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He’s definitely not a bad reviewer, and his writing style is pretty sharp. The obvious problem is that he has a strong bias against Zimmer. Most of his recent Zimmer reviews are less spent talking about themes and more so the “issues” with his current style.'At World's End' is possibly one of his greatest 'missteps' for sure, but he is a mostly reasonable guy when reviewing, and simply has a taste that doesn't accomodate a lot of the more modern sounding scores, which I think is ok, since we all have our preferences. His 'Solo' review is a must read for any fan of the score though. :DIf you want to understand why he's persona non grata, just go and check out his review of Hans Zimmer's masterpiece At World's End, it sums up pretty nicely the guy's mental issues :p<br><br>But his other reviews are mostly OK and that Solo one is indeed very good, worth a read.Who is he and why is he a persona non grata? ô_OHow dare you mention his name ??<br><br>I should erase that post... :P
What site are his reviews on again? Not really sure where to look.As long as Steve knows to keep this score mostly melodic with little to no sound design, I'll probably be happy with it.I assume that's the official cover....<br><br>I dig it. Very Die Hard-y : )I know Clemmensen is kind of persona non grata around here (not without good reason), but he put up his review of Solo a few days ago and it's one of the best he's ever written, a fantastic in-depth analysis (and appropriately positive). Worth spending an hour or two reading and listening to help unpack this score's many complexities.Is it just me or does the “Catwoman” riff (not the main theme) in “Bar Shootout” and “Nothing Out There” sound very much like the main Scarface theme?<br><br>I’ve also noticed that Hans sometimes will write a main tune and a series of riffs for a character, but will mainly incorporate the smaller motifs in the film (Angelica’s music from OST, Megamind’s main tune, Catwoman, etc.) Definitely not a problem though, I like the variety.<br><br>Look at the evolution of Batman’s theme from Begins, where he had the 2-note motif and the actual theme, to here where it’s just the 2 notes and the chord theme. I wonder if that was Chris Nolan’s decision.
John Powell answered in Facebook there is still 45 minutes of music outside from the CD.Yep, he knows how to do BIG and small moments. He's so versatile. I'm praying rian johnson uses him for his new trilogyThank you! Glad you enjoyed it.If there is one who can replace John Williams on Star Wars than is it John Powell!!<br><br>Great Job!!It sounds great ! I think I will listen to the CD after the hamburg concert, to keep the surprise, because they will play some cues there ! <br><br>Are some french JP fans going to Hamburg next week ? It would be great to have a beer and talk about film music !
Dear Mr. Zimmer (or those interested), <br><br>  Over the years I have always enjoyed some of the higher-intensity compositions you have produced and made a point of putting my money where my mouth is and actually buying the soundtracks - money well spent. I've used specific songs of your's to get through moments of fatigue at work and also to prepare (silly as it may sound) for sporting events, even working out or running. I found them better than any rock or even electronic-type energetic music, until such a point, naturally, that I'd listened to them too many times and the magic wore off. Some of your songs rise to a crescendo that sometimes are powerful but perhaps lost on those who are unfamiliar with the corresponding movie scene ("Flight" from Man of Steel, it rises gradually but the concept you capture is magnificent, "Time" from Inception as well comes to mind). Some are obviously and undeniably potent like "A Dog Chasing Cars" or, going way back to when I learned of your work, "The Battle" from Gladiator which reminded me of "Mars, the Bringer of War", -- or even the latest "Sea Wall".<br><br>  Admittedly this is odd but I can't help but wonder if despite all the solicitations you must receive it seemed to me I might as well send the following two-fold feedback: in the same way I was pleased to learn that Daft Punk was handling the soundtrack for the modern remake of TRON (and what a fine job they did) I was also heartened to find that you were handling the soundtrack for Blade Runner 2049. It seemed a good sign to me at the time and I knew I would buy a ticket at that point. That was a movie (BR2049) I was worried they would BOTCH much in the same way they completely did whatever it was they did with remake of Total Recall (in which they completely stripped it of its cerebral essence and made it a very long chase-scene). <br><br>  All of this is to express some appreciation and also plug an obscure pianist from Montreal who has been on the CBC and all that, who, when I spoke to him after a show and compared some of his energetic imaginative work (Nostos comes to mind, and damn he hit 99% of those complex piano notes) to your's he admitted it was a dream of his to work with you under any capacity. Of course I suspect nothing will come of this but either way I think it harmless to tip my hat your way as a long-time fan who has utilized your music for motivation many, many, many times and also note that on my esoteric playlists five or six came from you and one or two came from him (Nostos, Il, Hypoctite)<br><br> Lastly, it should be noted for the historians that one time Jean-Michel Blais saved us Canadians (if you do the collective math based on viewership) a great deal of time and intellectual agony. Chevy was running commercials during the NHL playoffs (last year, not the the latest Washington Capitals win) in which an irritating scenario of "real people" were supposed to judge cars/trucks that popped out from behind sliding doors or lifted from basements (aircraft-carrier-style), and the poor fools/actors/allegedly "real people" had to say something nice about it all. It was such garbage. How splendid, how refreshing, then, that they ran a good commercial with someone just winding corners and enjoying driving the damn car to the music, which I recognized as JMB's "Hypocrite". He saved the society a good 10k hours of perniciousness.<br><br>Whew! That's all from me. Love the music, keep it up. Please give JMB a shot I think you'll find his attitude/ethic/skills refreshing. Regardless of that at least it was worthwhile of me to express my appreciation for ten years of masterful original music on your part anyway.Separate question:<br><br>Is Toby Chu part of RCP? I think he had some connections at least right?Why wouldn't Hans go all-out for something that's going to be viewed on this scale? I mean, how hard is it to compose 45 seconds of compelling, original music when you've worked on innumerable 2+ hour films?Woah, Hans actually did good work on this; it's admittedly a bit anonymous-sounding, but the combination of percussion, strings, and choir works in a way that's reminiscent of Angels & Demons (oh, those were the days...).John just precised this point, i was just too impatient ;)
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 LATEST RELEASES
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  2010, December 21
WEBRADIO IS CHANGING FOR A NEW SERVER

Click HERE to listen the new adress. The Webradio page will be updated in a few hours.


  2010, December 19
Daft Punk



Tron Legacy


  2010, December 14
Hans ZIMMER nominated for the Golden Globes Awards

The HFPA nominated the INCEPTION's soundtrack for "BEST ORIGINAL SONG – MOTION PICTURE" category.

Other nominated composers are :

Alexandre DESPLAT (The King's speech)
Danny ELFMAN (Alice In Wonderland)
A.R. RAHMAN (127 Hours)
Trent REZNOR, Atticus ROSS (The Social Netwok)

The show will be broadcast nationwide live on NBC, in HD, Sunday, January 16, 2011 from 5:00-8:00 (PST)/8:00-11:00 (EST) from the Beverly Hilton Hotel.


Comments (52)

  2010, December 14
Sound Byte: Meet the Composer - Disney Epic Mickey's Jim Dooley

James (or Jim) Dooley is an Emmy-award-winning composer who graduated from New York University. (He was also a speaker at this year's PAX, which you can read about here.) In 1999, he began working with Hans Zimmer on Gladiator, which then led him to work on movies such as The Da Vinci Code, Pirates of the Caribbean: The Curse of the Black Pearl, King Arthur, and many more. In addition to having an extensive background in film, he's a prolific composer in other forms of media, including television, where in 2008 he won an Emmy for his music in the hit ABC series Pushing Daisies. When it comes to video games, though, he has worked on Jak and Daxter: The Lost Frontier, a couple of SOCOM games, and, of course, Disney Epic Mickey. Watch our interview below to find out what kinds of challenges he faced when it came to reimagining some of Disney's most famous tunes.

Complete video interview : http://www.gamespot.com/wii/adventure/disneyepicmickey/news.html?sid=6284470


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  2010, December 14
Composers Find New Playgrounds In Video Games

The game, Epic Mickey, has just been released for the Nintendo Wii. The man who wrote the music, Jim Dooley, has worked on some of the biggest TV and movie projects in the past decade. Dooley told All Things Considered host Guy Raz that video games present interesting challenges to the modern day composer.

Read more : http://www.npr.org/blogs/therecord/2010/12/01/131702650/composers-find-new-playgrounds-in-video-games


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  2010, December 14
The Pirates of the Caribbean: The Curse of the Black Pearl
Complete score world premiere live (full symphony Orchestra and chorus)
On 20/21 January 2011




For further informations and/or ticket ordering go to www.artproductions.ch


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  2010, December 13
Matthew Margeson Gets In Line With The Sky

I started banging around on an old organ that my parents had in the house when I was about 4 years old or so. My parents thought it would be a good idea to start some lessons very soon after. When I turned 5... they hired this old, old man to come to our house every week and give lessons. I think he was maybe 72 years old or so when he started teaching me, and he actually was my private instructor for the next 12 years.

Throughout my youth, I was very much involved in musical theatre. I was involved in a lot of community theatre, doing musical direction for performances. During this time, I also had a little part-time job working at a small local video rental store. Because there was very little foot traffic at the store - the employees basically just hung around all day and watched films. I think both of these situations were a good recipe for me to have a strong interest in film music. I watched a lot of movies, I played a lot of music, and had quite a bit of experience performing music live to people acting on stage.

I studied Film Scoring & Composition at Berklee College of Music in Boston, and shortly after - drove out to Los Angeles. That, and a little bit of working with the right people in LA kind of brings us to where I am today.


> Read the complete interview


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  2010, December 07
Hans Zimmer to join Hollywood Walk Of Fame -UPDATED-



Hans Zimmer is to be honoured with a star on Hollywood's Walk of Fame, organizers announced Thursday.

The 53-year-old will receive star number 2426 at an unveiling ceremony tomorrow. Guests are to include director Christopher Nolan, whose recent films Inception, The Dark Knight and Batman Begins are all accompanied by Zimmer's music.

The composer said he would dedicate his star to agent Ronni Chasen who was murdered in Hollywood last month, shot in her car on Sunset Boulevard. Chasen had represented Zimmer for many years.

Hans Zimmer was nominated twice for a Grammy this week, for his work on Sherlock Holmes and Inception.

source : monsterandcritics.com

Here are some pictures and videos from this event...







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  2010, December 03
Hans Zimmer confirmed to score new Pirates movie

Hans Zimmer is set to start scoring the fourth part in the Pirates of the Caribbean series in January of next year. In Pirates of the Caribbean: On Stranger Tides, Jack Sparrow and Barbossa embark on a quest to find the elusive fountain of youth, only to discover that Blackbeard and his daughter are after it too.



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