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I never blamed Hans when I thought credit wasn't due. Why would he put Lorne as a "producer" on the screen if he wanted to hide him. He never attempted to take credit for Pirates 1, while Monty Norman and John Barry sued themselves over decades, lol.<br><br>I guess the reason why some fans are upset is that they fall in love with the music and then once they already got attached to thought of: " This Hans Zimmer is brilliant!", they find out that not everything is Hans Zimmer. Something is Jim Dooley, or Geoff Zanelli, or Lorne Balfe. <br><br>I guess it's just badly communicated with the fans and for lack of information they start to make up conspiracy theories like how Hans tries to take world domination.<br>I mean, it really got better. <br>Since anyone barely buys a CD today no one can open a booklet and see who else worked on the score. For chappie he put Steve and Andrew on the front cover.<br>Great move if only 2 people helped him out, but how about 7 people? Guess that would look a bit crowded then. :P (And recently they added credits for some scores on spotify.)<br>I think he could reach most people through facebook if he sometimes posts stuff like:"Hey, check out some music by Lorne Balfe, he worked with me on TDKR."<br><br>Sorry for the wall of text but I wanted to write this for a long time. :)<br><br>BAM. The man has spoken.Hans was interviewed by his daughter recently...<br><br>Zoe : "Does it piss you off when people question the way the studio works? In terms of having people write for you—you know, when it’s made out to be Hans Zimmer’s Musical Sweatshop?"<br><br>Hans : "Well,they can’t have it both ways. Because on the one hand I get knocked for “sounding the same,” which of course doesn’t actually make any sense—look at the films I did with Ridley [Scott], and that’s just one filmmaker: Thelma & Louise doesn’t sound anything like Gladiator, which doesn’t sound anything like Black Hawk Down, which doesn’t sound anything like Hannibal, which doesn’t sound anything like Black Rain, which doesn’t sound anything like Matchstick Men…"<br><br>Zoe : "I really liked Matchstick Men."<br><br>Hans : "So did I, but I think we were the only ones. So anyway, on the one hand there’s obviously a very strong imprint in the architecture of the studio, and on the other hand… I mean, you already know all of this. I write these pieces and they’re very complete, everything’s done on them—the orchestration, everything. But like everybody, I need assistants. I’m the architect, but I need a couple of bricklayers, y’know? Do you think Michelangelo painted every square inch of the ceiling of the Sistine Chapel? Probably not—it would have killed him if he had to do it all by himself!"<br><br>Zoe : "Fair enough. So do you think people who make those assumptions are just uninformed about the system? Because assisting and writing additional music is basically how you get your foot in the door, right?"<br><br>Hans : "Well, yes and no. It didn’t really used to be like that. When I got to Hollywood it was slightly different. The studios had orchestrators and arrangers on staff, and they never really got credit for anything. They were just “Backroom Boys.” So now I really do fight for credits for people, even really small credits. It’s important to me that people get to participate, and that they get credit and that they are visible, so I really do fight fort hem. They might not be the architects, but it’s still their time that they give me, that they give to these projects."<br><br>Zoe : "Interstellar was all you though, wasn’t it?"<br><br>Hans : "All me. Interstellar nobody got to write a single note on other than me. And although a lot of musicians played on it, one of the things we tried to preserve was the singularity of my touch and my vision, and literally me playing every note. I mean, on all of these scores I have at one time or another played every single note. But unfortunately the story of me just sitting there by myself and writing is far less exciting and scandalous than the idea of assistants and ghostwriters."<br><br>:DNope. It's not there.<br><br>You'll find it in the film, buried in the SFX and dialogue of the scene. It's not cleanly available. Maybe if the recording sessions ever leak out, you'll get it, but until then, no, it's not available.vced, I used to think just like that, but the fact is, even if another composer (Lorne) has his name on every cue in an HZ score, the fact is we really don't know how much Hans may or may not have done...Very frequently, the material that gets turned into cues will have already been written by Hans in some unreleased suite, or Hans will have done 80-90% of the cue before Lorne (or whoever) finishes it. <br><br>There's more to these scores than meets the eye, and while Hybrid admitted Hans wasn't focused on Madagascar 3 very heavily, it's impossible to jump to the conclusion that he barely writes anything on his scores. We simply don't know, and more often then not, in cases where I've formerly thought, "Oh, Hans had nothing to do with that music," he actually wrote most of it.
Prob coz Hans has barely seen the game. Turned up, wrote a one minute rough sketch of chord progressions, so they could get his name on the cover, then they wheeled in Lorne to actually turn it into a piece of real orchestral music.<br><br>I don't care personally, because we know the true story on this site. I admire Hans. He knows he can't write real "complex" orchestral stuff so he gets Lorne and dooley to help him out. Why not get help from your friends? Don't get the obsession some have with people having to work alone. <br><br>But sometimes I wonder how Lorne feels about it. He's clearly a talented and capable orchestral composer and arranger yet gets second billing on all the juicy projects. He basically did the whole of madagascar 3, really popular film, but Hans who wrote 5 minutes of piano sketches, gets all the credit, while he gets stuck with the penguins film no one saw. He does half of Inception, gets second billing, but gets landed with Terminator. From what Hybrid said recently he basically did kung fu panda 2 single handedly, yet again his solo credits are junk like "home". <br><br>I really want him to get a really big film that critics love. He deserves it!Well you know Hans in promo videos... He doesn't force himself much ! haha...How did they get Hans to praise this game to the skies, lol. This looks like any other generic fantasy RPG out there.Classic. Glad to have this too.I have two question,please answer them<br>Music that play when electro died isnt in album? And where I can find that music?,its veryyy niceee<br>answer pleaseeeee
"That worked well in Bourne 3..."<br><br>Yeah, after realizing the full extent of Greengrass' temping in that one, I feel confident we'll hear plenty of Powell music anyways. :PHi Hybrid,<br>Do you know which is the music/track from this Expanded Score played at the end of the movie, when Lecter is in the plane with the boy child ?Yes there will but I guess when the game gets released... But so far it has no release date ! :)Will it be an official release? Like iTunes etc.Great Thanks :)<br><br>Do you know where we can listen to the 7 min Epilogue Cue from Hans & Blake in the finale episode?<br><br>Regards, Felix
I have no idea but I wouldn't count on that...<br><br><br>Good luck to whoever ends up scoring it... It could just end up with temp from the trilogy... that worked well in Bourne 3... lolHybrid, is there any chance that powell will return for the new bourne movie? I'm guessing Greengrass wants someone from RCP but with his reputation... <br><br>I hope powell will end up doing it even though I guess it's unlikely.Thank you.Hans initially wrote a 12 min demo which served as basis for the score...<br><br>Episode 8 is the one that reflects Hans's work better. Iwo Jima is by him...Was Hans really involved that much or are there some unreleased theme suites that would explain his credit on each track.<br>Or, do we don't know anything about his part.
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Music Scoring Mixer
Toby ChuSlamm Andrews
ComposerMusic Scoring Mixer
Solace
Label: Spring Hill Music
Length: 51'
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 (899 votes)
  1. This Majestic Land (3'33)
  2. So You (3'54)
  3. Romance for Violin & Orchestra (4'35)
  4. Lachrymosa (2'46)
  5. Beloved (3'06)
  6. Renouncement (5'14)
  7. Jude's Theme (4'35)
  8. Nimbus (4'08)
  9. Elegy (for Joan) (4'18)
  10. Pie Jesu (4'03)
  11. Farewell (3'12)
  12. The Parting (7'48)
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Solace soundtrack - Toby Chu 2003