[Closed] HANS ZIMMER

About the theme, when it's played by trombones it's a really memorable theme. I can see this theme like a tune for a Tv Show based on Sherlock Holmes character.

Oh! and you see? the power of the music! I knew "data, data, data" was the music played in the scene between holmes and Rachel Mcadams (wearing almost nothing). Because it was a playful and seductive piece, and I was right (You can see that in the video that poste HansZimmer.com)

But Why no one mentions the incredible 18 minuts track???????????????????

With this big orchestral crescendos, the broken arrow (ok, morricone) influence, the big horns and trombones from Peacemaker, the panpipies and fiddles from An Everlasting Piece and even the Big Ben tune played in an epic way ?????



this track deservers a place between : Chase from peacemaker, the ascent from k2, Woad to ruin From King Arthur , I don't think now is the best time from At world's End and A Dark Knight from The Dark Knight (talking about this one, it's becoming one of my favourites scores from Zimmer) !

Well, perhaps he could arrange it like Angels and Demons ones. A little bit too much up and downs, probably.

While I haven't heard RADIO FLYER and INVINCIBLE yet, none of those qualify as traditional orchestral scores. THIN RED LINE is basically an ambient score, HOUSE OF THE SPIRITS and PRINCE OF EGYPT are part power anthem, part ethnically-tinged prog (with lots of orchestral elements to flesh out the sound, of course), AS GOOD AS IT GETS, SPANGLISH and NINE MONTHS are soft pop scores w/orchestra that could be a backing track of any given ballad. This is evident through beats, chord shifts, the way the orchestra "moves", which is very unnatural for traditional symphonic writing.

Still, I don't see Zimmer as limited. Quite the contrary. With his background and sound, he has been able to stretch his OWN envelope, not only across a myriad of different genres, but also within his own sound - from power anthems to ethereal ambiance to creepy horror dissonance to straight-out pop/rock/blues. Just because you're not specialized in 19th century romantic orchestral writing doesn't make you limited as a film composer.

Indeed. Why isn't ALL film music written in a 19th century romantic orchestral idiom? That would make for a far more diverse and exciting film music scene.

I beg to disagree. Nine Months is a Mozart rip,, basically. Which pop band would write a song based on the Clarinet concerto? House of the Spirits is more clasically inclined than a power anthem

I'm not sure I do agree, as far as I know NOBODY would want Hans Zimmer to 'finally die', anyone would have to be seriously mean spirited to wish him harm in any way.

Now, if he took a long break that would be welcome ( by me ) but it wouldn't really work unless his clone army also took a huge break with him.

He once posted a joke about composers going to heaven on this very board.

Gotcha, I don't think we even have to mention his name.

They would sample it, not rip.

Steady now!

Actually, the guy posted on MT only once. Though Justin could respect Zimmer enough to spell his name right. Though he never could spell.

Which Warner site? Is there a site where you can listen to the score for free?

Wow! That's a treasure trove of free listening! Thanks a lot!




And I guess I not only missed the party but I turned up 1 week late.

You might like Hans, or you might hate him. But there´s one thing that is pretty clear: the guy has fun doing his job.

Edit: oh, and his studio looks warm and comfortable.