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Great. 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 2004The tracklist they posted has 58 tracks and yours contains only 54
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Additional MusicAdditional MusicAdditional Music
Ramin DjawadiGeoff ZanelliBobby TahouriNoah Sorota
ComposerAdditional MusicAdditional MusicAdditional Music
Clash Of The Titans
Label: WaterTower Music
Length: 75'18
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 (18287 votes)
  1. The Storm That Brought Me To You (4:50)
    Tina Dico, Neil Davidge, Ramin Djawadi
  2. There Is A God In You (1:38)
    Ramin Djawadi
  3. Perseus (6:33)
    Ramin Djawadi
  4. You Can't Hide From Hades (3:30)
    Ramin Djawadi, Noah Sorota
  5. Medusa (4:07)
    Ramin Djawadi
  6. Scorpiox (3:23)
    Ramin Djawadi, Noah Sorota
  7. Argos (1:53)
    Ramin Djawadi
  8. You Fall, You Die (1:14)
    Ramin Djawadi
  9. Written In The Stars (2:54)
    Ramin Djawadi
  10. Pegasus (2:22)
    Ramin Djawadi
  11. Bring Everything (But The Owl) (1:47)
    Ramin Djawadi
  12. Killed By A God (1:50)
    Ramin Djawadi
  13. Djinn (1:56)
    Ramin Djawadi, Bobby Tahouri
  14. Eyes Down (4:19)
    Ramin Djawadi, Dominic Lewis
  15. You Were Saved For A Reason (1:20)
    Ramin Djawadi
  16. Redemption Through Blood (2:14)
    Ramin Djawadi, Noah Sorota
  17. I Have Everything I Need (3:15)
    Ramin Djawadi
  18. King Acrisius (2:27)
    Ramin Djawadi
  19. It's Expensive Where You're Going (2:50)
    Ramin Djawadi, Dominic Lewis
  20. Be My Weapon (10:09)
    Neil Davidge, Bobby Tahouri
  21. The Best Of Both (1:29)
    Ramin Djawadi
  22. Release The Kraken (6:03)
    Ramin Djawadi, Geoff Zanelli
  23. It's Almost Human Of You (3:15)
    Ramin Djawadi
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mpolonest123 reply Replies: 14 || 2018-03-23 13:28:13
After hearing Lorne Balfe’s new Pacific Rim score (and some of the latest RCP action efforts) I couldn’t help but returning to both the original Pacific Rim and this.

When Clash first came out I remember hearing it in the theater and thinking, what is this generic, Hans Zimmer ripoff shit? Gradually I fell in love with it though, and comparing it to some of todays’ scores; it’s a masterpiece. There are at least 7 themes which receive development, a variety of musical styles (power anthem, ethnic, hard rock, choral, etc.) and a clear narrative. Is it original? Hell no, but much like Transformers it takes what exists and does something fun and interesting with it. Same thing with Pacific Rim, there is more intelligence and effort in that score than you would expect.

That’s why it is so disappointing to hear scores recently which are so bland and forgettable. In some ways they all are starting to feel one note. Of course that’s not to say everything, but this has been a disappointing start to the year on RCP’s end.


Edmund Meinerts2018-03-23 13:57:11
It makes you wonder whether in a few years' time we'll bemoan the bland, forgettable music of 2024 and look back fondly on the good old days of Hurricane Heist and Tomb Raider. Now there's a pretty terrifying thought. (Although I never thought this particular score was all that bad ;) )


mpolonest1232018-03-23 14:07:56
That is a scary thought lol

Honestly though, I think film music will probably start going back to the more thematic roots in the coming years. Even studios are starting to notice it. Most of the marketing for major films feature score elements, something you wouldn't see years ago. The problem at the moment are directors who overlook music when working on a film, and fall in love with their temp tracks. Even the latest Star Wars score suffered from this.


MrZimmerFan2018-03-23 14:23:44
COTT was a very enjoyable effort by Djawadi, also Pacific Rim (two weeks have to make this score, i'm refering COTT).

But dosen't make the next scores bad: in 2017, we have a lot of works by RCP's guys are good indeed or just fun and entertaining.

If your a refering only Tomb Raider (wich a like a lot, and dosen't make me a fanboy) or Hurricane Heist (this is bad, really), i lament don't agree with your statement,


MrZimmerFan2018-03-23 14:30:22
Also you refering Star Wars... John Williams compose WITHOUT temptracks.


mpolonest1232018-03-23 14:33:56
@mrzimmerfan

Everyone has different opinions of course, obviously you like Tomb Raider which is great. Even I'll say that the "Becoming The Tomb Raider" track is somewhat fun.

But I still do not think it is a good score. Functional, yes. Could more have been done with it? YES! Of course this isn't JXL's fault, simply it is what the director/studio asked for. But when the end result is a blend of sound design and percussion with a vague power anthem on top, I can't help but expect more out of my music. Especially knowing what kind of scores he can write.

Go back and listen to both Run All Night and Mad Max from 2015. There are plenty of ambient, sound design cues mixed with harsh percussion and electronics. But that is offset by long stretches of thematic material and some powerful, emotional cues. There is more variety and effort in those two scores than in Tomb Raider.


MrZimmerFan2018-03-23 14:46:51
@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.

But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.

And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.


MrZimmerFan2018-03-23 14:46:54
@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.

But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.

And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.


mpolonest123 2018-03-23 14:52:28
@mrzimmerfan

I completely agree with you. Tomb Raider definitely didn’t need a traditional score at all. And I love all the scores you’ve mentioned. I even don’t have a problem with the approach he took.

But I just don’t like the score as is. We just have to agree to disagree, no harm done. :-)


Edmund Meinerts2018-03-23 15:23:39
I feel like I see/have this kind of conversation on film music boards all the time. The approach isn't the problem, it's the execution. For example, when Man of Steel came out:

me: "I'm a bit disappointed by Man of Steel, it has its moments but I don't think it's a very good score overall"
fanboys: "JOHN WILLIAMS WAS YESTERDAY, ZIMMER IS TODAY, THIS IS A DIFFERENT SUPERMAN BLAH BLAH BLAH GET OVER IT"
me: "...did I mention Williams?"

or else Mad Max: Fury Road

me: "Mad Max is a decent score but I feel like the film deserved much more"
fanboys: "THERE'S LITERALLY A DUDE ON A DRUM CAR WITH A FLAMETHROWER GUITAR WHAT DID YOU EXPECT"
me: "...a composer who does more interesting things with those drums and that guitar?"

All over the place. It was really aggravating. This is a similar situation A talented film composer can write interesting, engaging music in all sorts of styles, for all sorts of films and under all sorts of directorial conditions. My issue with Tomb Raider isn't that it's not a traditional Jerry Goldsmith adventure score. I never expected that from this film, and certainly not from this composer. It's just not a very interesting or intelligent or enjoyable version of what it's trying to be, and that's the bottom line.


Ds2018-03-23 16:20:19
Edmund: I see your point, and if everyone could become 100% objective it would be actually true. But in practice, our personal tastes play a heavy role in deciding whether a score is interesting or fun or creative or intelligent or enjoyable. Some people like very classical, orchestral music more than anything else; even if JXL was creating the craziest soundtrack ever, his sound palette and synthetic approach alone would be enough to make these people dislike the score and say it's rubbish. The level of detail he put in Tomb Raider is astonishing, but sadly it'll only be noticed by people who are not upset by this style of brutal and synthetic environment. Of course it also works the other way, dry orchestral scores like Giacchino frequently writes do nothing to me, I don't particularly like this kind of sound, so I never spent a lot of time listening to them. As a consequence, I never was able to dissect them to discover all their (I guess) richness, subtleties, etc. So from my point of view, almost all Giacchino scores sound the same way and are not interesting, and I don't understand how and why he keeps getting all those major assignments. That's to say, our personal preferences will always interfere with our judgment, even if we honestly try to be fair.


Ds2018-03-23 16:26:36
mpolonest123: it's difficult to compare scores that are 10 years old and that you had plenty of time to digest, with brand new scores you've only heard a couple of times.

You said it yourself, when Clash of the Titans came out you thought it was generic and forgettable. It's only later that you noticed all these themes and all the work Djawadi put into it.

And actually it works like that with any new album released by any major artist. Fans are always like "it sucks, I prefer their previous albums". And yet 5 years later they love all these songs and know them by heart. :-p


FaresTdkr2018-03-23 16:39:58
@Edmund @Ds totally agree! This days the only composer that convince me is Steven Price.


mpolonest1232018-03-23 16:51:47
@DS

You are absolutely right, and it was something that I did think about while I was writing the post, I just never clarified it.

But that also has the opposite effect as well. I've had plenty of scores/songs which originally I liked that I gradually grew to dislike or simply lose interest. One of the most recent ones is BvS, which I enjoyed when it came out but looking back is probably one of my least favorite Zimmer scores.


MrZimmerFan2018-03-23 20:13:15
@mpolonest: I'm the opposite side: BvS grown each time i listened.

Not the same for MoS ;D

Waymann reply Replies: 0 || 2017-08-29 13:19:35
What a great score, the closest to the sound of Game of Thrones and probably also the one that got Ramin Djawadi the scoring job for Thrones.

Imagine if the theme in "There is a God in You" was used in Game of Thrones for Daenerys and her dragons. How awesome would that be!

Mr. Charles reply Replies: 2 || 2012-01-26 17:39:39
I'm disappointed Ramin Djawadi isn't returning to score Wrath of the Titans. Instead, Javier Navarrett is scoring the film. Hopefully some of Djawadi's themes remain in there, but I also look forward to some new material


Edmund Meinerts2012-01-26 23:29:35
True, but it's also a good chance for Navarrete to get his big break. He had some pretty good fantasy stuff on Pan's Labyrinth and Inkheart, so it'll be cool to hear what he comes up with on a big-budget blockbuster. Unfortunately, I doubt he'll keep Djawadi's themes in there...not sure why, but it just seems unlikely.

Also, it gives Djawadi more time to work on A Clash of Kings (or Game of Thrones Season 2, what have you). I thought the first one could have been Djawadi's best score if there had been less underscore and the synth orchestra didn't sound quite so crappy (hopefully HBO gives him a bigger budget this time around).


Mr. Charles2012-01-26 23:56:46
I have the same feeling about Navarrette not keeping Djawadi's theme in there. I never heard Game of Thrones, I've never even seen it as I don't have HBO or Showtime or whatever channel it's on.

Felix reply Replies: 5 || 2011-11-06 23:14:02
i've listen from an expanded score with 2cd's


Areozz2011-11-06 23:27:17
Good for you.


Per2011-11-07 00:03:39
Let me guess, the OST + Zanelli cues from his website ...and perhaps the Armstrong thingy ripped from the end credits, eh ?


Areozz2011-11-07 01:12:37
I don't know a thing about this OST or what extra material is available for it, but it sure as hell was not difficult for someone to take what little expanded material we had from Inception and turn it into a "2CD expanded score". It was 88 minutes long, and the typical CD holds like 80 minutes, so yeah, I can see why you'd have to call it 2CD but it was hardly expanded--just the iTunes bonus tracks, the end credits ripped from the DVD, and that JunkieXL remix track. Ooh, big fancy bootleg score--something special! NOT!!

So, yeah, you're probably about right on that one, Per.


Anonymous2011-11-07 01:50:47
Areozz, noone called it big and fancy. If a bootleg has extra music, its expanded, if its a little amount of music or not. Why get so fucking pissed off about it? Jesus Christ.


Areozz2011-11-07 02:22:46
What I was saying is that the 2CD expanded bootleg of Inception was not incredibly expanded. I consider something expanded when it contains material that was not available prior to its release or leaking. At the time that bootleg came out, everything that was on it was already available elsewhere. All someone did was rearrange the OST and add in the other tracks I mentioned before.

And why do people have to get so mad? Slinging around bad words like you do is a sign of weakness. I can have a perfectly civilized and effective argument with someone without uttering a single bad word. People think those words mean something. They used to, but they don't anymore because of people like you. Go watch a few videos by the Angry Video Game Nerd and then tell me what you think. Meaningless, eh?--And a sign of weakness!

Good day to you all!

////// reply Replies: 0 || 2011-10-27 01:54:41
Where can we find all of these cues?

Arrival of the Sword and Pegasus
Calibos Forest Fight
Djinn Arrival
Djinn Together
Hades Arrival
Hades Venom
Harpies Attack Into Hades
I Do it as a Man
Io Dies
Io in Woods
Io Stabbed & Calibos
Kracken Destruction
Leaving Argos
Opening Stars
Medusa
Mudusa Suite (End Titles 3)
Medusa's Lair
Mount Olympus
Perseus
Perseus Makes His Decision
Perseus Suite (End Titles 2)
Redemption Through Blood
Release The Kraken
Release The Kraken pt 2
Scorpiox
Scorpiox Fight
Scorpiox Journey
Stygian Mountain
To Argos

And yes Hybrid, I'm sure these are old and that there's plenty more before you tell me and rub it in my face. I love this score, I want more of it

Dakota reply Replies: 12 || 2011-05-28 07:58:14
Is this topic really opened back up again? Is it because the site got a make-over? Well, whatever the reason is - I'm glad. I LOVE this score, it's awesome. I can't believe how many people trash-talked it, it's insulting. Happy it's opened up again, this way I can ask the moderators who did each track =)


Ele2011-05-28 09:54:31
Release the Kraken is Zanelli :)


Dakota2011-05-28 10:10:17
Why, thank you sir. Anything else you know?


Bondo2011-05-28 10:24:27
You Can Hide From Perseus - Noah Sorota
Bring Everything But the Owl - Dom Lewis
Scorpiox - Noah Sorota
Djinn - Bobby Tahouri
Redemption Through Blood - Noah Sorota
It's Expensive Where You're Going - Dom Lewis
Eyes Down - Dom Lewis
The Stygian Witches - Geoff Zanelli



Dakota2011-05-28 10:33:31
Thanks Bondo. The Stygian witches isn't on here, did you find that from the ASCAP or something?


Hybrid Soldier2011-05-28 10:48:34
It was on Geoff Zanelli's website back then... Now the site is down... :S


SB2011-05-28 12:19:22
I'm almost certain that the choral theme for Io that appears in "The Best of Both" and towards the end of "It's Almost Human of You" is Craig Armstrong's contribution.


Adrian2011-05-28 12:51:26
One should listen the end credits completely too, at the end is ''Io's Theme'', composed by Armstrong. It's nice to see that the directer indeed appreciated Craaig's contributions.

Thanks for the tip SB, gonna check the tracks out!


Hybrid Soldier2011-05-28 12:52:18
No it's not. There's nothing Armstrong in this release...

But the last part of the End Credits is an Armonstrong theme (and not bad !) !

:)


Jeason2011-05-28 15:38:29
Well, regardless of what people say. There is a god in you is awesome! Also, when you guys refer to the last part of the end credits, supposedly Armstrong's, is it that vocal motif that is also featured in the track Perseus? I really love that theme, I think it is the best of the album, shame it's so short :(


Hybrid Soldier2011-05-28 16:32:24
Once again, there's not any single second of Armstrong's work in this CD...


SB2011-05-28 22:27:59
well I wouldn't expect there to be any of Armstrong's work on the disk (and the official score credits only list his only surviving contribution as being in the end credits), but the film itself *does* credit him for composing "Io's Theme," and the music that plays whenever it shows Io is that choral piece... Plus it just sounds very similar to some of Craig Armstrong's music. I think he was fired before he was able to actually record any of what he wrote, so maybe it's possible that it's just a Djawadi arrangement of his theme?


Adrian2011-05-29 10:11:20
SB, that's not very likely if you compare styles.
Io features not much synths, but a lot of violins and horns/flutes (whatever they are called). If you know some Armstrong scores, you'll hear it's his entirely and no Djawadi arrangement or something.

Takehiro reply Replies: 2 || 2011-05-28 18:28:57
Why did Armstrong leave the project?


Hybrid Soldier2011-05-28 18:32:43
He was simply fired by the producers...

Life is tough !


Dakota2011-05-29 07:07:56
Nothing against Craig Armstrong, but I'm glad Ramin was hired to do it. I love this score! I always think what only would have become of Pirates if Alan Silvestri had stayed on as composer.

Cloud reply Replies: 0 || 2010-04-29 00:00:00
Nicolas, I'm surprised anybody comes to this site with that attitude.

Stop acting like a snob, this score sucks and that's that.

Plus, why attack Lasse too? You're a dick for doing that dude.

Paul reply Replies: 0 || 2010-04-29 00:00:00
Whoa, calm down people! Just let bygones be bygones, some love this score, most hate it.

That's life.

Lasse reply Replies: 0 || 2010-04-29 00:00:00
@Nicolas

no hard fealings , i like the socre of clash of the titans.
But there is no reason to write comments like that to Ryan. We are all here to talk and discuss soundtrack in a good way. i dont like when people attack each other for having a diffrent opinion.
film score is something beautiful and fantastic so its sad that people are gonna fight against each other over a score.

sorry for my bad english but i hope you understand what i mean. and as i said no hard fealings.

Adrian reply Replies: 0 || 2010-04-29 00:00:00
No one seems to understand that director Louis Leterier wanted this music, because Craig Armstrong was fired. So don't fire off Ramin, then do Louis. But it's his film, they are in the business for a reason, everyone here is not, and I think that's for a perfectly good reason too.

Now we got a Clash here too, and Zeus has just entered the ring... :-)

Bou reply Replies: 0 || 2010-04-29 00:00:00
the problem is simply because this site comment section is like Fu... Youtube , this is not a forum with edit functions or moderators so anybody can post craps comments like "this score sucks" without explanation or "OMG luv u hans zimmer" , "you're the best" , "Ramind Dajwadi is a hack" , "worst score ever" or sh... like that.

Jeff Valino reply Replies: 0 || 2010-04-29 00:00:00
I don't see what the problem is.

90% of the people find this a bad soundtrack and lot's of people motivated in a constructive way. There is no need to punish then for pointing out their opinion.

Also a lot of people seem to say 'it is not original but hey it is fun to listen to'. For me personally I think that some of the Remote Control composers are the Britney Spears of soundtracks.

It's been done thousands time before, it sounds fun to listen to and after a month no one except the fans remember anything about it...

Luckily Remote Control has other and better composers.

Nicolas, Webmaster reply Replies: 0 || 2010-04-29 00:00:00
What's more, Clash Of Titans is one of the Album the most requested on our Webradio... Looking error !

Lasse reply Replies: 0 || 2010-04-29 00:00:00
in fact like i said before : I cant understand how people could not like this score. i thin its pretty enjoyable :)

Enrico reply Replies: 0 || 2010-04-29 00:00:00
For people that sau that this score is good, listen to score of Zimmer, or Williams, or others and listen THE music, not this bad noise...

Lasse reply Replies: 0 || 2010-04-29 00:00:00
im a huge fan of hans zimmer, marc streitenfeld , james horner and vangelis.
but i still think this is a great and enjoyable soundtrack.

Antas, Webmaster reply Replies: 0 || 2010-04-29 00:00:00
Bou said :
'the problem is simply because this site comment section is like Fu... Youtube , this is not a forum with edit functions or moderators so anybody can post craps comments like 'this score sucks' without explanation or 'OMG luv u hans zimmer' , 'you're the best' , 'Ramind Dajwadi is a hack' , 'worst score ever' or sh... like that.'

The latest stupid post by Enrico is a good example...

That's precisely the main reason I close this topic.

ps: there are moderators [Nicolas & myself] and be sure we have lot's of work !

Nicolas, Webmaster reply Replies: 0 || 2010-04-29 00:00:00
We just thought that people could be reasonable enough to write constructives things... We're not on youtube where everybody from all worlds come and post. We're on a very specific website with people liking Film music, a pre-selection has been made ; they don't come and post here accidentally...
But not, witness this last stupid comment "Remote Control has other and better composers" ; you don't know how to express kindly your opinion, a sad finding...

This comment section will be closed tonight, only for Clash Of The Titans, some IP will be banned, and i will have a look more often on those sections as you people can't control yourself... Maybe the return to censorship with some posts erased... Too bad...

Just 1 question ;
If you had Ramin Djawadi (and consider writing in this section is almost the same) in front of you, would you use terms like "crap", "shit" or "luckily, there are better composers than you in RCProds" ?
I don't think so, then i put that behaviour on stupidity & cowardice to be hide behind your anonymity. It's poor, it's human, what could ask more from you ?
And i really do hope you're so demanding in your own job than you're demanding to others in so nice words...

And I really thank to 80% others that post constructives comments to make this section live in harmony. It's hard to be just a responsible person today...

Nicolas, Webmaster reply Replies: 0 || 2010-04-28 00:00:00
All critics are welcome on this website, but you could choose words or arguments more nices and constructives. What's more, names of the mixer are written in the credits above, then start and buy glasses for yourself...

Ryan reply Replies: 0 || 2010-04-28 00:00:00
I might have been able to enjoy this score, if the mix hadn't been so utterly crap.

Who the hell mixed this thing? It sounds jumbled and overly compressed most of the time!

Buy the mixing guy a hearing aid somebody.

Ryan reply Replies: 0 || 2010-04-28 00:00:00
I missed it! A mistake of myself.

Okay then...

Alan Meyerson needs a hearing aid!

Ryan reply Replies: 0 || 2010-04-28 00:00:00
What's more, you tell me to be nice and constructive, then you go and act like a smart ass by implying I need glasses?

That's what I call a hypocrite Nicolas. Don't worry I won't waste my time posting here again.

Goodbye.

Lasse reply Replies: 0 || 2010-04-28 00:00:00
@ Ryan

please dont care about what Nicolas said, it was a shitty comment he made.

Oliver reply Replies: 0 || 2010-04-28 00:00:00
@Ryan

I can see your frustration, it's been reported on some Soundtrack websites. I don't know whether you will read this, but here you go anyway. If not the others here can read this too.

From Filmtracks:

All of the composers' most unique instrumental elements are drowned out by the orchestra's mix. The "Medusa" cue is the most blatant example of an instance where someone absolutely butchers the mix of a score to render its solo performances moot. How can an organization like Remote Control have so many recording and engineering gurus and manage to provide a score so incompetently mixed and/or mastered for album?

http://www.filmtracks.com/titles/clash_titans.html

Nicolas, Webmaster reply Replies: 0 || 2010-04-28 00:00:00
I begin beeing upset by comment on this soundtrack ! You have perfectly the right no to like it, but i can't understand guys who think that their stupid comments can bring something constructive to their opinion. Just be adult, try to think there's a job behind this music, a composer, a team who worked a lot of days/month, and try to have a respectful opinion considering that. I just don't want my website to become a playground for people who don't know how to be noticed by others.
So if you wan't to leave, please do, we will be on holiday... And others (like Lasse) who can't understand that elementary opinion, just go away too. I'm fed up with all the stupid things i read on this "Clash Of The Titans" page...
Respect, do i ask too much ???

Lukas reply Replies: 0 || 2010-04-27 00:00:00
A very good Score!!!!

ahmed reply Replies: 0 || 2010-04-27 00:00:00
hanz zimmer u rock

snah remmiz reply Replies: 0 || 2010-04-27 00:00:00
I think this score is not such good though it had a big orchestra sound.

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