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

 FAN COMMENTS
Most of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Thanks MIKE, Any ideas of how can I Google it?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
Does anyone know where you can get a digital version of the Japanese versions 2 bonus tracks?Comparing it to YFM’s sfx edit this is what I’ve got;<br><br>“The Mole” seems to be an alternate of the opening sequence. The first minute or so is used, while the rest isn’t. “We Need Our Army Back/Regimental Brothers” are both made up of several cues from different points in the film. <br>“Home” is completely different in the film, which makes me think it may have been recorded specifically for the album. Similar situation with “Oil”. <br>“Supermarine” is definitely a suite. The rest is chronological.<br><br>Interesting thing to note, it seems like a lot of the tempo changes/ticking effects/bass overlays were removed from the album release, making almost every track sound different from the actual film versions. The music in context has a constant pulse going, especially in the way cues segue into each other and change tempo.It's not really possible to chronologically order the album because the album doesn't use the same tracks as the movie. Plus, the album is more or less chronological anyway, given the areas where they are the same.<br>With the complete cue sheet out now. Does anyone know what the chronological order of the album would be?Movie credits:<br><br>Music Composed and Mixed by:<br>TOM HOLKENBORG<br><br>Additional Music:<br>ANTONIO DI IORIO<br><br>Music Supervisor:<br>DAVE JORDAN<br><br>Music Editor:<br>PETER MYLES<br><br>Score Conducted by:<br>CONRAD POPE<br><br>Score Orchestrated by:<br>EDWARD TRYBEK, HENRI WILKINSON, JONATHAN BEARD, TOM HOLKENBORG<br>Score Copied by:<br>EDWARD TRYBEK, HENRI WILKINSON<br><br>Score Contracted by:<br>PETER ROTTER<br><br>Choir Contracted by:<br>JASPER RANDALL<br><br>Score Recorded by:<br>ALAN MEYERSON, BRAD HAEHNEL<br><br>Digital Recording by:<br>KEVIN GLOBERMAN<br><br>Technical Score Engineers:<br>ALEX RUGER, EMILY RICE,<br><br>Synth Programming by:<br>JACOPO TRIFONE, JONAS FRIEDMAN, MAX KARMAZYN<br><br>Score Recorded at:<br>NEWMAN RECORDING STAGE<br><br>Music Production Services by:<br>MICHIEL GROENEVELD<br><br>Score Mixed at:<br>COMPUTER HELL CABIN<br><br>Newman Stage Engineer:<br>MARC GEBAUER<br><br>Newman Recordist:<br>TIM LAUBER<br><br>Newman Stage Managers:<br>DAMON TEDESCO, PETER NELSON
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50
 Atli Örvarsson
Website Facebook    Media  
Top CD:

 2018

  Ploey - You Never Fly Alone (Composer)

  Jacob's Ladder (Composer)

  How It Ends (Composer)


 2017

  Chicago Justice (TV Series) (Composer)

  Den Bedste Mand (AKA Pound For Pound) (Composer)

  The Hitman's Bodyguard (Composer)

  Chicago Fire (TV Series - Season 6) (Composer)

  Law & Order True Crime - The Menendez Murders (TV Series) (Composer)

  Chicago P.D. (TV Series - Season 5) (Composer)

  Chicago Med (TV Series - Season 3) (Composer)


 2016

  Bilal - A New Breed Of Hero (Composer)

  Fyrir Framan Annað Fólk (Composer)

  The Edge Of Seventeen (Composer)

  Chicago Med (TV Series - Season 2) (Composer)

  Chicago Fire (TV Series - Season 5) (Composer)

  Ransacked (Documentary) (Composer)

  Chicago P.D. (TV Series - Season 4) (Composer)


 2015

  Hrútar (AKA Rams) (Composer)

  Blóðberg (Composer)

  The Perfect Guy (Composer)

  Chicago P.D. (TV Series - Season 3) (Composer)

  Chicago Med (TV Series - Season 1) (Composer)

  Chicago Fire (TV Series - Season 4) (Composer)


 2014

  Chicago P.D. (TV Series - Season 2) (Composer)

  Chicago P.D. (TV Series - Season 1) (Composer)

  Chicago Fire (TV Series - Season 3) (Composer)

  Hraunið (AKA The Lava Field) (TV Series) (Composer)


 2013

  Evidence (Composer)

  Hansel & Gretel - Witch Hunters (Composer)

  Man Of Steel (Additional Music)

  Colette (Composer)

  A Single Shot (Composer)

  Chicago Fire (TV Series - Season 2) (Composer)

  The Mortal Instruments - City Of Bones (Composer)

  Dust 514 (VG) (Composer)


 2012

  The Odd Life Of Timothy Green (Musician)

  Chicago Fire (TV Series - Season 1) (Composer)


 2011

  The Eagle (Composer)

  Season Of The Witch (Composer)


 2010

  How Do You Know (Additional Arrangements)

  Law & Order - Los Angeles (TV Series) (Composer)


 2009

  Directors Cuts 43 - Romantic Comedy 2 (Composer)

  WWII In HD (TV Documentary) (Composer)

  Call Of Duty - Modern Warfare 2 (VG) (Additional Music)

  Free Realms (VG) (Composer)

  The Fourth Kind (Composer)

  Angels & Demons (Additional Music)

  Sherlock Holmes (Musician)

  The Code (Composer)


 2008

  Babylon A.D. (Composer)

  The Burning Plain (Musician)

  Vantage Point (Composer)

  Frost/Nixon (Source Cues)

  Iron Man (Additional Music)


 2007

  The Simpsons Movie (Additional Music)

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


 2006

  The Holiday (Additional Music)

  Six Degrees (TV Series) (Composer)

  10.5 - Apocalypse (TV) (Additional Music)


 2005

  Just Legal (TV Series) (Composer)

  Stuart Little 3 - Call Of The Wild (V) (Composer)

  The Last Confederate (Composer)


 2004

  Fear Within (Short Film) (Composer)

  The Wager (Composer)


 2003

  Dragnet (TV Series) (Composer)

  Jacob's Sound (Short Film) (Composer)


 2002

  Dead Above Ground (Composer)

  Law & Order - Criminal Intent (TV Series) (Composer)


 2001

  Lansdown (Composer)

  Philly (TV Series) (Additional Music)


 2000

  Bad Dog (Short Film) (Composer)

  Deadline (TV Series) (Additional Music)

  Law & Order - Special Victims Unit (TV Series) (Additional Music)

  …Or Forever Hold Your Peace (Composer)


 1999

  Beggars And Choosers (TV Series) (Additional Music)


 1998

  Brimston (TV Series) (Additional Music)

  Law & Order (TV Series) (Additional Music)

  NYPD Blue (TV Series) (Additional Music)

 HANS-ZIMMER.com© 2001-2018 OST 
Atli Örvarsson