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Edmund - given the rationality you've displayed in your comments, I'm disappointed Goldsmith isn't in your top three. ;)<br><br>In all seriousness, I'd put money on Powell fucking nailing the integration of Williams's theme. While Giacchino did a solid job on Jurassic World and Rogue One (I tend to think my assessment of the latter is a bit more positive than most), frankly I just think Powell is a far better composer - a genuine A-level guy, whereas Giacchino is moreso very competent without that spark of pure talent seen in Williams, Goldsmith, Elfman, Zimmer etcI think it's worth noting that Zimmer's popularity at this point is largely under his direct control - meaning that if he were to decide to stop touring, go back to writing full-time, and return to his 'epic' thematic style, I think we'd see a surge in his popularity of the sort we saw from Batman Begins through til Interstellar. However, I just don't think he's interested, which is totally his right.<br><br>I certainly agree that the RCP proteges at this point are, frankly, shit compared to how they used to be. I mean, even a guy like Steve Mazzaro (who I genuinely like and who wrote some of the coolest cues in Chappie, and basically co-wrote BvS - a score I actually like) just utterly pales in comparison to the Powell era.<br><br>Actually, I have to take that back a bit; Wallfisch is a very, very talented guy, honestly so much better than someone like Junkie that I weirdly tend to forget he's under the RCP roof now.@HunterTech<br><br>"I only get annoyed when people decide he's suddenly the most amazing thing ever, which he really isn't. Even on his most competent scores, it's unlikely many would recognize him as one of the greats. Respect him, sure, but not think he's out of this world."<br><br>Exactly. Hans, for all the criticism he gets (much of it for good reason), has written some of the best film music of all time (seriously, having listened to huge amounts of Williams and Goldsmith, I still find Science & Religion my favorite cue ever). On the other hand, Lorne has written innumerable adequate-to-good scores, but none that I can recall are iconic. I'd say the closest he's come is in the form of his contributions to some of Zimmer's work (personally, I think his Kick It theme is the most interesting of those in Inception), but even then he hasn't done anything as memorable as Djawadi's theme from Batman Begins.Michael - reread the second half of my previous comment. And no, I don't think Genius or Churchill are no good; I wasn't impressed by the second, to be honest, but Genius is really cool - like an updated version of Frost/Nixon, one of my very favorite Zimmer/RCP scores.<br><br>Edmund - much appreciated.<br><br>Overall, I too am baffled by many of these comments; clearly there is a middle ground between "Lorne is shit." and "Lorne is absolutely amazing.", but this seems to be missed.<br><br>And by the way, I'm actually super happy for Lorne's success - I think he deserves it given the quality and quantity of his work, and he seems like a super nice guy to boot (how many composers regularly respond to people on Facebook?). However, this doesn't mean I can't simultaneously point out the fact that much of his work is very, very similar to work he's done previously. Indeed, I think this is more of an issue for Lorne than Hans, perhaps because he takes on sooooooo many projects.I agree. His Justice League theme is just a deconstruct of his Batman theme. Clever, yeah sure - he's done similar things with the Men In Black sequels and I'm sure there's others I can't think of right now - but I personally dont consider Elfman's involvement in this new DCEU to be very welcome. Zimmer paints a different canvas than Elfman, and I love both their works.
It was a missed opportunity.<br>Yeah... I'm not sure about Elfman's wave. The guy decided to bring back his old Batman theme instead of actually writing a new one. He has to re-invent himself. <br>Seven with ZimmerYeah, Silvestri, Newman, Goldenthal and JNH too. The six most popular "new" composers, along with Horner, of the  80's and 90's.I saw a few clips from the movie on youtube. The score sounded really good. Very unlike Djawadi and very beautiful fantasy music! Can't wait
I saw a few clips from the movie on youtube. The score sounded really good. Very unlike Djawadi and very beautiful fantasy music! Can't waitHonestly, I do feel bad for Elfman, because for Chrissakes hes been doing 50 Shades of Grey these days, and the last memorable scores I have of him are from 2012. But I don't think Zimmer or even Elfman for that matter are done as yet. I predict by the end of this decade Zimmer will have a new wave in popularity wash in. I'm just waiting for Elfman's wave right now...not quite seeing it yet.Glad you caught it Rockhound. Think the others were too wound up to notice !!i was trying to be funny.Pete you are funny, although u demand from others to talk about the actual soundtrack from this page, you start to talk also about another soundtrack. but ok.... i think Forgotten is a very boring track and adds nothing to the actual scene. a variation of his theme from the track Hero would have been much more intense for the ending. sadly we got 9 boring minutes of thematic development and instrumentation. Lorne can do much better as the track Hero from the same soundtrack shows.Zimmer got X-Men: Dark Phoenix this year. And I have a hard time believing he is only scoring that film this year. Zimmer always does more than 1 film a year.
No need for petty cursing .<br><br>We can discuss the soundtrack instead ! <br><br>Forgotten is cool track.It’s definitely one of Bay’s best movies. Wish he would make more drama based film obvious with some action. Can’t cope with more robots ! The ending of the film is so emotional and this track gave goosebumps at the end. Did sound very similar to the end of The Last Knight"Boring . Talk about the actual soundtrack or change the subject."<br><br>Ok, so someone else gets us on this topic, an arguement occurs, and NOW, only when you've realized you're losing the arguement, do you decide that this page is only for 12 strong. Which it's not. This is a forum we talk about whatever we want here.<br><br>But what a childish and pathetic attempt at avoiding our points. Just dismissively saying "Boring! Change the subject! My ears can't handle this criticism!!! Wah, wah, wah!" I guarantee you the next step after this is going to be petty cursing.Boring . Talk about the actual soundtrack or change the subjectUpset about success? Sounds like someone doesn't know a thing about reasonable criticism. :p<br><br>If anyone likes Balfe, then good on them. I only get annoyed when people decide he's suddenly the most amazing thing ever, which he really isn't. Even on his most competent scores, it's unlikely many would recognize him as one of the greats. Respect him, sure, but not think he's out of this world. Especially if people are still gonna be excited about hearing the work of someone else when a different person is hired (i.e. what JL might've been).Can we please change the subject !!!!!!!!it is so boring now.This page is ment to be about the sound track to 12 Strong
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 LATEST RELEASES
 NEWS
  2007, February 27
Silva Screen to release a new Zimmer compilation

Silva Screen Records plans to release a new Hans Zimmer compilation album which will be conducted by James Fitzpatrick and will contain new arrangements on Zimmer famous themes such as "Pirates of the Caribbean", "The Rock", "Driving Miss Daisy", "The Thin Red Line", "Crimson Tide" and "The Da Vinci code".

The news come from tadlowmusic.com


Comments (10)

  2007, February 26
The 79th Academy Award Winners

Gustavo Santaolalla won the Best Original Score Academy Award for his work on Babel. Congratulations to Gustavo as this is his second win after having won for "Brokeback Mountain" last year. The other nominees for the same category this year were Alexandre Desplat with "The Queen", Javier Navarrete with "Pan's Labyrinth", Philip Glass with "Notes on a Scandal", and Thomas Newman for "The Good German".

The Oscar for Best Song went to Melissa Etheridge for "I Need to Wake Up" from An Inconvenient Truth.

Check out the complete winners' list at: oscars.com


Comments (4)

  2007, February 25
IMFCA Awards for 2006 announced

For Immediate Release

JAMES NEWTON HOWARD'S "LADY IN THE WATER" RECEIVES 2006 BEST SCORE HONORS FROM THE INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION

February 23, 2007. The members of the International Film Music Critics Association (IFMCA) have announced the winners of the 3rd Annual IFMCA Awards, honoring achievements in film and television music in 2006.

Hans Zimmer, who led the 2006 nominations with six nods, wins two awards: Best Original Score for an Action Film for Ron Howard's "The DaVinci Code" (Decca Records) and for Best Original Score for a Comedy Film for Nancy Meyers' "The Holiday" (Varese Sarabande), which coincidentally includes a main character played by Jack Black who is a film composer.

The Best Original Score in an Animated Film goes to John Powell's score to the tap-dancing penguin hit, "Happy Feet," directed by George Miller (Atlantic Records).

The complete list:

FILM SCORE OF THE YEAR
Lady in the Water (James Newton Howard)

FILM COMPOSER OF THE YEAR
Alexandre Desplat

BEST NEW COMPOSER OF 2006
Brett Rosenberg (Half Light)

BEST ORIGINAL SCORE FOR A DRAMA FILM
The Black Dahlia (Mark Isham)

BEST ORIGINAL SCORE FOR A COMEDY FILM
The Holiday (Hans Zimmer)

BEST ORIGINAL SCORE FOR AN ANIMATED FILM
Happy Feet (John Powell)

BEST ORIGINAL SCORE FOR AN ACTION/THRILLER FILM
The Da Vinci Code (Hans Zimmer)

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
Lady in the Water (James Newton Howard)

BEST ORIGINAL SCORE FOR TELEVISION
Planet Earth (George Fenton)

BEST SINGLE CUE OF 2006
"The Great Eatlon" from Lady in the Water (James Newton Howard)

FILM MUSIC RECORD LABEL OF THE YEAR
Intrada (Douglass Fake, producer)

For more info, the full press release, IFMCA awards' history, complete members' list and even more, please visit filmmusiccritics.org


Comments (1)

  2007, February 25
Trevor Morris to score HILL HAVE EYES 2

The sequel to the 2006 horror movie "The Hill Have Eyes" which received a score by TomandDandy, will be entitled "Hill have eyes 2" and according to the the Gorfaine-Schwartz Agency and filmmusicweekly.com it will be scored by composer Trevor Morris.

Wes Craven, Peter Locke and Marianne Maddalena produced while Martin Weisz is the director.


Comments (0)

  2007, February 05
John Powell to attend Úbeda

7 times ASCAP award winner and 2007 BAFTA nominee John Powell has further announced his intention to attend this year’s International Film Music Conference – City of Úbeda.

Born in London in 1968, John Powell is best known for his outstanding scores to some of the biggest Hollywood box office hits in the last decade. His scores for films like Shrek, Antz and Chicken Run are nowadays a unique point of reference in the animation genre as is the case with his music for action flicks such as The Bourne Identity, The Bourne Supremacy and X-Men: The Last Stand.

John Powell is currently involved in yet another Jason Bourne movie (The Bourne Ultimatum) as well as in Jimmy Hayward’s adaptation of a Dr. Seuss book Horton Hears a Who.

This years guests include :

JOHN POWELL
JOHN DEBNEY
DAVID ARNOLD
PASCAL GAIGNE
JAVIER NAVARRETE
and more names to be added soon!

Source : congreso.bsospirit.com


Comments (0)

  2007, February 04
The Number 23
Harry Gregson-Williams




  2007, February 03
James Dooley scores new videogames

Composer James Dooley has a couple of exciting new projects in his agenda, namely the upcoming Xbox360 game Def Jam: Icon by Cinematics and Castle Wolfenstein by Activision.

For more info you can visit James Dooley's official website and the Gorfaine-Schwartz Agency.


Comments (0)

  2007, February 03
Harry Gregson-Williams, at the bright nexus between sound and picture, manages to make musical magic for a life on and off the silver screen that sounds like it should: GREAT

Read the full interview at: http://www.eqmag.com/story.asp?storyCode=13266


Comments (1)

  2007, February 02
INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES ITS NOMINEES FOR THE BEST FILM SCORES OF 2006

2 February 2007. The members of the International Film Music Critics Association (IFMCA) have announced their nominees for the 3rd IFMCA Awards, honoring achievements in film and television music in 2006.
The nominees are:

FILM SCORE OF THE YEAR
- The Black Dahlia (Mark Isham)
- The Da Vinci Code (Hans Zimmer)
- The Fountain (Clint Mansell)
- Lady in the Water (James Newton Howard)
- Perfume: The Story of a Murderer (Tom Tykwer, Reinhold Heil and Johnny Klimek)
- X-Men: The Last Stand (John Powell)

FILM COMPOSER OF THE YEAR
- Alexandre Desplat
- James Newton Howard
- Mark Isham
- John Powell
- Hans Zimmer

BEST NEW COMPOSER OF 2006
- Caine Davidson (An American Haunting)
- Nicholas Dodd (Renaissance)
- Mark Orton (Sweet Land)
- Douglas Pipes (Monster House)
- Brett Rosenberg (Half Light)

BEST ORIGINAL SCORE FOR A DRAMA FILM
- The Black Dahlia (Mark Isham)
- The Departed (Howard Shore)
- The Good German (Thomas Newman)
- The Nativity Story (Mychael Danna)
- The Painted Veil (Alexandre Desplat)
- The Queen (Alexandre Desplat)

BEST ORIGINAL SCORE FOR A COMEDY FILM
- The Holiday (Hans Zimmer)
- Little Miss Sunshine (Mychael Danna)
- Miss Potter (Nigel Westlake and Rachel Portman)
- The Pink Panther (Christophe Beck)
- The Shaggy Dog (Alan Menken)

BEST ORIGINAL SCORE FOR AN ANIMATED FILM
- Cars (Randy Newman)
- Charlotte's Web (Danny Elfman)
- The Ant Bully (John Debney)
- Happy Feet (John Powell)
- Ice Age: The Meltdown (John Powell)

BEST ORIGINAL SCORE FOR AN ACTION/THRILLER FILM
- Casino Royale (David Arnold)
- The Da Vinci Code (Hans Zimmer)
- Firewall (Alexandre Desplat)
- Mission: Impossible III (Michael Giacchino)
- Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer)

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
- Eragon (Patrick Doyle)
- The Fountain (Clint Mansell)
- Lady in the Water (James Newton Howard)
- Superman Returns (John Ottman)
- X-Men: The Last Stand (John Powell)

BEST ORIGINAL SCORE FOR TELEVISION
- 24 Season 5 (Sean Callery)
- Battlestar Galactica Season 2/3 (Bear McCreary)
- Lost Season 2/3 (Michael Giacchino)
- Planet Earth (George Fenton)
- The Ten Commandments (Randy Edelman)

BEST SINGLE CUE OF 2006
- "Evey Reborn" from V for Vendetta (Dario Marianelli)
- "The Great Eatlon" from Lady in the Water (James Newton Howard)
- "Chevaliers de Sangreal" from The Da Vinci Code (Hans Zimmer)
- "Eragon" from Eragon (Patrick Doyle)

FILM MUSIC RECORD LABEL OF THE YEAR
- Film Score Monthly (Lukas Kendall, producer)
- Intrada (Douglass Fake, producer)
- La-La Land (MV Gerhard and Matt Verboys, producers)
- MovieScore Media (Mikael Carlsson, producer)
- Varese Sarabande (Robert Townson, producer)

Source : www.soundtrack.net


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