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

 FAN COMMENTS
So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesn’t really sound like a typical Star Wars movie. Still fans of Powell will love this new score.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





 Hans Zimmer
Website Facebook    Media  
Top CD:

controls_prev
controls_next
controls_toggle
player_volume

player_loop
player_shuffle

0:00
0:00

 2019

  The Lion King (Composer)

  X-Men - Dark Phoenix (Composer)


 2018

  Believer (Documentary) (Composer)

  The World Of Hans Zimmer - A Symphonic Celebration (Shows) (Composer)


 2017

  The Last Face (Composer)

  Rings (Executive Score Producer)

  Grammy Awards 2017 - Fastlove (Performed by Adele) (TV Show) (Arranger)

  A Cure For Wellness (Additional Music)

  The Boss Baby (Composer)

  Genius (TV Series) (Composer : Main Theme)

  Dunkirk (Composer)

  The Simpsons (TV Series - Season 29) (Score Producer)

  Blade Runner 2049 (Composer)

  空天猎 (AKA Sky Hunter) (Executive Score Producer)

  Through The Wormhole (TV Series Documentary - Season 8) (Composer)

  Blue Planet II (TV Series Documentary) (Composer)

  The Crown (TV Series - Season 2) (Music Producer)

  Hans Zimmer Live 2017 (Shows) (Composer)


 2016

  블레스 (AKA Bless) (VG) (Composer : Main Theme)

  Electronica 2 - The Heart Of Noise (Album) (Additional Music)

  Volvo V90 - Made by Sweden (Commercial) (Composer)

  Kung Fu Panda - Secrets Of The Scroll (Short Film) (Composer)

  Through The Wormhole (TV Series Documentary - Season 7) (Composer)

  The Edge Of Seventeen (Additional Music)

  13 Hours - The Secret Soldiers Of Benghazi (Executive Score Producer)

  Batman V Superman - Dawn Of Justice (Composer)

  The Legend Of Tarzan (Music Consultant)

  Inferno (Composer)

  傳說對決 (AKA Strike Of Kings) (VG) (Composer : Main Theme)

  The Crown (TV Series - Season 1) (Composer : Main Theme)

  Hidden Figures (Composer)

  Kung Fu Panda 3 (Composer)

  Planet Earth II (TV Series Documentary) (Composer : Main Theme)

  Hans Zimmer Live On Tour (Shows) (Composer)


 2015

  Auschwitz (Short Documentary) (Music Producer)

  Les Bosquets (Short Film) (Composer)

  Woman In Gold (Composer)

  Grammy Awards 2015 - Happy (Performed by Pharrell) (TV Show) (Arranger)

  Premier Boxing Champions (TV Series) (Composer : Main Theme)

  Sons Of Liberty (TV Series) (Composer : Main Theme)

  Freeheld (Composer)

  A.D. The Bible Continues (TV Series) (Composer)

  Saints & Strangers (TV Series) (Composer : Main Theme)

  In The Heart Of The Sea (Music Consultant)

  Through The Wormhole (TV Series Documentary - Season 6) (Composer)

  Chappie (Composer)

  Terminator Genisys (Executive Score Producer)

  王者荣耀 (AKA Honor Of Kings) (VG) (Composer : Main Theme)

  Le Petit Prince (Composer)


 2014

  Son Of God (Composer)

  G I R L (Album) (Additional Arrangements)

  Transformers - Age Of Extinction (Additional Music)

  Hans Zimmer Revealed & Friends (Shows) (Composer)

  The Amazing Spider-Man 2 (Composer)

  Interstellar (Composer)

  Divergent (Executive Score Producer)

  Tomorrowland (Festival) (Composer)

  Through The Wormhole (TV Series Documentary - Season 5) (Composer)

  Winter's Tale (Composer : Main Theme)


 2013

  Beyond - Two Souls (VG) (Music Producer)

  Brave Miss World (Documentary) (Composer)

  Bullet To The Head (Music Producer)

  Captain Phillips (Additional Music)

  The Bible (TV Series) (Composer)

  Mr. Morgan's Last Love (Composer)

  Rush (Composer)

  12 Years A Slave (Composer)

  Hansel & Gretel - Witch Hunters (Executive Score Producer)

  Through The Wormhole (TV Series Documentary - Season 4) (Composer)

  Man Of Steel (Composer)

  The Lone Ranger (Composer)


 2012

  Aurora - A Composition By Hans Zimmer (Composer)

  The Simpsons - The Longest Daycare (Short Film) (Composer)

  The 84th Academy Awards (TV Show) (Composer)

  Madagascar 3 - Europe's Most Wanted (Composer)

  The Dark Knight Rises (Composer)

  Through The Wormhole (TV Series Documentary - Season 3) (Composer)


 2011

  Who Are The Roma? (Short Documentary) (Composer)

  Jealous Of The Birds (Documentary) (Composer)

  Megamind - The Button Of Doom (Short Film) (Composer)

  The Dilemma (Composer)

  Skylanders - Spyro's Adventure (VG) (Composer : Main Theme)

  Crysis 2 (VG) (Composer)

  Pirates Of The Caribbean - On Stranger Tides (Composer)

  Kung Fu Panda 2 (Composer)

  Rango (Composer)

  Sherlock Holmes - A Game Of Shadows (Composer)

  Kung Fu Panda - Secrets Of The Masters (Short Film) (Composer)

  Through The Wormhole (TV Series Documentary - Season 2) (Composer)


 2010

  The Pacific (TV Series) (Composer)

  Through The Wormhole (TV Series Documentary - Season 1) (Composer)

  Despicable Me (Executive Score Producer)

  How Do You Know (Composer)

  Inception (Composer)

  Henri 4 (Composer)

  Megamind (Composer)

  Prince Of Persia - The Sands Of Time (Music Consultant)

  Kung Fu Panda Holiday (Short Film) (Composer)


 2009

  It's Complicated (Composer)

  Call Of Duty - Modern Warfare 2 (VG) (Composer : Main Theme)

  The Boat That Rocked (Composer)

  Angels & Demons (Composer)

  Monsters Vs Aliens (Executive Score Producer)

  Transformers - Revenge Of The Fallen (Additional Music)

  Sherlock Holmes (Composer)


 2008

  Directors Cuts 36 - Romantic Comedy (Production Music) (Composer)

  Casi Divas (Composer)

  Babylon A.D. (Executive Score Producer)

  Running The Sahara (Documentary) (Music Producer)

  The Burning Plain (Composer)

  Vantage Point (Music Consultant)

  Kung Fu Panda (Composer)

  Madagascar - Escape 2 Africa (Composer)

  Frost/Nixon (Composer)

  Iron Man (Additional Music)

  The Dark Knight (Composer)

  Love Tap (Short Film) (Music Producer)

  Kung Fu Panda - Secrets Of The Furious Five (Short Film) (Composer)


 2007

  The Simpsons Movie (Composer)

  Pirates Of The Caribbean - At World's End (Composer)

  Bee Movie (Additional Music)

  The Simpsons Game (VG) (Composer)


 2006

  The Prestige (Executive Score Producer)

  Ask The Dust (Score Producer)

  Curious George (Executive Score Producer)

  Urmel Aus Dem Eis (aka : Impy's Island) (Score Producer)

  The Holiday (Composer)

  The Da Vinci Code (Composer)

  Pirates Of The Caribbean - Dead Man's Chest (Composer)

  Over The Hedge (Executive Score Producer)


 2005

  House Of D (Executive Score Producer)

  Blood+ (TV Animated Series) (Music Producer)

  The Contender (TV Series) (Composer)

  Batman Begins (Composer)

  All The Invisible Children (Segment "Jonathan") (Short Film) (Music Producer)

  Wallace & Gromit - The Curse Of The Were-Rabbit (Executive Score Producer)

  Kingdom Of Heaven (Additional Music)

  Der Kleine Eisbär 2 - Die Geheimnisvolle Insel (Composer)

  The Island (Score Producer)

  The Weather Man (Composer)

  The Ring Two (Composer : Main Theme)

  Madagascar (Composer)


 2004

  Lauras Stern (Composer)

  Thunderbirds (Composer)

  Shark Tale (Composer)

  King Arthur (Composer)

  Spanglish (Composer)


 2003

  Threat Matrix (TV Series) (Composer : Main Theme)

  Tears Of The Sun (Composer)

  Johnny English (Song Writer)

  Matchstick Men (Composer)

  Something's Gotta Give (Composer)

  The Last Samurai (Composer)

  Pirates Of The Caribbean - The Curse Of The Black Pearl (Composer)


 2002

  Inspirations - Mercedes Maybach (Commercial) (Composer)

  Live From Baghdad (TV) (Executive Score Producer)

  The Ring (Composer)

  Spirit - Stallion Of The Cimarron (Composer)


 2001

  The Wings Of A Film (Gent Show Compilation) (Composer)

  What About Joan (TV Series) (Composer : Main Theme)

  Directors Cuts 01 - Audio Trailer (Production Music) (Composer)

  Black Hawk Down (Composer)

  The Pledge (Composer)

  Pearl Harbor (Composer)

  Hannibal (Composer)

  Invincible (Composer)

  Riding In Cars With Boys (Composer)


 2000

  Die Motorrad-Cops - Hart Am Limit (TV series) (Composer : Main Theme)

  An Everlasting Piece (Composer)

  Mission - Impossible 2 (Composer)

  Gladiator (Composer)

  The Road To El Dorado (Composer)

  Grouchyfriendly (Album) (Song Writer)


 1999

  Chill Factor (Composer)


 1998

  The Last Days (Composer)

  With Friends Like These... (Music Producer)

  Armageddon (Additional Music)

  Antz (Executive Score Producer)

  Endurance (Music Producer)

  The Thin Red Line (Composer)

  The Prince Of Egypt (Composer)


 1997

  The Borrowers (Score Producer)

  Smilla's Sense Of Snow (Composer : Main Theme)

  Fame L.A. (TV Series) (Score Producer)

  Face/Off (Score Producer)

  As Good As It Gets (Composer)

  The Peacemaker (Composer)


 1996

  The Whole Wide World (Music Consultant)

  High Incident (TV Series) (Composer : Main Theme)

  Broken Arrow (Composer)

  The Rock (Composer)

  The Fan (Composer)

  The Preacher's Wife (Composer)

  Muppet Treasure Island (Composer)

  White Squall (Music Producer)


 1995

  Something To Talk About (Composer)

  Two Deaths (Composer)

  Beyond Rangoon (Composer)

  Crimson Tide (Composer)

  Nine Months (Composer)


 1994

  Monkey Trouble (Additional Music)

  The Lion King (Composer)

  Renaissance Man (Composer)

  The Critic (TV series) (Composer : Main Theme)

  Drop Zone (Composer)

  I'll Do Anything (Composer)


 1993

  Lifepod (TV) (Composer : Main Theme)

  Space Rangers (TV Series) (Composer)

  Sniper (Additional Music)

  Point Of No Return (Composer)

  Cool Runnings (Composer)

  Calendar Girl (Composer)

  Batman - Mask Of The Phantasm (Synth Programmer)

  True Romance (Composer)

  The House Of The Spirits (Composer)

  Younger & Younger (Composer)


 1992

  Millennium - Tribal Wisdom And The Modern World (TV Series) (Composer : Main Theme)

  Memoirs Of An Invisible Man (Synth Programmer)

  A League Of Their Own (Composer)

  Toys (Composer)

  K2 (European Rescore) (Composer)

  The Power Of One (Composer)

  Radio Flyer (Composer)


 1991

  White Fang (Composer)

  Follow Your Dreams (Commercial "Marlboro Adventure Team '91") (Composer)

  Backdraft (Composer)

  Where Sleeping Dogs Lie (Composer)

  To The Moon, Alice (Short Film) (Composer)

  Thelma & Louise (Composer)

  Regarding Henry (Composer)

  The Driver (Album) (Song Writer)


 1990

  Green Card (Composer)

  Fools Of Fortune (Composer)

  Chicago Joe And The Showgirl (Executive Score Producer)

  Bird On A Wire (Composer)

  Days Of Thunder (Composer)

  Pacific Heights (Composer)

  Trust Gone Wild (Single) (Song Writer)

  Arcadia (Short Film) (Composer)


 1989

  Driving Miss Daisy (Composer)

  Diamond Skulls (Composer)

  Paperhouse (Composer)

  Twister (I) (Composer)

  Black Rain (Composer)


 1988

  Prisoner Of Rio (Additional Music)

  The Nature Of The Beast (Composer)

  Spies Inc. (Composer)

  Taffin (Composer)

  Nightmare At Noon (Composer)

  First Born (TV Series) (Composer)

  The Fruit Machine (Composer)

  A World Apart (Composer)

  Burning Secret (Composer)

  Rain Man (Composer)

  Elphida (Composer)

  Always (Album) (Arranger)

  Sobre El Latido De La Ciudad (Album) (Arranger)

  The Love I Lost (Album) (Synth Programmer)


 1987

  The Wind (V) (Composer)

  The Last Emperor (Music Producer)

  Prick Up Your Ears (Musician)

  Comeback (TV) (Composer)

  Terminal Exposure (Composer)

  AIDS Monolith (Commercial) (Composer)

  Going For Gold (TV Show) (Composer : Main Theme)

  Grande (Album) (Arranger)

  Meet Me Halfway (Single) (Arranger)

  Perfect Opportunity (Single) (Song Writer)

  Such A Joy Honey (Single) (Arranger)

  Remembrance Days (Album) (Synth Programmer)

  This Is A Haunted House (Single) (Song Writer)

  Ain't Nothing Like The Real Thing (Single) (Song Arranger)


 1986

  The Lightship (Music Programmer)

  Separate Vacations (Composer)

  Animal Magnetism (Single) (Song Writer)

  Castaway (Composer)

  The Zero Boys (Composer)

  In At The Deep End (Single) (Song Writer)

  Every Waking Hour (Single) (Song Writer)

  Don't Delay (Single) (Song Writer)

  Nothing But Blackmail (Single) (Song Arranger)

  On The House (Single) (Song Arranger)

  Don't Talk - Dance (Production Music) (Music Programmer)


 1985

  Wild Horses (TV) (Composer)

  My Beautiful Laundrette (Composer)

  La Vita E Adesso (Album) (Musician)

  Insignificance (Additional Music)

  Tarzan Boy (Special Dance Mix) (Single) (Music Producer)

  Oil And Gold (Album) (Synth Programmer)

  Out Of The Darkest Night (Album) (Synth Programmer)

  Gonna Send The Boys Around (Single) (Musician)

  Close To Perfection (Album) (Synth Programmer)

  Doctor In Distress (Single) (Musician)


 1984

  Blind Date (Additional Music)

  Success Is The Best Revenge (Composer)

  Histoire D'O - Chapitre 2 (Additional Music)

  Eureka (Additional Music)

  High Energy (Album) (Synth Programmer)

  Ya Viene El Sol (Album) (Synth Programmer)

  Brother Louie - Kiss Kiss (Ce C'est L'amour) (Single) (Musician)


 1983

  Spies (Album) (Composer)

  The World - A Television History (TV Documentary Series) (Composer)

  The Stranger (Short Film) (Arranger)

  There's Someone Following Me (Single) (Arranger)

  Šta Mi Radiš (Album) (Synth Programmer)

  Strange Day In Berlin (Album) (Music Producer)


 1982

  Moonlighting (Additional Music)

  Figvres (Album) (Music Producer)


 1981

  Bulles (Album) (Synth Programmer)

  Más Allá (Album) (Musician)

  Desde Que Tú Te Has Ido (Album) (Musician)

  Never Too Young To Dance! (Album) (Musician)


 1980

  The Black Album (Album) (Song Producer)

  Cathode Mamma (Album) (Synth Programmer)

  Ashes And Diamonds (Album) (Synth Programmer)

  That's What You Get Babe (Album) (Synth Programmer)

  Stranger Than Fiction (Single) (Music Producer)

  The Dancing Years (Single) (Music Producer)

  The Age Of Plastic (Album) (Synth Programmer)


 1979

  Star To Star (Album) (Synth Programmer)

  Easy (Album) (Musician)

  A Taste Of The Future (Album) (Musician)


 HANS-ZIMMER.com© 2001-2017 OST 
Hans Zimmer