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what the hell is Quaker steak and lube????I disagree on Catwoman. I love Zimmer's theme and I thought it is one of his most underrated themes.Loved the new tracks!<br><br>Hans & Chris really did something special.<br><br>I enjoyed the Tenet score, but honestly Ludwig's work doesn't compare to Zimmer's. I just hope they work together again instead of Chris choosing Ludwig as his main collaborator from now on.Agreed.<br><br>I don’t know, TDKR feels a little oppressive to me in comparison with BB and TDK , probably as a result of Nolan’s musical tastes veering away from symphonic to more abstract. Reading the new book on Nolan gives me the impression that he has a very similar approach to his music as he does his filmmaking. With that said though, TDKR is still a solid conclusion to the franchise. Bane’s theme is excellent and the culmination of the various “Bat-Themes” do feel well earned. Catwoman’s theme is solid, but for some reason is dropped from most of the movie in favor of the repeating two-note phrase.<br><br>@Moggyman<br>Honestly I feel as if JNH’s work on the first two Hunger Games sequels showed a strong improvement in writing and theme building. The last score was a bit too much of a pastiche, but orchestrally a stronger fit than the first one. And “Crimes of Grindelwald” is easily one of the best sequel scores in the past few years (alongside Star Wars and HTTYD). Unfortunately we still don’t have a good album situation for that though. -_-Counterpoint: I liked Crimes of Grindelwald more than the first Fantastic Beasts. And forget Hanging Tree - "Air Raid Drill" from the first and "Sewer Attack" from the second Mockingjay are the best cues from that series. Plus, JNH honestly hasn't worked on that many sequels so we don't really have enough to go on here. <br><br>I think having JNH on board for Catwoman would have done wonders for this score. Hans' theme is okay, but feels like a bit of an afterthought compared to Bane.
TDK & TDKR have amazing theme suites.<br><br>But as for the scores in film, they don't even get close to Batman Begins !I like Tom but idk he's gone downhill in my book. Alita was boring, i was over the moon excited for Terminator cause that was a perfect mix and it was disappointed big time. I'd love to hear Steve Jablonsky tackle that and get back to being as great as he used to, he has been phoning it in big time latelyOk, before I eat my words, JNH did create the Hanging Tree in Mockingjay p1 which was good, but nothing else other than that in the sequels.For being the so called "weakest", it's very good. And if you think that Bane's theme is repetitive, I would say the same about the Joker's theme in TDK (to me they are both good though). <br><br>Now in all fairness, JNH could have probably added good material to the score since he's a genius, but I personally think he doesn't do well on sequels. Sure, in TDK he gave harvey dent a theme that resonated with his character (but was similar to material already used in BB). Yet, if you look at his work in the hunger games, its seems to me that he couldn't bring something both new and compelling to the sequels as he did in the first movie. I will agree with you that Batman Begins has the best music of the series though.After re-listening to this one, it's clearly the weakest of the trilogy. Of course it's not bad, the new themes are pretty good (though I think Bane's theme is a bit too repetitive and dry at times), there's still emotional moments, but JNH's absence really left a hole in this score.<br><br>I get to an extent that's the point, that all of Bruce's potential for a happy life is gone, but even the emotional tracks to me have nowhere near the emotional resonance that JNH's themes brought to the films. <br><br>"Come With Me" is the best example, where the slow emotional Selina Kyle chords just don't leave much of an impact. Definitely could have used JNH's "Courthouse Pt. 1" or the main theme from "Bruce Left For Dead" to emphasize Bruce's giving up of a quiet life. <br><br>Of course I still appreciate the way the 2 note motif is developed into a theme of its own, as well as the score as a whole, but then you get tracks like "Many Forms of Immortality" which just emphasize how much more effective the thematic work in Batman Begins was.
It could also be Tom, who worked on Run All Night, and is already an established DC composer<br>Either way I'll be happyI lowkey think James is gonna score the Black Adam movie. it's the same director from Jungle Cruise so I'm sure he'll be brought along for itsameNo no, it's just a fake rumor. I was just responding to that MusoPT guy who made it sound like it's totally inconceivable that Balfe could ever be replaced.Wait!<br>So has Balfe been replaced due to having other projects?<br>I thought it had been completed?
Why was there the change of composers?...wouldn't being really busy be an argument *for* him possibly being replaced? When you're signed on to 10 movies and release schedules are being constantly pushed around because nobody has a clue when theaters are going to open again, you shouldn't be surprised if eventually you might run into some conflicts.Jackman is not replacing Balfe! <br>Balfe is the most busiest composer at the moment so he isn’t going to get replaced last minute!!!!!Thank you for your replies. On IMDB she is listed.Alright, after re-listening to the score, I've made a few educated guesses of what the additional composers did, based on what we know about the score and their previous work. Note that none of this is confirmed by Hybrid, just my opinion.<br><br>Lorne Balfe: Seems to practically be a co-composer here. I hear a lot of him in this score. It seems he did Invasion (as he's known for contributing trailer music to films he works on) seemingly the suites "Brooding", "Deciphering the Signal", "Battle", and the one we know he cowrote, "Journey Suite". Based on this here's my guess as to what he contributed. <br><br>Soccent Attack - Sounds like his style, probably him arranging AllSpark and Decepticon material. <br><br>Keller's Briefing - Arrangement of "Deciphering the Signal"<br><br>Deciphering the Signal - Obviously another arrangement of "Deciphering the Signal" with Batman Begins-like action at the end.<br><br>Sam's Pink Bike Ride (Part 2) - Sounds like an arrangement of "Brooding" material. <br><br>(Possibly?) Are You LadiesMan217? - Some arrangement of "Brooding" and "Journey Suite" material, although hard to say whether the theme at 1:10 is Steve's or Lorne's. Could be Steve arranging Lorne material, as it sounds more Jablonsky-esque to me. <br><br>Autobots to the Rescue - Could be Steve imitating Batman Begins style, but sounds far too Lorne for me to not consider it a co-written track. <br><br>Sector 7 Chase - Part 1 sounds more Jablonsky than Lorne, but there's no question to me that part 2 has a lot of Balfe in there. <br><br>Where Is My Car? - Batman Begins-like again, probably Lorne solo, or Lorne and Steve<br><br>Decepticons Mobilize (Part 2) - Arrangement of "Brooding"<br><br>Freeway Fight - Battle version of Decepticon theme from "Brooding"<br><br>Stumble Bumble (Part 1) & (Part 2 Alternate) - Arrangement of "Journey Suite", second part not used in the film sounds like Steve & Lorne Combo to me. Film version of part 2 sounds pure Steve to me. <br><br>You're A Soldier Now (Parts 1 & 3) - Lorne being heavily involved in the final battle is known, and Parts 1 and 3 have arrangements of Lorne material. I'm also fairly certain that Lorne wrote the Optimus vs Megatron theme from Part 3 and "Optimus vs Megatron".<br><br>Optimus vs Megatron - Finale of theme introduced in "You're A Soldier Now (Part 3)" as well as the "Journey / AllSpark" theme which could be Lorne's or Steve's. <br><br>Trevor Morris: I can infer from his work on Pirates 2, The Island, and the one track we know he worked on. <br><br>Soldiers Arrive - Not sure why, but I've always assumed this military theme was Morris'.<br><br>Arctic 1897 - Dark theme that reminds me a lot of his work from Pirates 2. <br><br>Scorponok - Known fact that he co-wrote this. <br><br>Hoover Dam - Arrangement of military theme<br><br>Transforming -  Same theme from Arctic 1897<br><br>Sam on the Roof (Part 2) - Arrangement of theme from Scorponok, though could be Steve or Lorne arranging it.<br><br>Optimus vs Megatron - A slight hint to the Military theme when they begin attacking Blackout, and Scorponok theme reprisal, once again could be Steve or Lorne arranging these themes. <br><br>Creeper Suite / A Call to Arms (Unused) - Original music for Optimus' Epilogue, contains arrangement of military theme. <br><br>Jay Flood: Can be inferred from his work on Transformers: The Game, his overall more orchestral writing, and his contributions to Nightmare on Elm Street, Sims 3, and Desperate Housewives. <br><br>Camaro on the Run - Definitely has a TF: The Game sound to it overall. As well as a bit of Thomas Newman-esque music. <br><br>Witwicky (Parts 1-3) - Definitely some of his style here along with Steve's overall Desperate Housewives-esque music. <br><br>Decepticons 2 Suite / Frenzy - The suspenseful strings make me think of Flood's Nightmare on Elm Street work, and the brass writing seems more characteristic of him than Jablonsky to me, though it was still probably a co-written suite. <br><br>Tense Action Suite - Once again reminds me of Flood's Nightmare suspenseful string writing, probably at least co-composed with Jablonsky. <br><br>Clay Duncan - I can guess somewhat based on his contributions to "The Island" but otherwise I don't know much about him so I'm not sure about any of the inferences I'm about the make. <br><br>Angry Camaro - This sort of drone music sounds like it could be him as his contributions were very electronic in The Island.<br><br>Bumblebee vs Barricade - Strange electronics and sounds plus more minimalist writing make me think Duncan. <br><br>Tow Truck Charge - Definitely has The Island's sound. Could be Trevor Morris too. <br><br>TJ Lindgreen: I know so little about his style except he works with Elfman and did additional music for TF: The Game so not much I can say for what he did. <br><br>Belly Shot(?) - The ethereal choir style sounds somewhat like TF: The Game's score and Elfman's choir. <br><br>Not to Hear That(?) - Maybe he composed this motif for Mikaela that also appeared in "Belly Shot". <br><br>Surreal Mikaela(?) - Once again I'm hoping the specific choir sound is part of his style. <br><br>Anything I didn't mention is a track I'm assuming is all Jablonsky. Please note that I'm not trying to take away from Steve's work on this score, and that for most of these track I'm assuming Steve had some involvement in as well, I'm just speculating for fun because I've always wanted to know who did what on this score.
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  2015, August 26  updated by Hybrid Soldier
BLESS MAIN THEME

Main Theme by Hans Zimmer & Lorne Balfe
Score by Lorne Balfe












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Hybrid Soldier reply Replies: 13 || 2015-08-26 01:06:07
Some new score, that was started a few years ago, and will finally come out (though I don't know exactly when lol) !

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Drunkemunkey2015-08-27 06:29:26
Will it be an official release? Like iTunes etc.


Hybrid Soldier2015-08-27 09:46:31
Yes there will but I guess when the game gets released... But so far it has no release date ! :)


Zimson2015-08-27 19:35:11
How did they get Hans to praise this game to the skies, lol. This looks like any other generic fantasy RPG out there.


Hybrid Soldier2015-08-27 19:36:36
Well you know Hans in promo videos... He doesn't force himself much ! haha...


vced2015-08-27 20:55:50
Prob coz Hans has barely seen the game. Turned up, wrote a one minute rough sketch of chord progressions, so they could get his name on the cover, then they wheeled in Lorne to actually turn it into a piece of real orchestral music.

I don't care personally, because we know the true story on this site. I admire Hans. He knows he can't write real "complex" orchestral stuff so he gets Lorne and dooley to help him out. Why not get help from your friends? Don't get the obsession some have with people having to work alone.

But sometimes I wonder how Lorne feels about it. He's clearly a talented and capable orchestral composer and arranger yet gets second billing on all the juicy projects. He basically did the whole of madagascar 3, really popular film, but Hans who wrote 5 minutes of piano sketches, gets all the credit, while he gets stuck with the penguins film no one saw. He does half of Inception, gets second billing, but gets landed with Terminator. From what Hybrid said recently he basically did kung fu panda 2 single handedly, yet again his solo credits are junk like "home".

I really want him to get a really big film that critics love. He deserves it!


Mike2015-08-27 21:24:22
vced, I used to think just like that, but the fact is, even if another composer (Lorne) has his name on every cue in an HZ score, the fact is we really don't know how much Hans may or may not have done...Very frequently, the material that gets turned into cues will have already been written by Hans in some unreleased suite, or Hans will have done 80-90% of the cue before Lorne (or whoever) finishes it.

There's more to these scores than meets the eye, and while Hybrid admitted Hans wasn't focused on Madagascar 3 very heavily, it's impossible to jump to the conclusion that he barely writes anything on his scores. We simply don't know, and more often then not, in cases where I've formerly thought, "Oh, Hans had nothing to do with that music," he actually wrote most of it.


Hybrid Soldier2015-08-28 00:52:11
Hans was interviewed by his daughter recently...

Zoe : "Does it piss you off when people question the way the studio works? In terms of having people write for you—you know, when it’s made out to be Hans Zimmer’s Musical Sweatshop?"

Hans : "Well,they can’t have it both ways. Because on the one hand I get knocked for “sounding the same,” which of course doesn’t actually make any sense—look at the films I did with Ridley [Scott], and that’s just one filmmaker: Thelma & Louise doesn’t sound anything like Gladiator, which doesn’t sound anything like Black Hawk Down, which doesn’t sound anything like Hannibal, which doesn’t sound anything like Black Rain, which doesn’t sound anything like Matchstick Men…"

Zoe : "I really liked Matchstick Men."

Hans : "So did I, but I think we were the only ones. So anyway, on the one hand there’s obviously a very strong imprint in the architecture of the studio, and on the other hand… I mean, you already know all of this. I write these pieces and they’re very complete, everything’s done on them—the orchestration, everything. But like everybody, I need assistants. I’m the architect, but I need a couple of bricklayers, y’know? Do you think Michelangelo painted every square inch of the ceiling of the Sistine Chapel? Probably not—it would have killed him if he had to do it all by himself!"

Zoe : "Fair enough. So do you think people who make those assumptions are just uninformed about the system? Because assisting and writing additional music is basically how you get your foot in the door, right?"

Hans : "Well, yes and no. It didn’t really used to be like that. When I got to Hollywood it was slightly different. The studios had orchestrators and arrangers on staff, and they never really got credit for anything. They were just “Backroom Boys.” So now I really do fight for credits for people, even really small credits. It’s important to me that people get to participate, and that they get credit and that they are visible, so I really do fight fort hem. They might not be the architects, but it’s still their time that they give me, that they give to these projects."

Zoe : "Interstellar was all you though, wasn’t it?"

Hans : "All me. Interstellar nobody got to write a single note on other than me. And although a lot of musicians played on it, one of the things we tried to preserve was the singularity of my touch and my vision, and literally me playing every note. I mean, on all of these scores I have at one time or another played every single note. But unfortunately the story of me just sitting there by myself and writing is far less exciting and scandalous than the idea of assistants and ghostwriters."

:D


...2015-08-28 06:33:22
BAM. The man has spoken.


Zimson2015-08-28 07:55:53
I never blamed Hans when I thought credit wasn't due. Why would he put Lorne as a "producer" on the screen if he wanted to hide him. He never attempted to take credit for Pirates 1, while Monty Norman and John Barry sued themselves over decades, lol.

I guess the reason why some fans are upset is that they fall in love with the music and then once they already got attached to thought of: " This Hans Zimmer is brilliant!", they find out that not everything is Hans Zimmer. Something is Jim Dooley, or Geoff Zanelli, or Lorne Balfe.

I guess it's just badly communicated with the fans and for lack of information they start to make up conspiracy theories like how Hans tries to take world domination.
I mean, it really got better.
Since anyone barely buys a CD today no one can open a booklet and see who else worked on the score. For chappie he put Steve and Andrew on the front cover.
Great move if only 2 people helped him out, but how about 7 people? Guess that would look a bit crowded then. :P (And recently they added credits for some scores on spotify.)
I think he could reach most people through facebook if he sometimes posts stuff like:"Hey, check out some music by Lorne Balfe, he worked with me on TDKR."

Sorry for the wall of text but I wanted to write this for a long time. :)



Ds2015-08-28 14:10:18
vced, I see your point, but it raised another question in my mind: if Lorne Balfe really composed (almost) the whole of Madagascar 3 or Kung Fu Panda 2... then why are they both so much more enjoyable than Home or Penguins? I think this is an evidence than Zimmer's role is a lot more important than some people would believe.


isildur2015-08-28 14:39:17
People who complain about additional composers, look at other composers most of the time we don't even know at least one of theirs. They don't even give credits. For Hans' scores the names are always there. You just have to open your eyes and look.

And people who say that "Hans can't write real complex Orchestral Scores", well you really are not familiar with his work. One doesn't simply become one of the most famous composers in the world just by writing "simple" stuff.


Mike2015-08-28 15:03:27
Hans: "I mean, *on all of these scores* I have at one time or another played every single note. But unfortunately the story of me just sitting there by myself and writing is far less exciting and scandalous than the idea of assistants and ghostwriters."

Hence my earlier comment...Hans has most of the time written at least the basic versions of all the cues we're hearing, and his buddies, while working substantially, aren't "writing the whole score." Zimmer scores *are* Zimmer scores, even if they're not completely and totally Zimmer to the exclusion of anyone else's ideas.


Hybrid Soldier2015-08-28 16:30:06
Well personally I think there's some middle ground in all that's being said... Hans isn't totally honest with this sentence. But his scores are not the "I drop you a piano theme and do the scores for me" either.

Dimitris Krommidas reply Replies: 2 || 2015-08-26 11:26:44
Oooo my God!!! EPIC!!!


Hybrid Soldier2015-08-26 16:42:15
I added a bunch of vids that were uploaded.


Dimitris Krommidas2015-08-26 18:55:31
Thank you.

Paul reply Replies: 0 || 2015-08-26 08:05:34
Sounds very good.. I'm curious for the rest

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