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Wow. Pretty solid! It keeps the core track intact and, somehow, adds even more raw power into it. Thanks for sharing!@MrZimmerFan<br><br><Is better because there is variety and orchestration><br><br>It is not because a score is orchestrated that it is automatically superior to one half orchestrated and half electronic. My problem with JL is that it's a small score for a composer with as many facets as Elfman. The music is uninspired and (taking one or another track) ends as it begins, nothing catches yours ears beyond of the romantic moments and of the new interpretations of the themes for the heroes.<br><br>@mpolonest<br><br><I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force the classic themes.><br><br>Elfman had two paths: Ignore everything and do things his way or respect what Zimmer did and maintain the sound of previous films. What did he do? He made an uninspiring hybrid of both.<br><br>@HybridSoldier<br><br><Leagues above, and yet I doubt Ben will be able to write something like "Brothers In Arms" from Mad Max.><br><br>Everyone in RCP knows how to do a power anthem these days.<br><br>@Mephariel<br><br><I would not have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence.><br><br>Obviously not. It could be in smaller jobs and present some potential for years to come.<br>I think I just sharted myself. Thanks!I'm surprised to have not seen more discussion of this score; I honestly think it represents some of the best music out of RCP in the past half-decade. Yeah, it still has the Journey to the Line / Time four-chord power anthem thing going on, but outside of those themes you have some really creative material that at times doesn't even feel stylistically RCP, and hell, even those structurally-simplistic themes are unusually well-orchestrated. And there's a real orchestra!Some of you may like this guy's cover of Brothers in Arms! Pretty epic, honestly. <br><br> com/watch?v=LCIY41hopq4
This score has improved my mood on more than one occasion. Nancy Meyers needs to make another movie, so Hans can score it. lol.Hello great team of Hans Zimmer,<br><br>I was recently listening to "The Might of Rome" (Gladiator soundtrack) and I am craving to listen the long version of the piece around 2:38 - 2:48 (something like an oriental flute). Does it exist as a standalone composition? Is it inspired from some third party artist, if yes, can you please tell my which one?<br><br>Thanks!@Olive<br><br>Wallfisch's career unquestionably benefited from his involvement with Zimmer. He wouldn't have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence. Wallfisch is a very talented composer, but let's be honest here, his music doesn't immediately strikes anyone as a big action guy. Having Zimmer's name pushing you helps.Hybrid, what do you admire more: Black Hawk Down or Tears of the Sun?"Elfman's score is like Whedon, horrendous & out of place."<br><br>Out of place, yes. Horrendous, no.
Leagues above, and yet I doubt Ben will ever be able to write something like "Brothers In Arms" from Mad Max.<br><br>Comparing people is kinda useless...<br><br>The only who's right is Hans in the end, he knows when to use one and when to use the other... ;)@Edmund<br>Iím in the same boat. When I watch a movie I normally donít pay attention to the music unless itís really distinctive. As a stand alone listening experience I usually want to get music that fits a mood and can hold my interest throughout. Take Silvestriís Avengers score for example. The big statements of the main theme and some of the action cues are excellent. Unfortunately itís surrounded by generic underscore that slows the album down imo. But then you have TASM2, which constantly has something going on no matter what. I feel like thatís something which does relate to the directors, not so much the talent level of the composers.<br><br>@olive<br>Ben Wallfisch is LEAGUES ahead of JXL as a composer, partly because heís had years of experience in film composing. Hopefully his recent successes give him more high profile projects.<br><br>As for Justice League, I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force in the classic themes. Had he done his own spin on Zimmerís material there would a better connection to the previous ones.Elfman's score is like Whedon, horrendous & out of place.@Olive: Is better because there is variety and orchestration, and i'm not a purist (i liked BvS, there is more complexity in it than in MoS), but Danny Elfman has more integrity in that score than in that two scores.He did!<br><br>The action material in "Do You Bleed?" is by XL! <br>
Wallfisch has shown himself to be a superior composer to XL, let's face it. I do not even see why he's running after Zimmer since he's able to run a career himself.<br><br>@TheZimmerFan <br><br><But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)><br><br><br>The music is less simplistic and may please the purists, but, no, MoS and BvS are better by a small margin than JL by one factor: thematic material and characterization of the movie.  Elfman should have had more freedom to work on the themes he and Williams wrote.<br>It's a half-truth to everyone who makes up the RCP team, unfortunately. <br><br>But I honestly doubt that ANYONE wants to work with XL.<br><br>Snyder worked with him 3 times. 300, BvS and Man of Steel. Sometimes I even get the impression that he's always liked Tom's approach more than Zimmer's approach. See all the percussion and synths of all those scores that are far more present in the Xl field than Zimmer's.Got this today..well not my music type so pass it...Andrew's second solo feature...<br><br><br>Now still waiting for that Sky Hunter release... :(@Hybrid, what happened with Trevor? Why his scores are not listed in the page? Thanks

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  2003, January 31
Nouvelle Fiche Critique

Drumline (John Powell (2002))

  2003, January 28
Jim Dooley annonce qu'il vient de terminer de travailler sur Tears Of The Sun. Rappelons à cette occasion que le film sortira le 7 Mars aux USA et que nous pouvons donc espérer une édition CD pour fin février.

Le nouveau film de Lisa Gerrard "Whalerider" vient de remporter le World Cinema Audience Award au festival du film de Sundance.

Nouvelle Bande Annonce de Tears of The Sun
Un peu de score peut être entendu et risque fort d'être issu du studio Mediaventures.


  2003, January 24

La liste des nominations paraîtra le 11 février prochain. Quant à la cérémonie‚ elle aura lieu le 23 Mars. The Ring - Dvd edition

L'édition Zone 1 sortira le 4 Mars à la vente. Elle comprendra notamment un court-métrage expérimental de 15 minutes signé Gore Verbinski s'articulant autour de la légende de "Ring". Alors‚ nouvelle musique originale ou réexploitation de la partition composée pour le film ???

  2003, January 21

Golden Globes 2003

C'est finalement U2 (The Hands That Built America) qui a remporté le Golden Globe de la meilleur chanson originale (Video)
Elliot Goldenthal remporte quant à lui la statuette pour Frida (Video)
Retrouvez tous les lauréats de cette cérémonie sur le site des Golden Globes

  2003, January 17
Nouveau Powell

Edition CD de "Two Weeks Notice" (John Powell) reportée au 28/01/03... Grand jour donc‚ où nous attendrons "The Recruit" de Klaus Badelt. Ce dernier travaille actuellement sur "Basic" de John McTiernan.
Une nouvelle édition zone 1 de "Thelma & Louise" sera disponible à partir du 4 février 2003. Plus de trente minutes de scènes coupées‚ et‚ entre autres interviews‚ celle de Hans Zimmer pour parler de son travail sur le film.
En savoir plus...

  2003, January 12

Exposition "Why Are You So Creative ?" à Frankfurt

  2003, January 07
Edition CD de "Two Weeks Notice" (John Powell) pour le 14/01/2003
Edition CD de "The Recruit" (Klaus Badelt) pour le 28/01/2003© 2001-2017 OST 
Stephane Vidali / Antas - Nicolas Cabarrou