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The track is unreleased yeah, part of the movie's climax<br>chronologically it goes between Devils Anus and 'Asgard is a People'The Sierra Leone track Andrew K posted (link below)...I almost wonder if that's how 2010s Zimmer would redo The Lion King. More bass, more minimalist, more Interstellar...but still with an African flare.Horner and many others with Star Trek is a good example too.Huh. Well, the music Andrew posted is nice."Don't believe everything you hear, son."
what do you gyus think about this? <br><br>www . youtube.com/watch?v=9riigqWjovMHallo,<br><br>Der 'Gladiator' ist schon langsam in die Jahre gekommen, die Musik ist aber nicht šlter geworden. Genial.<br><br>GruŖ  <br><br>Not bad score.<br><br>But I prefer the other oneIsnít that ironic that DC is abandoning the continuity while Marvel is finally embracing it?<br><br>For any electronic fans out there, this score is definitely a must listen, there are some badass 80ís beats (with a dash of Tron legacy) in here.I'm so mad at DC right now I'd rather promote Marvel !! lol<br><br><br>Well jokes aside I add cause Andrew worked on it. And btw he posted another 5 min cue on his Soundcloud, dunno if it's unreleased, there'll better specialists of that score than me !
Yeah, I happen to have seen the film and the score is not really "coherent", it's more like many different cues put together...Okay, thanks for clearing that up. The Tracks released were kind of interesting, a kind of mix of soundsAnyone else think Hans knew about all the studio meddling during pre-production, the rewrites etc and walked away ? I mean, when I heard Elfman's score I thought it was generic and wouldn't fit the movie. Then I watched the movie and it fits well. The movie is just as bland as the music in the background.I don't have to ask, that movie was a failure that barely got distributed... No one had any interest in releasing this score...Hybrid, did you ever ask Hans why this score wasn't released?
After watching the movie, I just have to say it was okay. It had some great moments but for me it had also many problems. And one of them was the music. For most of the part it wasn't even noticeable and when it was, it was like random background music with no really emotion or heart.<br><br>BvS and MoS movies can be criticized for some things but the score is not one of them. The movie gave the movie a strong and powerful side, as well as a heart and emotion into it. In this movie there were so many moments that needed different score. <br>***SPOILERS***<br>Superman's resurrection needed the MoS in full epic form. Wonder Woman at the bank at the beggining needed her theme with the electric cello in full power.<br>The Batman theme at the beginning when he is after that Parademon.<br>We should have a really memorable theme for the whole Justice League as well as for each individual member.<br>The scenes with Clark and Lois at the house in Kansas and when his mother sees him, this needed the piano theme from This Is Clark kent or something like that.<br>And that final moments with Superman opening his shirt showing the Superman logo and then flying to the sky, we needed something like "What Are You Going To Do When You're Not Saving The World?" or "Flight" and not that unmemorable music we got.<br><br>I really hope that the petition of the Extended Cut of the movie made by Zack with Junkie's music gets to be released someday, but for now, I'm disappointed.Sounds fun!!<br>Thanks for the linkAny ideas on the Chronological Order of the Tracks?<br>I made a start here...<br><br><br>Logos<br>Batman On The Roof<br>Everybody Knows - Titles<br>Wonder Woman Rescue<br><br>...<br>Icky Thump<br>Aquaman In Atlantis<br>...<br>1m1a Krypton (from Man Of Steel)<br>Spark Of The Flash<br>Friends And Foes<br>...<br>Come Together - Credits<br>Anti-Hero Theme - CreditsNo, they are the full score cues- as presented in the film. The presentation of the final three tracks on the first disc are edited down for timing.* I posted this at filmtracks and wanted to share it here as well. <br><br>Danny Elfman's comments are very disrespectful and so disappointing for a creative person to hear, especially for composers. Nostalgia is a big problem with Hollywood and it's a simple Jedi mind trick. It's slightly different, but the same meal over and over with different seasoning. Imagine if James Horner didn't get to write the score he wanted for Spider-Man? Or Zimmer had to use Elfmans Batman theme for the DK triliolgy or BvS? Or Shirley Walkers incredible Batman theme for Batman: Mask of the Phantasm. Or Giacchino just used the original star trek theme, or the original Star Wars themes for Rogue One and created nothing new at all? How boring and uninspiring for the composers not being able to challenge themselves to create new original music.<br><br>Whether you like these scores or not isn't important, the pursuit to create something new is what drives a creative person and gives us freedom in choosing something to enjoy and not enjoy. I love the original Batman theme by Elfman but I love it in the Burton films. I love Zimmer scores for both the DK trilogy and BvS. I am happy I can enjoy both types of scores and films but there are those who don't and that's a great thing because that means we are not all the same and that brings variety of opinion and taste which creates real conversation and most importantly gives an identity to a project.<br><br>It's easy to go back to original ideas, but I respect the creators who actually take the risk and want to try and do something new. If Danny Elfman stands by his words he should have just used the original Batman theme from the Tv Show and film or the original Spider-Man theme. Oops he didn't and we got a whole new Batman theme and Spider-man theme which most of us love. Thank god he didn't stick to using the original themes. The Batman reboots and superman and Spider-man reboots are completely different takes on the characters and that's why they deserve their own new themes and soundscapes. The only time I think an original theme from a film should be used in a new film with the same characters is if it's actually a sequel or prequel connected to that actual original film. Re-boots should always have new original music.<br><br>In the end the comments from Elfman are simply stupid and uninspiring and it's definitely a hidden ego coming through I never new he had which is a shame. I remember what Zimmer said about Danny Elfman's Batman theme being a bit jolly, but that's not attacking Elfman at all, it's how he felt and heard the music and felt that that style wouldn't fit in the new batman films ect.. I have always found the original Batman theme a bit on the jolly side too and I love it because it nails Burton's take on the character and world. That theme is for Keaton's Batman, no one else's.<br><br>One final point, if we keep wanting to just revisit the past and hear and see the same thing over and over and not be challenged with new ideas, what a damn uninspiring and boring world of creativity we will live in.<br><br>All the best to you all!<br><br>
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  2006, June 27
VIDEO GAMES LIVE



> Metal Gear Solid Video (divx / 38 Mo) <

This video is copyrighted Videogameslive / IGN


Comments (11)

  2006, June 26


NICK GLENNIE SMITH and JIM DOOLEY to attend SONCINEMAD


Two of the most famous Remote Control Studios composers, Nick Glennie Smith and James Michael Dooley, will also be attending SONCINEMAD - the 1st MADRID INTERNATIONAL FILM MUSIC FESTIVAL, taking in place in Madrid, Spain at June the 30th and July the 1st and 2nd.

For more info, please visit:

http://scoremagacine.com/Noticias_eng_det.php?Codigo=142 http://scoremagacine.com/ http://www.soncinemad.com/home.php


Comments (7)

  2006, June 26


Interview with James Dooley
www.filmzene.net


We've first met James Dooley's name a few years ago as an additional composer. Hans Zimmer's student debuted this year with his first individual motion picture score, written for Simon West' When a Stranger Calls. His latest work is the animated short 'First Flight', which will be shown before Deramworks' 'Over the Hedge'. We asked the young composer about these works and the rest of his career.

> Read more


Comments (1)

  2006, June 25
Q&A: Hans Zimmer on scoring 'The Da Vinci Code'
soundtracks.monstersandcritics.com


Hans Zimmer's studio is dark red. The deep wood panels, flowing thick velvet curtains and the plush couch seem more fit for an 18th-century castle than a building in Santa Monica, Calif.

Zimmer sits at his desk - complete with piano keyboard and numerous computers, and coffee. He spins in his chair. He's excited and overworked. He just finished scoring 'The Da Vinci Code' - a project that consumed two years of his life. And now he is knee deep in 'Pirates of the Caribbean: Dead Man's Chest.'


> Read more


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  2006, June 20
Into The West
Geoff Zanelli


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  2006, June 19
DEAD MAN's CHEST First listen



Soundtrack.net made a review from the next Hans ZIMMER's CD release, Pirates Of The Caribbean : Dead Man's Chest, with extracts from each track.


Comments (26)

  2006, June 18
Steve Jablonsky scores the TRANSFORMERS theatrical teaser

Soundtrack.net released pictures from the teaser' score recording session. Conducted by Bruce Fowler, with additional ambient music by Mel Wesson, this melody composed by Steve Jablonsky will maybe be present in the next Michael Bay's movie.

You can listen to some of the synth version from this music on the Official Website from the movie


Comments (0)

  2006, June 17
Trevor RABIN scoring SNAKES ON A PLANE

This past week, the Hollywood Studio Symphony recorded the score to one of this summer's most anticipated films: Snakes on a Plane. A 67-piece orchestra was employed to perform the score, written by Trevor Rabin (...)

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  2006, June 15
6 YEARS AFTER...

Hans Zimmer has apparently been sued by the Holst foundation and music publishers ĎJ. Curwen & Sonsí. They claim elements of Zimmerís Gladiator (in fact, a motif used in ĎThe Battleí) borrow directly from Gustav Holsts ĎThe Planetsí, namely ĎMars: Bringer of Warí. Zimmer and his lawyers of course refute this, though the composer has likened parts of his score to Holstís masterpiece, in terms of its musical language, in the past. (...)

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  2006, June 13

Artist TiŽsto to remix the title theme 'He's A Pirate'


To celebrate the release of this summer's blockbuster Pirates of the Caribbean: Dead Man's Chest, Disney invited TiŽsto to remix the title theme 'He's A Pirate' into a progressive epic trance anthem.

TiŽsto was honoured with this invitation and produced a trance anthem as well as an orchestral remix with the original euphoric orchestral break. Death Man's Chest: Remixes cd-single contains the TiŽsto remix, a TiŽsto radio edit and remixes by Friscia & Lamboy, Pelo Verde, Pete n' Red and Chris Joss. Radio edits of TiŽsto and Pete n' Red Jolly Roger remixes are included on the Promotional CD.

You can hear the remix HERE.
Just click on Previously aired shows: 10 juni 2006 and go to minute 27'30...


Comments (3)

  2006, June 13
Musqueteers of Richelieu :
Your opinion interests us


Please take a moment to answer this question in the right margin.
We will submit the result to the Puy du Fou organizer.


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  2006, June 11
Disco Page updated






  2006, June 10
Klaus BADELT working on MIAMI VICE

Klaus BADELT is currently co-scoring the next Michael MANN movie, MIAMI VICE, with composer John MURPHY (Basic Instinct 2).
Starring Colin Farrell & Jamie Foxx.

Release Date


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  2006, June 05
PIRATES OF THE CARRIBEAN 2
starring Hans ZIMMER


wmv file / German with English Subtitles / 13.3 Mos

The German Tv, ZDF, on its prime time news magazine Heute Journal, presented a video reportage from Hans ZIMMER while he was scoring Pirates Of The Carribean : Dead Man's Chest

Subtitled by dlmusic & Sylvos
Thank you Rudi


Comments (1)


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