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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 ;)Hubris: Choral Works by John Powell is now available to stream worldwide on all digital platforms! &#128526;<br><br>Also available to download in 192k/24bit high-resolution from johnpowellmusic .com<br>CDs on https ://bit.ly/2lcQ5Ig :) and coming soon to Amazon and other retailers!<br><br>Thank you, everyone, who was a part of this record!<br>Enjoy &#127926;&#127930;Mega cool :) Wann wird dieser Remix released? :)This would be really nice that as the release is only available for download, we had the choice to download it in a better quality than the CD itself. We have no material piece in the  hands, at least we would like to have such a contentment. I do have no action in Qobuz, but that should be a mandatory place for a download only music, for music lovers who like pure instrumental music. ;)<br>I'll be waiting for it !This album is absolutley wonderful!. I loved every second of it. I adore choirs in film music and an album like this is a very welcome treat!<br><br>Great job, Mr. Powell<br>10/10
Absolutely delightful score. Loved it.Where can we buy this "complete score"?What a wonderful soundtrack, I can not stop listening either. When I get home after work, Interstellar is the best soundtrack to listen to in the quiet of dawn. It's to get in touch with the Cosmos. Congratulations Hans Zimmer.from like.....4 years ago?I’m surprised nobody is talking about the expanded score that has leaked...!
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  2013, September 27updated by Antas 
Hans Zimmer plays the piano of the future



Hans Zimmer, the creative force behind some of Hollywood's best loved film music, including the Oscar-winning Lion King score, adjusts his chair in front of a sleek black instrument that looks something like the control panel of a stealth bomber.

He raises his hands to the monochrome keyboard and presses gently. A familiar strain emerges from it: the opening lines of the Dark Knight theme, but today it sounds unlike it has ever sounded before.

More here : http://edition.cnn.com/2013/09/27/tech/innovation/hans-zimmer-seaboard-future-piano/index.html


Comments (37)

  2013, September 23updated by Hybrid Soldier 
HANS ZIMMER by HANS ZIMMER


"I didn't start in Germany. I could never get a job there since I hadn't gone to music school, and they wanted to see references from an Akademie.

I was playing in bands in England - pups, colleges, workingmen's clubs, strip-joints. Always late with the rent, and worse - always ran out of shillings for the electricity meter. Makes it a bit hard on the electronic wunderwerk when it all gets dark in the middle of a riff.

Lived mainly off the kindness of friends (it is important, as a musician, to be entertaining enough that people take you out on a regular basis for expensive dinners). Always owed the bank money - but the bank manager sort of believed in me, and let me overdraw. Borrowed synth from the good people at Argent's Keyboards and Syco Systems. Fell in with the jingle crowd, which was a regular check (I used to do two or three a week, sometimes as a composer, sometimes as a synth programmer for other composers)

Started working with an equally poor Trevor Horn and Geoff Downes. Made a song we couldn't give away. Went to number one the week before my twenty-first birthday. Still waiting for the royalties.

Got fed up with the world of rock 'n' roll. Started working with Stanley Myers (The Deer Hunter) as his assistant. He showed me how the orchestra worked, I made excellent espresso. Fair deal.

It was actually quite good not to be on the road anymore. I used every second to get better with equipment. I would loiter at the studio after I was done with my session and learn from engineers like Geoff Emerick, Flood, Hugh Padgham (actually, he was the bass player in my first band).

Built a studio in London with Stanley. It was tiny, but sounded great. Soul To Soul, a lot of KLF and other experimental stuff, endless disco... Learned what a "hook" is. Beethoven knew... Mozart and the Stones knew...

And the commercial directors where starting to make TV movies. Our friends Tim Bevan and Sarah Radcliffe started a film company called "Working Title". No money, but a vision. Suddenly we where doing movies. Our movies where edgy and funny and usually under-financed before we even started. Mostly cut above strip joints or brothels in London's Soho. It was all just a different form of the world of entertainment, and the rent was cheap. Still owed the bank a fortune. I kept telling them that a synth could buy a house, not the other way round. That One idea, One tune would make the difference between ruin and being able to pay the banks back. And since I had no other qualifications, they didn't really have a choice.

But I knew my stuff. It was limited - I was into electronica - but I could go up to any synth, any mixing console and work with it. I never took a day off. I was glued to all the synthporn magazines, hung out for years at Syco systems, who sold the Fairlight and the Linn, and eventually was offered a movie in L.A.

And while we - due to lack of money - had really made what little technology we had (ok, I had a Fairlight by then... don't ask how we got it or paid for it. Sometimes you have to be lucky. Thank You, Stanley Kubrick!) work for us brilliantly, Hollywood wasn't at all the technological fab place I imagined it to be. It was very talented people writing on paper, with their arrangers and orchestrators in some dingy back room with neon lighting and cottage cheese ceilings. Not really my thing. Stained, cracked linoleum floors and water-damaged ceilings ("but that's where Orson Welles cut 'Citizen Kane'!", yeah, great, but can you at least change the lightbulb?") So I built myself another studio and other people wanted to be part of it, like Mark Mancina, Harry G-W, John Powell... and because we had all that rather cool, yet primitive technology, directors actually liked coming over and hearing mock-ups of a score, discuss the music to picture without a hundred piece orchestra waiting outside. And we had an excellent drinks cupboard.

But the main thing was - we all had an insane work ethic (I remember feeling guilty leaving at 4am one morning, because everybody else's car was still there.). We surrounded ourselves with the greatest music editors like Adam Smalley and Bob Badami (look up their credits!) and changed their way of working to be more like record producers. We got recording engineers like Alan Meyerson, who could effortlessly move between orchestra and fuzz-box.

If we had an idea, we'd build it. We still build our own samplers, put unfair pressure onto companies like Steinberg and Avid (Logic is too corporate now. It's not how long it took to get this last update. When do you think the next one is coming out?)

We very much worked like a firm of architects. One main designer, with us all helping each other out. People are still confused about the "additional music" credits. If it sounds like me, it's probably me. Head Architect. But how can my collaborators ever get a career going if they are just "Ghosts"? If it sounds like John Powell, it's probably him... same rules apply.

Personally, I couldn't give a flying f@&$ about credits. I'm in it for the process. That's the part I love. I have a deal with one film company where they pay me next to nothing for the music, but a shitload of money for doing press. Press is hard work, parties scare the living day lights out of me, and premieres are only great for being in amongst a big audience for whom, ultimately we made it, and enjoying the movie with them. The party after is just some sort of Irish wake, where we say good bye to the joy we had making the thing.

The only thing between you and a career is singleminded stubbornness, hard work and sweat, tempered with social graces and a true compassion for your poor director, good ideas, recklessness, humility and an insane work ethic. You have to have talent in all of these fields, plus, obviously, music and story telling. You need to be a proud servant of the film, and be respectful and a little bit in love with and of your audience. I'm not big on awards. They usually get it wrong. "Shawshank Redemption" should have won the Oscar, in my opinion. My learned and generous peers obviously had a different opinion and gave it to me for "Lion King". Made no difference to my career, or the trajectory I was on.

The only true compliment I feel is, when someone goes out and spends their hard earned money on one of my movies or soundtrack. Real people, who have a choice, wanting to be entertained and moved and think I can do that. The only thing I'm interested in is that I'm having some weird ongoing dialogue through my music with people I've never met, who are moved or provoked by my music, that something from my heart resonates with their emotion or brain - all over the world, whatever culture. And I'm interested that some guy with no education from Frankfurt can make it in Hollywood. Because that means anybody can."

Hans Zimmer (from VI Control)


Comments (17)

  2013, September 22updated by Nicolas 
NEW Hans ZIMMER's INTERVIEW

Hans Zimmer is talking on his Rush Soundtrack, Oscar Nominations & 'Man Of Steel 2'

Read more at the Huffingtonpost.com


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  2013, September 13updated by Hybrid Soldier 
Hans Zimmer Interview about RUSH





Comments (3)

  2013, September 12updated by Antas 


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  2013, September 08updated by Nicolas 
The Legend Of Shalimar

Have a look on the new TV spot from Guerlain
featuring music from The Da Vinci Code (2006) (By Hans)



A film by Bruno Aveillan
With Natalia Vodianova & Willy Cartier
France
Release date : 2013/08/28


Comments (1)

  2013, September 07updated by Nicolas 
Listen To Some Tracks From Rush Soundtrack HERE



  2013, September 04updated by Nicolas 
Batman vs. Superman



‘Batman vs. Superman’
Hans Zimmer On Whether He’ll Score the ‘Man of Steel’ Sequel


Hans Zimmer’s drum-tastic score for Man of Steel ranks among his most impressive work in recent memory, but there’s been some doubt surrounding his potential return to provide the music for the Man of Steel sequel – not least of all, because the movie will include Batman, who’s a comic book character that Zimmer previously helped bring to life when he scored director .

Read more HERE


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  2013, September 03updated by Hybrid Soldier 
Hans Zimmer Interview at RUSH Premiere





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