NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
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.Nice stuff! I still can't believe this score hasn't gotten a release.That's unfortunate. With this score, I think it's obvious that the majority is Jablonsky, as it has a ton of elements from scores he's composed exclusively, but it would still be nice to know who did what, especially with the first and second films. Not sure why there's rarely any proper additional music credits for a lot of the RCP guys, especially considering Zimmer's credits are almost always complete. <br><br>However that cuesheet of the extended score is very interesting. Hopefully if it leaks, all those cues remain there.Damn that sounds different from Elfman's comments
The funny thing is an interview he gave 1 months before being replaced... Saying pretty much the opposite of Elfman !<br><br>"It’s a massive undertaking. And I can’t say anything about Justice League specifically, but I’ll tell you this, and this was exactly the same experience that Hans and I had when we did work together on Man of Steel and Batman v Superman: It’s like when you see a movie like that, these iconic superhero movies, some of them have a 60 to 80 year legacy, multiple composers had a go at their themes, multiple filmmakers did their version of these characters—it’s very scary. You watch a movie and it’s like, “Holy shit, now I have to come up with something.” You’ve got sweaty hands and you’re nervous, and you talk about it over and over again—and I have exactly that relationship with Zack Snyder—and then Zack said, ”There’s only one thing you can do, and that is embrace this character as if it’s your own, keep it close to your musical soul, and just do whatever you feel is the right thing to do for this character.” That’s the only thing we can do. That’s what all these great directors did back in the day, and that’s what all these great composers did back in the day. It makes no sense for me to do extensive quoting of Hans’ score of the really amazing Batmans. It makes no sense for me to quote Superman from John Williams. Because all fantastic composers, they all did the same thing, they did something that was close to their heart, and I have to do exactly the same thing on this movie. You know this is Movie Number 4 that I’m doing with Zack, so you build a friendship and it’s built on trust and loyalty. You know how to challenge each other, you know what to expect on the other side, and it’s this really open, amazing dialogue about where to take this franchise."I can confirm that he had already worked on it quite a bit, because he said so in one of his Studio Time episodes.I wouldn’t be surprised if he wrote another long sketchbook for it...I honestly have no idea... But I can't believe back in June when he left he hadn't done a bunch of the score already...The thing is with Jablonsky scores composers rarely get cuesheet credits, so you can't really draw conclusions out of it. Here's a small part of the cuesheet :<br><br>QUINTESSA PT 1<br>QUINTESSA PT 2<br>QUINTESSA PT 3 OPTIMUS REDEMPTION<br>KNIGHTED<br>WE HAVE TO GO ZERO GRAVITY<br><br>OPENING BATTLE<br>MERLIN<br>MERLIN GETS THE STAFF - BATTLE WON<br>TROUBLED TIMES<br>CADE DRIVING - AMULET<br>WE HUNT - DECEPTICONS HUNT<br>KEEP A SECRET - VIV ARRIVES CASTLE FOLGEN<br>WITWICCANS<br>ROUNDTABLE ORGAN SOURCE<br>COGMAN CHOIR<br>STAFF<br>BETTER GET CRACKING<br>PLANETARY VAMPIRISM<br>TOO OLD<br>SUBMARINE<br>TWO MOONS<br>MERLIN'S TOMB<br>SPACE STATION<br>CLAIM THE STAFF<br>SHIP RISE<br>YOUR VOICE<br>SOLDIERS TAKE POSITION - BURTON DIES<br>FALL AND GRAB<br>ENDING
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





 .
updated by Nicolas 
 LATEST RELEASES
 NEWS
  2011, April 30
Game of Thrones Soundtrack in June



Varese Sarabande, leading publisher of soundtracks, has announced that the Game of Thrones soundtrack by Ramin Djawadi is on its way! Due June 14th, there’s no more information about just how many tracks there’ll be, but we can be sure that the title theme (and perhaps one or two variations) are going to be a part of it.


Comments (6)

  2011, April 21
We are very glad to present you the new version of the Hans-Zimmer.com website.

A big thanks to Karel Antonín for his precious help and involvement on this project.

Don't hesitate to contact us if you have problems with any of these pages or if you wish to send us comments (go to the About/Feedback page)

Enjoy !


Comments (15)

  2011, April 11
NDI Commemorates International Day of Roma
with Film from Academy Award Winner Hans Zimmer.




The 10 million Roma living in Europe make up the fastest growing ethnic group on the continent and face disproportionate challenges from poverty to violence. Today NDI celebrated the culture and achievements – and highlighted the plight – of these unique European people, commonly called “gypsies,” in honor of the 40th anniversary of International Roma Day.

In addition, NDI used the occasion to debut a short public awareness film, “Who Are the Roma?” with original music by Academy Award winning composer Hans Zimmer.

Read More & comments on our music page


  2011, April 07
La-La Land Records and Dark Delicacies invite you to meet and get your CDs autographed by the composers of new/recent La-La Land releases. There will be Christopher Lennertz & Ramin Djawadi (Medal Of Honnor Box Set), Cliff Martinez (Solaris), Jeremy Zuckerman & Benjamin Wynn (DC Showcase). Also sheduled to attend are Ryan Shore, Mark Isham, Stu Phillips and Scott Glascow.

Be there on April 16th at 2PM

Dark Delicacies
3512 W. Magnolia
Burbank, CA 91505 U.S.A.


  2011, April 06
Heitor Pereira to score THE SMURFS

Heitor Pereira has been hired to score the upcoming film adaptation of The Smurfs. The film marks Sony Pictures Animation’s first live-action/animated hybrid film and stars Neil Patrick Harris, Hank Azaria and Sofia Vergara in the primary live-action roles.

Read More at Filmusicreporter.com


Comments (1)

  2011, April 04
Hans Zimmer



Crysis 2 (VG)


  2011, April 01
Interview



Atli Örvarsson
Atli Örvarsson is on the rise and with each new score his music is becoming more defined as a prominant voice in the industry. Atli has worked on a number of Hans Zimmer's scores from Pirates Of The Caribbean: At World's End, Angels & Demons and a few more. He wrote additional music for the hugely popular Call Of Duty: Modern Warfare 2 and he played the accordion on Hans' score to Sherlock Holmes as well. Some of his solo works include The Last Confederate, The Fourth Kind, Babylon A.D., Vantage Point, Season Of The Witch and now his music can be heard in the new Kevin MacDonald film The Eagle. I asked Atli a few questions about his background and methods.

...


Comments (3)

  2011, April 01
RANGO - Hans Zimmer



The soundtrack, to be released by Anti Records, can be pre-ordered now with the official release on March 1st.
http://itunes.apple.com/us/preorder/rango-music-from-motion-picture/id419249544

For every pre-purchase and download of the album between now and March 8th, $1.00 will be donated to the organization Service Nation, a campaign to increase service opportunities and elevate service as a core ideal and problem-solving strategy in our society.

http://www.servicenation.org/
You can enjoy the music and help a charity!


Comments (0)

  2011, April 01
Hans Zimmer



The Best Of Hans Zimmer



 HANS-ZIMMER.com© 2001-2017 OST 
Stephane Vidali / Antas - Nicolas Cabarrou