[Closed] HANS ZIMMER

He was speaking very fondly of Barry in other interviews, though slightly critical of resorting to single sound for last years of his career. And he did ask questions about why doesn't he get so many gigs anymore.

Also look at how critical Hans is to his earlier style and the sound he still had on Gladiator ("I'm one of the biggest offenders..."). So Hans Zimmer is the first to agree that his sound dumbed down the orchestra.

On a more personal note... Not sure how much should I give away, though in one case I am just waiting to fit me in into the schedule. When I'm in London I might pay a visit and get a tour of two places pretty legendary for film music fans. All because he told me that I should contact him if I want to see them... I'll leave it to your guesses, what I am going to pay visit to. Only one of the two places is almost set basically, with the other one I am waiting for a response.

That's the place I am waiting for response from. The other one is Lyndhurst Hall

Seriously, it's probably the most famous and historical recording studio in the world, the list of rock & pop stars is near uncalculable and it's not insignificant regarding film score recording history either.

The four first minutes from " Waiting for a train" are EXACTLY the same from "old souls" ,it is righ Hans?

Cool interview, D. I love NPR.

The Edith Piaf is completely disconnected and kinda silly on CD; hope it makes sense in the film.

I thought the same thing after hearing the album, but the song really has a function in the film and towards the end it really grows into the score. I've yet to hear the score post-film to see if the emotions it created in the film helps understanding it on album and makes it flow better, but I'm glad the song made it to the album in any way.

Awesome performance. Especially that track gets very emotional after having seen the film. Go. See. It., D.

Yup, I linked to that in my article above. Seems to be a recurrent thing now, what with the BATMAN performances, his summer/private venue thing and this. The man loves to be back on the stage!

It's simply better than those; more genuine, the first time after many years he isn't simply recycling old ideas, fits the movie like a glove, is more focused and clever a film score.

I don't like any of the scores you just mentioned as much as POTC: AWE. Now THAT, is an excellent Zimmer score (which is very hard to compare to something like Inception, which I btw am not wild about).

Does anyone knows the lenght of the 2 exclusive tracks ?

I listened to Inception but I think I heard a different cd than what a lot of people are describing above? I don't see why it is so different or more refined or ... It's cool music, but rather same-ish?

Do I really have to listen to it again (well, except for the Journey to the Line with rock guitars at the end)?

It's not different, but it's no copy either. It's not incredibly refined, but it ain't passionless. It's just a soundscape that fits the film perfectly and one that has a very well spotted and well balanced nod to Vangelis and 80's synth. The final track, Time, is basically an adagio which Zimmer has done many times before (yes, TRL is one of them), but the (very simple) melody is extremely effective and ends the film on a highly emotional note. Hear it within the film, and you'll see it's exactly the score it needs. And, yes, it grows on you. So don't judge too quickly, but don't expect to hear something brilliant all of a sudden either. It's purely the emotional and moody effect it has .