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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=9riigqWjovM
Hallo,<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>so...based on what junkie says here, Elfman is basically just rehashing old shit, as well as other people's old shit....Unless you want to say he's taking his Batman theme into a whole different direction that he didn't really have a desire to do before...until now....<br><br>In that case, "whatever" is all I have to say.
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 LATEST RELEASES
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  2006, November 30
Shirley WALKER's death


1945-2006

Composer, arranger & conductor Shirley Walker has passed away after suffering a brain aneurism. As a composer, she started scoring in the early 80, and worked on movies like "Memoirs of an invisible man", "Escape from LA", "Final Destination" & "Willard".
She worked with many composers as orchestrator, arranger & conductor, like Danny Elfman(Edward's scissorhands, Batman & Dick Tracy).

What's more, her talent served Hans ZIMMER on the amazing scores : CHICAGO JOE & THE SHOWGIRL (Co-composer), BLACK RAIN (Conductor, Orchestrator), BIRD ON A WIRE (Conductor, Orchestrator), DAYS OF THUNDER (Conductor, Orchestrator), PACIFIC HEIGHTS (Conductor, Orchestrator), BACKDRAFT (Conductor, Orchestrator), A LEAGUE OF THEIR OWN (Conductor), RADIO FLYER (Conductor, Orchestrator), TOYS (Conductor, Orchestrator)

A really great talent has gone, Hans-ZIMMER.com's team would like to present its gratitude for her great work on film Music, and her precious help on scores we really love. All our thoughts go to her family and friends.


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  2006, November 27
DEJA VU
Harry GREGSON-WILLIAMS


Happy Feet (Score)
John POWELL



.:: NEW John POWELL's INTERVIEWS ::.



4 interviews available at :

Filmzene.net
Animationmagazine.net
Soundtrack.net
Scorenotes.com (audio version)


  2006, November 27
NEW PROJECTS

Heitor Pereira will score Illegal Tender and Klaus Badelt will score Redline.


  2006, November 13
Sanctuary : Lisa GERRARD (DVD)



For the first time on Film, 'Sanctuary : Lisa Gerrard' (directed by Clive Collier) is an intimate portrait of Lisa Gerrard who shares her deepest most creative and emotional insights on all aspects of her life, beliefs and career.


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  2006, November 12
A SCORE FOR HAPPY FEET

John Powell announced he was currently mixing the score for a CD release for December, probably from Atlantic Records.

A CD release is already available with a lot of Powell's arrangements on songs and one single track from the original score.

Source : Dan Goldwasser


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  2006, November 10
The Ultra Payloaded Satellite Party



Harry Gregson-Williams led a 30-piece orchestra on five songs from the next Perry Farrell & his new band ( The Satellite Party)'s album.

The Ultra Payloaded Satellite Party will be released on march 2007 by Columbia.


Source : Billboard.com


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  2006, November 09
CHILDREN OF GLORY AUDIO SAMPLES

Still no soundtrack release is scheduled in the future, you can listen to two audio samples on the official website from the movie, the Hungarian Theme and the Love Theme.

Thank you Levente


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  2006, November 06
Interviews : Part ...

=> Part 2 for our press conference with John POWELL in Ghent

=> Part 3 for the Soundtrack.net interview with Hans ZIMMER


  2006, November 01
Bruce FOWLER scores for Robert DE NIRO

Composer Marcelo Zarvos and the famous Hans ZIMMER's orchestrator replace composer James HORNER on the next Robert De Niro's film, THE GOOD SHEPHERD, due to "creative differences" between the composer and the director.

Read More...


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