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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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Steve JablonskyHans ZimmerLorne BalfeTom Gire
ComposerAdditional MusicAdditional MusicAdditional Music
Transformers - Revenge Of The Fallen
Label: Reprise Records
Length: 43'56
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 (44524 votes)
  1. Prime (2:14)
    Steve Jablonsky
  2. Einstein's Wrong (3:35)
    Steve Jablonsky
  3. Nest (2:08)
    Linkin Park, Steve Jablonsky, Ryeland Allison
  4. The Shard (2:42)
    Steve Jablonsky, Lorne Balfe
  5. The Fallen (4:03)
    Steve Jablonsky
  6. Infinite White (3:58)
    Steve Jablonsky
  7. Heed Our Warning (4:26)
    Steve Jablonsky
  8. The Fallen's Arrival (3:47)
    Steve Jablonsky, Hans Zimmer, Lorne Balfe
  9. Tomb Of The Primes (2:47)
    Steve Jablonsky
  10. Forest Battle (2:04)
    Steve Jablonsky
  11. Precious Cargo (1:38)
    Steve Jablonsky
  12. Matrix Of Leadership (3:50)
    Steve Jablonsky
  13. I Claim Your Sun (3:06)
    Steve Jablonsky
  14. I Rise, You Fall (3:35)
    Steve Jablonsky
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Al reply Replies: 0 || 2010-03-20 00:00:00
@ Dingmaster

How did you accidently contact Steve Jablonksy ?

And how did you do it ?

thnx

D A R T H reply Replies: 0 || 2010-03-08 00:00:00
With firefox : use download helper....

westfall reply Replies: 0 || 2010-03-05 00:00:00
The Temporary Internet Files folder can be accessed like this:
- Click on tools;
- Go to Intenet Options;
- On the General tab, go to Navigation History and click in Definitions;
- there you'll find a button that reads See Files;
- click on it and the Temp folder opens.
This may vary depending on what version of Internet Explorer you have.

As for the RP DL Manager, i don't really know, i installed Real Player a while back and since then all i do is put the mouse pointer over the video and tab appears over the video. All i do is click on it. If it doesn't open automatically , i click the file with the mouse's right button and vlick on DL with MP DL Manager.

bar reply Replies: 0 || 2010-03-04 00:00:00
westfall

where can i found the "Internet Files folder" exactly? and how do i open the DL maneger?

westfall reply Replies: 0 || 2010-03-04 00:00:00
@bar

I managed to DL them usingRealPlayer DL manager but if you don't have that or any other ap of that kind just go to the site, click on the tracks, let them play and then go to your Temporary Internet Files folder, they're named "TR2_Dont%20Give%20Up[1]","TR2_Signs%202[1]" and "TR2_We%20Need%20An%20Assist-One%20Man[2]" or something along those lines. just copy them or move them to any folder you want.

westfall reply Replies: 0 || 2010-03-04 00:00:00
@Dingmaster

That link was an awesome find! Thanks so much.

@Bondo

The one on Steve Jablonsky's site is from the first movie's Full Score, wich fortunately can be easily found these days. (I looked for it since the movie came out and only found the real thing in last December). It wasn't used in the film, like 12 others in that score. It was used in the final trailer for RoTF.


As for these "new" tracks" they are used in the following scenes:

- "Don't Give Up" - Starts at the end of the scene where Galloway orders NEST to return to base, follows to the night scene where Sam says he'll turn himself in and Leo's return. In the movie it is followed by the instrumental version of "New Divide" as they travel to NY.

- "Signs 2" - The scene where Simmons shows them the photos of the Seekers and Wheelie points the nearest one on the map.

- "We Need An Assist-One Man" - Starts after Lennox's team writes that SOS (after losing comms), Morshower wants to know what is going on, the predator recon plane is launched, Simmons drives to the pyramid with Leo, ranting about being "one man... alone...", Megatron orders the Decepticons to attack, more of them fall from the skies, Lennox orders the NEST team to deploy. Music ends just before the Devastator scene.

I'll update my list in the forum ASAP.

Dingmaster reply Replies: 0 || 2010-03-03 00:00:00
After a look through many of the greatest hit movies' music department, any composer who composes additional music will have that unreleased additional music posted on their website legally.
Magic Box Music is an example, consisting of composers Tom Gire and John Sponsler.
Then, there are the other composers like Geoff Zanelli, Steve Jablonsky, Marcus Trumpp, and etc.

The Scoremaster reply Replies: 0 || 2010-02-27 00:00:00
@Dingmaster

Thanks so much for posting that link! I've listened to those scores, and they are awesome. Even better, they are legit. Someone should try and contact them to release the full expanded score of Transformers: Revenge of the Fallen, as they obviously have it.

Has anyone else had any luck in trying to convince the record companies to release the expanded ROTF score?

Deakins reply Replies: 0 || 2010-02-27 00:00:00
Awesome music is available on their site..
Especially 'At World's End' stuff..

bar reply Replies: 0 || 2010-02-27 00:00:00
is there any other tracks in this site?? i saw only 3

Dingmaster reply Replies: 0 || 2010-02-26 00:00:00
To ALL!
Great news.
I found a place where addition music for Transformers II can be found:

http://magicboxmusic.com/virtualresume/details.php?id=TF2&po pup=y

Magic Box Music . COM is a place where you can find the additional music composed by Tom Gire and John Sponsler. Transformers II music is also included.

Hybrid Soldier reply Replies: 0 || 2010-02-26 00:00:00
Haha that's cool they finally put music in it !

Tom Gire told me once they wouldn't !


But they did !!! :D

bar reply Replies: 0 || 2010-02-26 00:00:00
cool tanx Dingmaster but is there any way to download them????

Bondo reply Replies: 0 || 2010-02-26 00:00:00
So now including these 3 Tom Gire/John Sponsler tracks and the one from Jablonsky's website (that's 3:45 long), does anyone know the current chronological track listing?

Dingmaster reply Replies: 0 || 2010-02-24 00:00:00
To "The Scoremaster"

The e-mail I provided is for the people who produce the album. They are one of the many people who decide what music gets released to the album for each film. To tell the truth, they also felt that more music should have been released. But due to some sort of copyright policy, the remaining music is to be unreleased.

Reprise Records is the one who controls all the released music for Transformers: Revenge of the Fallen.
I also contacted Steve Jablonsky (by accident to tell the truth). He can't do anything about this matter.

It sucks, doesn't it.

The Scoremaster reply Replies: 0 || 2010-02-23 00:00:00
@Dingmaster

Thanks for the e-mail, but I'm not sure which company he would be from... Is there anywhere I could get a little bit more information on him before I e-mailed him? Thanks.

Dingmaster reply Replies: 0 || 2010-02-16 00:00:00
I think this is the e-mail, but I'm not sure:
ronni@chasenpr.com

The Scoremaster reply Replies: 0 || 2010-02-15 00:00:00
Someone should send the record company the petition link, to show that there IS a lot of support out there for the expanded score to be released.

Alex reply Replies: 0 || 2010-02-15 00:00:00
@ Dingmaster

What is the record company email address ?

If we show mass support for an expanded score,they might release an expanded digital release ( a la Casino Royale)

The Scoremaster reply Replies: 0 || 2010-02-15 00:00:00
@ Dingmaster
Good for you for taking the initiative to contact them. While this news is disappointing, perhaps we can convince the company that they should release it through the internet or something, for the fans. What was the company that you contacted, and how could I contact them?

Either way, it's good that they responded at least. It shows that they're interested (in the fans). If they are paying attention to us, maybe we can convince them to release the Expanded Score.

Adrian reply Replies: 0 || 2010-02-13 00:00:00
@ Dingmaster,
Cool that they reply-ed... Some companies don't even bother to reply.

westfall reply Replies: 0 || 2010-02-13 00:00:00
A ripe bunch of SOB's, all of these acountants that decide what music is released or not. They should all burn. Maybe the same "accident" that happened with the first will happen with this one. Mr. Jablonsky deserves to be paid for his amazing work but if bootleging is all that is left, go for it. I'm trully enraged. GRRRRRR!!!!

bar reply Replies: 0 || 2010-02-12 00:00:00
well, at lest we can hear the score we want at the movie himself....

Dingmaster reply Replies: 0 || 2010-02-12 00:00:00
To Adrian,

Yes I e-mailed them, and many others did the same who are part of the Transformers: Revenge of the Fallen Expanded Film Score Petition.

Adrian reply Replies: 0 || 2010-02-11 00:00:00
I think they are aware that there is a demand for an expanded score, and they are aware of that they can charge a lot for an expanded or complete score (see LOTR, TDK). But perhaps they are convinced there are not enough people who are interested in a complete score for TF2. I think that is the most likely reason.

Hopefully, someone can prove them wrong.

Dingmaster, how did you contact the company? Did you just ''mail'' to Paramount?

Dingmaster reply Replies: 0 || 2010-02-11 00:00:00
For all you guys who want an expanded score, I contacted the company myself about a Transformers: Revenge of the Fallen Complete Score thing. They say that the first film's complete scores were leaked by accident, fyi. To prevent that from happening again, they refused to record Transformers II music for bootleg CDs and only released the original score CD.

They also stated that all hopes of releasing more music for Transformers II don't exist at this point. The music released may be the only music we will ever be listening to, not including any fan-made complete scores of the film.

Sorry for this bad news. But you never know, they might change their minds if they find out that the expanded score release can make a lot of money.

Westfall reply Replies: 0 || 2010-02-06 00:00:00
@ Scoremaster

I checked the clip you said and i don't recognize it either. It's not part of the full score for the first film and i don't recognize it from RoTF either. Maybe the first sign of an unused track.

The Scoremaster reply Replies: 0 || 2010-01-30 00:00:00
BTW, that was me below. Sorry, I forgot to put my name.

Anonymous reply Replies: 0 || 2010-01-30 00:00:00
@ RuthlessGravity

Thanks for replying, first of all.

I have another question about the ROTF Score though. On the special features of the ROTF DVD, there is a section that is purely animatics (I believe it is called "Deconstructing Virtual Bayhem"). During the animatics "Lamborghini Jump" and "Forest Battle", there is a score track that plays that is not on the ROTF Score CD. All the other music that plays during other animatics and special features is music that is from the ROTF released Score CD.
Does anyone have any idea what that score piece is called that plays during the "Lamborghini Jump" animatic?

But has anyone tried contacting Steve Jablonsky about this? There's a huge fanbase that would love to have this score... I'd be surprised to find out if he had never heard that people wanted an Expanded Score.

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Transformers - Revenge Of The Fallen soundtrack - Steve Jablonsky 2009