10 00:00:00
Adrian I completely agree with you.

no name reply Replies: 0 || 2009-07-10 00:00:00
I prefer one great album a year than 6 medium. Look what Hans did in 1998 - Thin Red Line and Prince of Egypt - 2 absolutely stunning scores. I just prefer quality over quantity. But i can understand that he want's to help his students - although I don't like it.

Adrian reply Replies: 0 || 2009-07-10 00:00:00
Thanks I Love You Hans :)

No name, do you think The thin red Line or the Prince of Egypt are 100% Hans?
Guess again :)

no name reply Replies: 0 || 2009-07-09 00:00:00
Yeah, Holiday - 2 tracks by hz (most of it was copied from Once Upon a Time in America), rest by co-workers; The Simpsons - same case. When i'm listening JW album ( or any other music composer that actually writes entire album), i know that "music by john williams" is a true statement. When i'm listening HZ albums, i'm wondering - who made this?

Like I've said: last few years bring 2 or 3 masterpiece albums, others are solid, but nothing extraoridinary.


@ I Love You Hans

Don't compare JW and HZ - Jaws, Star Wars, Indiana Jones - those albums won't die. HZ wrote few unforgetible themes, but...

I Love You Hans reply Replies: 0 || 2009-07-09 00:00:00
I don't think that Jaws, Star Wars, Indiana Jones are better than Crimson Tide or The Rock or The Thin Red Line, The Last Samurai, Gladiator, BHD, Tears of sun, The Da Vinci Code or Angels & Demons and let's not say Batman Begins & The Dark Knight because those two albums only are better than Williams whole career, and I'm not surprised that you're Williams fan because Zimmer's Attackers always are :) I think no one can be a fan of both you can never love both because they're different styles but i think Hans is better.

I'm not here! reply Replies: 0 || 2009-07-09 00:00:00
Hey "I Love You Hans"... I like both! John Williams and Hans Zimmer are my favourite composers. True their type of soundtrack is different... So SHUT THE FUCK UP!

Are you a anti-John Williams fan??? You sound like one!

I Love You Hans reply Replies: 0 || 2009-07-09 00:00:00
Williams is good but Hans WoW he's unbelievable he's really better than Williams IMO, I'm not saying that Williams is bad but he's not the god of music, also James Newton Howard is one of the greatest and most talented composers ever and he's better than Williams, also hating or loving Williams isn't the question that you'll find its answer here you're in the wrong place baby, also most of the people who attacks Zimmer most of them are Williams fans and thats true ''no name'' is an example. So live with that and don't be angry.

Adrian reply Replies: 0 || 2009-07-09 00:00:00
I do not think it is possible to say so easily who is better than who.
And you cannot compare Hans and Johns style of composing, they're completely different.
@ ''I love you Hans''; it's generally personal to say ''(...) is better than (...), thats the beautiful thing about music; there millions of styles and million kinds of taste.
The comparison of Jaws with the Crimson Tide... Let's put it this way: you're now comparing a dangerous shark with a human built submarine. How can you say ''I like the submarine more'' what's your argumentation for that?
Funny how this example resembles the musical styles of both composers too :P

Personally, I think John is a very good composer but not always very ''easy listening''.

robert langdon reply Replies: 0 || 2009-07-08 00:00:00
edit : *no name*

robert langdon reply Replies: 0 || 2009-07-08 00:00:00
noone listen to no mane. he's just trolling.

I Love You Hans reply Replies: 0 || 2009-07-07 00:00:00
Well and i said 125 amazing albums, Amazing Albums.

Anonymous reply Replies: 0 || 2009-07-07 00:00:00
@I Love You Hans:

Judge based on quality, not quantity...

Emeka reply Replies: 0 || 2009-07-07 00:00:00
This is for anyone to answer what are the lyrics to 160 bpm in Angels and Demons?

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Angels & Demons soundtrack - Hans Zimmer 2009