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<br>"Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty."<br><br>Blackwood might want to have a word with you.Too many songs! But at least there is 15 tracks of score.<br><br>BTW, I don't think Djawadi is able just to do themes. His score in GoT Season 7 shows that he is able to do action tracks very well. Also, in GoT Season 6, he shows that he is able to have many themes and develop them in many different ways.Meta your comment is based on smoke...<br><br><br>Do you have any idea of what Hans & Elfman's relation is ? How many scores Danny mixed at Remote Control ? That when Hans was writing Batman Begins, Danny was in the next room and Hans invited him to check what he was doing ? How many people from RCP Elfman recruited to help him ?lol it's too funny the guy even spent the time of typing all this...<br><br>Some people apparently have very boring lives on this planet !These comments by “Balfe” are comical.god knows where such venom comes from . Maybe an ex employee probably.he was correct on one point .He is indeed a trailer composer.He just did the mission impossible trailer!!!
LOL. I guess this "Balfe" guy is one of those trolls from Stop RCP group.Many benevolent saviours explaining the error of our music tastes have surfaced recently, haven't they?Eh, Mr. Ellipsis, I have to take issue with your appeal to popularity. Justin Bieber sells millions of records. That doesn't make his music good. Last year's piece of crap pointless Beauty and the Beast remake made a frankly terrifying amount of money at the box office. Doesn't stop it being a piece of crap.Guys, I know a lot of you probably think I'm an overly critical snob, but next time you do, just remember this guy and realize how much worse I could be. :pBalfe is not a composer, but still he gets to compose dozens of films and shows every single year, wow. He must be doing something good if he is on of the most busiest composers out there, don´t you think? Or you want to tell me that every producer, director or whoever hires him is deaf? Do you know how many films had to be re-scored by Balfe in the past few years? <br><br>
Why you feed the troll?<br><br>Wrong.<br><br>1. Wallfish is a very fine composer, period. Hans is a synth guy.<br><br>2. If Hans wasn't concern about BR he wouldn't do it.<br><br>3. Slavery was abolished 150 years ago. Hans choose to did it and agreed to involve Wallfish.<br><br>4. Maybe true, but it wasn't the thought of Villeneuve.here we go again:<br>Why Hans Zimmer Got The Job You Wanted (And You Didn’t)<br>https://behindtheaudio.com/2013/07/hans-zimmer/Hey you guys.<br><br>Balfe is a trailer composer not someone who composes real scores. He helps Hans out on his projects and occasionally may have a good idea. He is not an artist, simple as that.<br><br>Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty. The epitome of that is Terminator Genisys that even fans of the franchise found embarassing (and that is for a series based on synth scores). The samples are especially abhorrent<br><br>How he climbed to compose music for real films is a mystery. Go back to one of his earliest scores, the 2009 'score' for Ironclad, to find how utterly disappointing his work has been all the way throughout his career.<br><br>Balfe is a hack. He will never be considered a real composer. The industry knows Hans is pushing him and once that attention goes somewhere else, as it does with Hans frequently, Balfe will be immediately forgotten. Tell me - who actually wants a Lorne Balfe score for their film!!<br><br>You rapid fans supporting his work will be laughed at as being idiotic symbiotic followers. Get a fragging grip.<br><br>Balfe is not a composer. <br><br><br>This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here?<br><br>1. Wallfisch, a very fine composer is not a synth guy.<br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure.
This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here? <br><br>1. Wallfisch, a very fine composer is not a synth guy. <br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure. <br><br><br>Dunkirk is a sound experiment and not a score. It is rather sad to see a fine composer like Benjamin Wallfisch deal with this nationalistic nonsense.It would be very interesting to get a better sense of what exactly Zanelli's role in the franchise is. He is a very capable composer but his work on 5 was utter scheisse. But that may just be what the franchise calls for. How does the supposedly precarious Hans put his name on all this shit.I would not be surprised if this was done by Balfe finally trying out his real compositional skills outside of him just acting as Hans' copy assistant. Everything that Balfe has done on his own to date is abysmal (okay The Lego Batman movie had some flair but that was probably done by the next generation of assistants). <br><br>Please go back to Ironclad and listen to Balfe before he was HBalfe, to hear his skills. Not very good, right? The man is an arranger not a composer.<br><br>This score will be utterly crap or it will sound like Tron and Transformers. <br><br>Shame as Del Toro and Steven Knight work with real composers like Max Richter who would have excelled here.Instead of concerning ourselves with Sia, we have to be worried about Djawadi. The man has a knick for a simple tv tune. But anything outside of that sounds like a youtube fanvideo. The incidental score for Game of Thrones, especially the wall scenes, is terrible and amateurish. <br><br>All I can think is that the producers must have been pressed with time and had to go with the casio synth nonsense Djawadi presented them with. It is the worst example of scoring for a major franchise. <br><br>Again, Dwajadi does well with his choral bits but he is not a composer, more a theme tune man. Who Wants to be a Millionare would serve him better than a complex franchise. <br><br>Simultaneously, the Paint it Black material from Westworld is outstanding. But was this done by Djawadi or a much more talented orchestrator - can we look into this as it sounds nothing like his work
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  2013, October 31updated by Hybrid Soldier 
Inside The Mind (And Studio) Of Hollywood’s Music Maestro



From The Holiday to Inception, Man of Steel to 12 Years a Slave, how Hans Zimmer’s gorgeous studio has helped him make memorable music for some of Hollywood’s most popular films.
More here : http://www.buzzfeed.com/adambvary/hans-zimmer-film-composer-inside-his-studio


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  2013, October 29updated by Antas 
The Amazing Spider-Man 2 to Be Scored by Hans Zimmer & Pharrell Williams


In an interview with Billboard, Pharrell revealed that he will be working closely with Hans Zimmer on the score for The Amazing Spider-Man 2. This would not be the first time Pharrell has worked with Zimmer – the pair have worked together multiple times, including on the scores for Man of Steel and the 84th Annual Academy Awards in 2012.
More here : http://screenrant.com/amazing-spider-man-2-pharrell-williams-hans-zimmer-score/


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  2013, October 28updated by Hybrid Soldier 
Hans ZIMMER Interviewed by Scott Feinberg



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  2013, October 21updated by Hybrid Soldier 
Hans Zimmer Percussion: HZ01 : Behind The Scenes



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  2013, October 18updated by Antas 
Hans Zimmer ‘Might Not Feel Right’ Scoring ‘Batman Vs. Superman’



For Man of Steel, Hans Zimmer took on the task that many Hollywood composers would outright refuse: attempt to craft a Superman score that would somehow be able to stand outside of John Williams’ iconic shadow. His solution was to work with director Zack Snyder to craft something not better, but different.

The new Superman theme gave many goosebumps, but it seems that Zimmer is in no hurry to sign on for the sequel, Batman vs. Superman. In a recent interview, the composer explains why he’s unsure, and why a return to Batman “might not feel right.”

This news is anything but a bombshell, since Hans Zimmer isn’t exactly in need of work, and made it clear from the very first announcement that the dark knight would appear in a Man of Steel sequel that he “thought he was done with Batman.” For his part, Zimmer has supported the decision to cast Ben Affleck as a new caped crusader, but has maintained that a second crack at Batman’s music isn’t something he’s aching to take part in.

More here : http://screenrant.com/batman-vs-superman-hans-zimmer-score/


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  2013, October 15updated by Nicolas 
12 Years A Slave soundtrack to be release by Columbia Records on November the 11.
Soundtrack from & inspired by...



Hans and Zoe Zimmer
Los Angeles premiere of '12 Years A Slave' at Directors Guild Of America
2013, October the 14.


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  2013, October 14updated by Antas 
Harry Gregson-Williams came to Paris on the weekend of 5 and 6 October
for the second festival of “Festival des Musiques a l’Image”




Harry Gregson-Williams came to Paris on the weekend of 5 and 6 October for the second festival of “Festival des Musiques a l’Image”.

The annual festival, hosted by Audi invited the composer this year for a master class on Saturday at the Gaite Lyrique and for the first part of the great concert, which paid tribute this year to the legendaries 40 years of collaboration between composer John Williams (“the other Williams” said the amusing Harry Gregson-Williams) and director Steven Spielberg on Sunday at the French theater Le Grand Rex.

The British composer delivered in a stunning master class his method of composing by analyzing live different pieces of its composition: Shrek, Arthur Christmas, Kingdom of Heaven, Veronica Guerin, Man on Fire, Unstoppable and Team America.

A great learning time!

Hailed by a conquered prosecutor, Harry Gregson-Williams leads on Sunday the “Orchestre de Paris” in the first part of the concert.

Directed with verve and vivacity, the Orchestra performs with perfection the talented composer’s music for the pleasure of the audience, delighted by the beauty of the scores (Shrek, Shrek 2, Bridgestone 2, Prince of Persia.)

A moment of pure happiness and escape!

© Raphaël Bellamy for Hans-Zimmer.com


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  2013, October 13updated by Nicolas 
Hans ZIMMER Talks Amazing Spider-Man 2 Characters & Score



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  2013, October 10updated by Nicolas 
Kung-Fu Panda on the Great Wall Of China
By the Piano Guys



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  2013, October 04updated by Nicolas 
Hans ZIMMER's interview on the red carpet & after winning at the BRIT AWARDS CEREMONY 2013
for "Best Composer" & "Outstanding Contribution to Music"





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