Hans Zimmer

[Phantom]

One of Hollywood's greatest composers

Best work was most probably on The Lion King, Gladiator, and The Last Samurai

Certainly my favourite composer :cool:

What do you think?

[Kayamb]

ahhhh... controversy. bring it on! :D

[Sherief83]

Best work :Gladiator

That's about it really. he is too harsh in his music which is his ways i guess but definitly not my type of music.

[chocothrax]

Best work- Last Samurai
Most overrated work- Gladiator

[Phantom]

Yeah I would agree The Last Samurai was truly his best work

The Lion King won many awards

Gladiator was great and also because of Lisa Gerrard

But The Last Samurai has to be the best by far :)

[wilx]

Thin Red Line, and Hannibal I think are incredibly good scores. Unfortunately, people will hire him to recycle Gladiator (another fine score) for as long as audiences tolerate it.

[Liam]

I agree that Gladiator is one of his best scores, but mostly due to the haunting vocals and writing of Lisa Gerrard. Without her it would have been just another bombastic epic/battle score.

[CHORD]

i think he is a God.

[WoodIsGood]

I think Zimmer has carved a niche for himself and his scores appeal to a large audience. Some filmmakers want that extra punch and/or the big composer name in the credits. I don't mean to take any credit away from Zimmer because he alone has established an often copied style that has mass appeal, and every once in awhile I write something and later realize that I've been influenced by Zimmer. Last Samurai was one of my personal favorites. I'm surprised there haven't been more people critical of his Gladiator score. A large part of the music for the battle scenes was almost a direct rip-off of Gustav Holst's "Mars, the Bringer of War". It was so much like it that I fully expected to see a credit to Holst on the CD or in the film credits. I felt like it was more than borrowing like many composers do from Wagner, Stravinsky, etc. There are several sections where you hear direct quotes from the Holst classic. Just my opinion on the subject.

[Phantom]

Well there is a part during the battle scene at the start of the movie which has the same exact theme (first few notes however) from Pirates Of The Carrieban

This puzzeled me but then I found out from this forum that Hans Zimmer sometimes works or personally works with Klaus Badelt (POTC composer)

i.e - I was not so surprised to have heard a similar theme in both movies and so I did not feel the need to say it was a copy

Allthough, there is a sequence in the film where Zimmer created a theme so much like Vangelis - Conquest of Paradise

;)

[WoodIsGood]

Borrowing a few notes from someone you know is one thing, but listen to "Mars" and then listen to the battle scenes from Gladiator and you'll see what I mean. Again, I enjoy listening to that soundtrack but I can't help but wonder why credit wasn't given to Holst.

[TheVamp]

Borrowing a few notes from someone you know is one thing, but listen to "Mars" and then listen to the battle scenes from Gladiator and you'll see what I mean. Again, I enjoy listening to that soundtrack but I can't help but wonder why credit wasn't given to Holst.
Well, Zimmer did talk about it when he was being interviewed about the score on some such entertainment show (which escapes me at the moment). He said something to the effect that while "Mars" was quoted often in film music, it was always the thunderous middle section. He was more interested in referencing the swirling section leading up to that. He thought that would be more "original."

[SOJO7]

He set a standard for film music and has never been surpassed.

Like some have already stated. His best works were probably Lion King and The Last Samurai. Masterfully done. He's one of the all time greats. As a matter of fact, he's the first name that comes to mind when I hear the word cinematic music/orchestral score.:)

[Phantom]

Well, Zimmer did talk about it when he was being interviewed about the score on some such entertainment show (which escapes me at the moment). He said something to the effect that while "Mars" was quoted often in film music, it was always the thunderous middle section. He was more interested in referencing the swirling section leading up to that. He thought that would be more "original."

Well in that case I have to say that honesty is very good

At least it shows that Hans Zimmer did not just try to copy something and run away with it

He mentioned it as you said, in his interview

That's good of him I think :)

[Phantom]

He set a standard for film music and has never been surpassed.

Like some have already stated. His best works were probably Lion King and The Last Samurai. Masterfully done. He's one of the all time greats. As a matter of fact, he's the first name that comes to mind when I hear the word cinematic music/orchestral score.:)

SOJO7 my friend - come and sit here with me

Join the Zimmer club :D

Give me a hi-5 :cool:

[Organix]

Here are some of my H. Zimmer favs:

Mission Impossible 2
Pearl Harbour
Last Samurai
Batman Begins
The Rock
Marlboro Team Theme, Follow your dreams.

I do like the most tracks of Zimmer, because I like his great sound and his not too classical approach. He's not a copy of a composer like Williams. Zimmer created his own powerful Hollywood sound, you like it or not.

-
Markus

[TheVamp]

Well in that case I have to say that honesty is very good

At least it shows that Hans Zimmer did not just try to copy something and run away with it

He mentioned it as you said, in his interview

That's good of him I think :)

Yeah, Zimmer knows what he's about. He's not trying to fool anybody. ;)

[Phantom]

I do like the most tracks of Zimmer, because I like his great sound and his not too classical approach. He's not a copy of a composer like Williams. Zimmer created his own powerful Hollywood sound, you like it or not.

-
Markus

Took the words right out of my mouth

Join the club my friend :)

[Phantom]

Yeah, Zimmer knows what he's about. He's not trying to fool anybody. ;)

Hans Zimmer is a Jedi

My mentor :cool:

If not for his work I would not have even looked at music.

Growing up, he was the first name I saw on film credits. The first soundtrack I ever heard and the probably the first movie I saw was Days Of Thunder

Ever since then I have looked at him and studied his work a lot.

:)

Maybe that's why I canot create the true classical feel to music - I listen to his work too much, but cannot get away from it. I start something classical and it turns into an action piece :)

[SOJO7]

SOJO7 my friend - come and sit here with me

Join the Zimmer club :D

Give me a hi-5 :cool:

**pulls up a chair and hi-5'vs**:D :cool:

[james hansson]

it is probably that which has to give desire to me for making music ;)

http://images.amazon.com/images/P/B000000OEI.01._AA240_SCLZZZZZZZ_.jpg

[Phantom]

Great movie :cool:

One of his best scores :)

And if you listen to the score to The Rock, you will notice which parts are Hans Zimmer as he uses the same sound from Crimson Tide

[james hansson]

you will notice which parts are Hans Zimmer as he uses the same sound from Crimson Tide

absolutely true phantom ;)

[chocothrax]

Great movie :cool:

One of his best scores :)

And if you listen to the score to The Rock, you will notice which parts are Hans Zimmer as he uses the same sound from Crimson Tide

OMG! you are right! ;)

[SOJO7]

it is probably that which has to give desire to me for making music ;)

http://images.amazon.com/images/P/B000000OEI.01._AA240_SCLZZZZZZZ_.jpg

Hm? I always credited that to HGW... Then again, I was never sure of how much he did though... It just seemd more like Gregson-Williams in style than that of Zimmer.:)

[WoodIsGood]

Soundtrack.net has an early preview of The DaVinci Code score. There's only :30 of each track but it sounds pretty awesome. Check it.

[Phantom]

james hansson and chocothrax

thanks for your comments relating to that last post I made on recognising Zimmer's work in both those movies

I guess I am tooo toooo much of a Hans Zimmer fan.

;)

What can I say - I love his work. I know he is great :)

[Neilfactory]

What can i say?

http://lionel.bansept.club.fr/divers/gladiator0.jpg

>Neil.

[Philzy]

Gladiator is an amazing score and if I'm honest it's the score that got me passionate about composing altogether.

I love the Last Samurai and King Arthur is amazing too

The Theme from the Contender was also a master piece.

Hans you truely are the yoda of the composing world

Chris

[Phantom]

What can i say?

http://lionel.bansept.club.fr/divers/gladiator0.jpg

>Neil.

Well put Neil

:)

Simple but powerful :cool:

[Phantom]

Gladiator is an amazing score and if I'm honest it's the score that got me passionate about composing altogether.

I love the Last Samurai and King Arthur is amazing too

The Theme from the Contender was also a master piece.

Hans you truely are the yoda of the composing world

Chris

I loved King Arthur

Great score wasn't it :)

[LEX]

Harry and Nick. Both of them wrote for Hans.
But during alot of that John and Harry were working on other things.

Nick Glennie Smith did a ton a writing. More than Harry.

Gladiator, Hanibal, Black Hawk Down, ect.

LEX

[Phantom]

Harry and Nick. Both of them wrote for Hans.
But during alot of that John and Harry were working on other things.

Nick Glennie Smith did a ton a writing. More than Harry.

Gladiator, Hanibal, Black Hawk Down, ect.

LEX

Nick Glennie Smith wrote Gladiator?

Hard to believe but can't argue ;)

Nevertheless, I am certainly glad that Hans Zimmer composed my favourite score on his own - The Last Samurai - best score in the world! :cool:

[Michael W]

I love the older scores from Zimmer, like Backdraft, Crimson Tide, Power of One, Rangoon etc. In the beginning his style was more varied than now, it becomes a little bit to uninspired [apart from MV group work].

Often I miss a good orchestration; drums can hide a lot. 11 mins full Orch/Perc. for a [miserable and long] battle scene are a bit to much (King Arthur).
Another point are the ethnic instruments, great in Beyond Rangoon for example, but often only a nice extra that conceal unoriginality, because it sounds new.

Nevertheless Scores like King Arthur/last samurai are better work from him but not greatest. I miss the originality of his newer work anyway I like most of his music :)

[josejherring]

I love the older scores from Zimmer, like Backdraft, Crimson Tide, Power of One, Rangoon etc. In the beginning his style was more varied than now, it becomes a little bit to uninspired [apart from MV group work].

Often I miss a good orchestration; drums can hide a lot. 11 mins full Orch/Perc. for a [miserable and long] battle scene are a bit to much (King Arthur).
Another point are the ethnic instruments, great in Beyond Rangoon for example, but often only a nice extra that conceal unoriginality, because it sounds new.

Nevertheless Scores like King Arthur/last samurai are better work from him but not greatest. I miss the originality of his newer work anyway I like most of his music :)

I agree with this. Back when I was in school Hanzy was then new kid in Hollywood. He had a lot to prove. I fell in love with Backdraft, Crimson Tide, Power of One. He had such sensitivity and nuance. He really proved himself back then that he could do it. That a composer in Hollywood could write really sensitive and caring music and it could work in film. He changed the landscape of who was able to be a composer in Hollywood.

Then Media ventures came a long. He became a business. I guess it was a sacrifice. It benefited him tremendously and brought him tons of money and world recognition. But, I miss the days when it was just Hans trying to do the best he could.

Now that MV is gone and most of the top composers there are on their own, I'm hoping Hans goes back to being Hans. That sensitive and caring composer who was just doing the best he could.

From what I heard of DaVinci it sounds pretty promising. IMO nothing beats sincerety in music. And, I think that he was one of the most sincere composers back in the early days. Then he turned into being one of the most commercial and insincere.

But what did come out of the MV days was and extremly high level of production quality and proved to us all that sonic fidelity was as important if not more so than compositional quality.

Well DaVinci Code sounds pretty good to me. Very nice melody lines and he still has the production quality. Good combination.

Best,

Jose

[chocothrax]

MV isn't gone, it's just called Remote Control.

[White Noise]

...and it's still VERY much a business. Hans is a very shrewd businessman with his fingers in lots of pies. The name change from MV to RC was reflective of the split between him and Jay Rifkin.

[Ragingkirb]

The big reason Hans and Jay Rifkin started Remote Control productions is because Hans felt that the film music industry lacked "mentorship", which he thought was essential to young composers. So in fact, Media Ventures was sort of like an informal training studio. So he had a bunch of composers come and work with him, and shortly after, that's when Hans became the businessman.

[White Noise]

... By the way, I'd like to clarify that I don't think there's anything wrong with someone creating and exploiting a strong business idea like Zimmer has. And I am not so naive as to suggest that good art and a sage understanding of how to run a business cannot co-exist together.

The MV/RC model is in many ways reflective of how music departments in the 'old' hollywood used to work and in that sense is nothing new to write home about. It seems that most contemporary composers have built up 'staffed' businesses based upon the Music Composed by (Insert Name Here) brand. i.e. multiple teams of composers/programmers/orchestrators contributing to one department head's vision. I don't think this is a bad thing and has provided a minority of young composers with a foot in the door and a fantastic education in what is an immensely competitive industry. It is, upon close examination, a minority of young composers who 'get their break' this way. People will no doubt start crying "Gregson Williams, Klaus Badelt, John Powell" etc. all of whom were working before they arrived at Media Ventures (albeit on smaller budgets). John Powell had a very successfull Advert Music business in London. Harry was working with Stanley Myers (hence the 'Zimmer Connection'), Klaus was working very successfully in Germany on TV and film.

This notion of mentorship is, in my opinion, overplayed. Every business, however, artistic has a bottom line - a commercial imperative to adhere to. Make no mistake, the cost of that mentorship in terms of return on investment is low in the longer term, but, is very high in the short term. I get irritated with this looped PR statement that Remote Control is an 'artistic community' because the reality is that it is driven by financial forces just like any other business in the entertainment industry. Unless you are able to demonstrate that you have the capacity to generate money to pay for your room and board, or provide a unique skill that nobody else can, one is unlikely to find oneself benefiting from mentorship from anyone. Just like any other job.

[LEX]

Nick Glennie Smith wrote Gladiator?

Hard to believe but can't argue ;)

Nevertheless, I am certainly glad that Hans Zimmer composed my favourite score on his own - The Last Samurai - best score in the world! :cool:

He was a ghost writer. Many of the composers there ghost wrote for Hans and still do.

LEX

[josejherring]

He was a ghost writer. Many of the composers there ghost wrote for Hans and still do.

LEX

Yeah. It's a little tough to tell who was doing what back then. I went for an interview there back 6 or 7 years ago and I had a chance to get a brief tour of the place. Hans had his room up on the top floor. Nice place btw and then down on the bottom floor there where 9 other composers doing various things. 3 of which where working on projects that Hans got the credit for. I've read where Jeff Rona was saying that he did a lot of the music for Black Hawk Down.

But after years of complaining about it these days I'm like, who cares really? Hans may be one of the better composers out there or he may be the guy who knows when to get help when he needs it. Doesn't matter really. Franz Listz had a stable of composers working for him too and it certainly didn't hurt him to have that. His pieces are still very good.

Best,

Jose

[LEX]

Yeah. It's a little tough to tell who was doing what back then. I went for an interview there back 6 or 7 years ago and I had a chance to get a brief tour of the place. Hans had his room up on the top floor. Nice place btw and then down on the bottom floor there where 9 other composers doing various things. 3 of which where working on projects that Hans got the credit for. I've read where Jeff Rona was saying that he did a lot of the music for Black Hawk Down.

But after years of complaining about it these days I'm like, who cares really? Hans may be one of the better composers out there or he may be the guy who knows when to get help when he needs it. Doesn't matter really. Franz Listz had a stable of composers working for him too and it certainly didn't hurt him to have that. His pieces are still very good.

Best,

Jose
Actually it isn't tough at all. Nick told me.

LEX

[josejherring]

Actually it isn't tough at all. Nick told me.

LEX

Yeah I was agreeing with you.
:)

[biggestmuff]

There's a cool overblown flute pattern that's played in Crimson Tide during the cue titled, "Alabama". An overblown flute and a similarpattern reappears in a cue "Rocket Away" from The Rock.

An interesting thing that I've noticed on Zimmer's soundtracks is that he'll throw in a very beautiful, moving theme that only gets played once. He has the standard main theme, secondary theme and character themes and then somewhere in the film is this, what I call, "one-time" theme is played. Strange.

The Rock - Rocket Away 9:10 - 10:04
BHD (don't remember the cue or times)
Pearl Harbor - Heart of a Volunteer (don't know the time)



Aside from that, does anyone know what keyboard/synth he typically uses to do all of those percussive sounding, 16th note patterns? They're typically done on one note/pitch with a sweeping filter and pan applied to them. Anyone know what I'm talking about? I just can't seem to duplicate that on my Korg KARMA. :(:confused:

[Jayk]

Wow - I'm surprised no one mentioned Black Rain! I know that goes back a WAY while but it was a huge inspiration for me in my much earlier years. Nothing like the good ol' rope-banging-the-flag-pole sample to mix things up!:D

[HornMeister]

Hans Zimmer

is a beast

He is the main reason why I want to study Film Scoring

Gladiator
Black Hack Down
King Arthur
The Rock
Crimson Tide
even Spanglish was good.


He's AMAZING:) :) :) :) :)

[Phantom]

Pull up a chair

Another hi 5 for HornMeister

:cool:

[HornMeister]

Pull up a chair

Another hi 5 for HornMeister

:cool:
yes more buddies

[inside]

sorry to rain on the parade..just not a fan..the fact that his metronomic, sequenceer driven, block chord style has encouraged so many of you is disheartening. There are so many more worthy musicians/composers to admire that are using the same modern tools.
As far as MV & RC, it's several composers writing either from scratch or fixing HZ's half-baked ideas..ALWAYS has been. MANY will attest.
On a personal note, the guy is rude, manipulative and loves to beat up on his underlings..it's a game with him..someday someone will write a memoir and the full extent of his utter dependency on those more talented than him will come out. Please listen to true composers: Goldenthals, TNewman, etc...
ones who can still write and orchestrate music after the power goes out.

[chocothrax]

ones who can still write and orchestrate music after the power goes out.

hehe.

[Sequent]

In terms of media ventures, I don't think of it so much as "ghost writers" as rather it's like the old medieval guild system where you have the established "master" who is known and therefore gets the jobs coming in, etc. and then you have the assistants who start at the bottom, work their way up, garnering more responsibility as they go, until they finally go off on their own and establish their own guilds. Perpetuating the process.

There is a similar convention going on in for example, children's illustration, where you have people like Michael Hague and Mercer Meyer who are not necessarily drawing all or perhaps not even any of the material themselves. They too have their "ghost writers" and their own "guild" going.

At least that is my understanding of it.

[Sequent]

First impressions... Da Vinci code is sounding pretty interesting. Good dynamics. Heavy on strings with some choirs. Very "traditional" sounding in a way. A few moments remind me of moments in Batman Begins. Nick Glennie-Smith conducted the choirs... and what struck me (in a good way) Richard Harvey conducted the orchestra. Richard also wrote what I presume is the closing track? Kyrie for the Magdalene. So seeing Richard involved is a nice bonus!

[Sequent]

Chavaliers de Sangreal... very nice. I like how it starts off very subdued and how it builds into the full on anthem. We'll be hearing this cut in many places I'm sure.

[Bessinnox]

http://www.classics.umusic.com/dvciTunes/

here you can find a short explanation about the Da Vinci code music

[Harpya]

sorry to rain on the parade..just not a fan..the fact that his metronomic, sequenceer driven, block chord style has encouraged so many of you is disheartening. There are so many more worthy musicians/composers to admire that are using the same modern tools.
As far as MV & RC, it's several composers writing either from scratch or fixing HZ's half-baked ideas..ALWAYS has been. MANY will attest.
On a personal note, the guy is rude, manipulative and loves to beat up on his underlings..it's a game with him..someday someone will write a memoir and the full extent of his utter dependency on those more talented than him will come out. Please listen to true composers: Goldenthals, TNewman, etc...
ones who can still write and orchestrate music after the power goes out.

I have to totally disagree, except for one thing: the metronome is always ticking when he plays, and, as with any professional composing, there are some elements, if you want to call them blocks do so, that he uses from time to time to round out the edges of an otherwise original score.

The core of his compositions comes from him. They are born in very private moments (although people walk through his room all the time) where he totally forgets what is around him and just plays.

Regarding the work of the other composers, they do play an important role, HZ could not work the way he does without them. They work hard and need all their talent to do the job, but it really is more like the master-guild system others described here so well, and not a master-slave system, and I am sure most of his colleagues feel that way. One must also not forget how much time all the politics/negociations/meetings... take up that surround the production of a score for a big budget Hollywood movie. The romantic idea of the lone composer doing every single note himself if maybe what applies for us in this forum, but not if you do "the big thing".

And finally about his character: he is direct at times, but to call him generally rude is simply wrong. In fact, he is the opposite: hearty, open and a truly friendly guy. His honesty might sometimes put someone off, especially if you are used to some forms of politeness/verbal sweetness, short: BS, that might be common especially in America. Hans is very tongue in cheek and might change his moods on a short note, but he does not BS around: he always says what he wants. HZ is always his gentle - true - self even and especially under pressure.

Also, he is pretty honest about his abilities and their limits. I cannot see why someone should not be called a true composer just because he does not write scores and orchestrations with pen and paper like everyones (especially Hans') idol Ennio Morricone does. With Bruce Fowler Hans Zimmer has a true master of this art at his side helping him.

[LEX]

Hans can be aggresive under high pressure situations. But who isn't.

If your armor is so thin that you can't take it, you are in the wrong business.

If you are knocking his style of writing or way of writing, then you don't understand much of it.

How many scetches of A-list composers have you seen that are given to the orchestrator to decypher?
You'd be suprised to know that many of them will do it, have someone else orchestrate it and mock it up.

I agree with Harpya. The write/orchestrate every note applies to most people here on this forum and others, but not in the big picture side of things.

How ever it gets done, it gets done. However you may feel about Hans is fine, but he has still contributed alot to the community musically.

If you watch the Harry Gregson Williams interview about using Cubase, he says that it was Hans who taught him how to use computers to create music.
And that using a computer has helped him create some of the work he does today. Harry was a pen and paper guy. Now he uses both, but more computer side.
LEX

[Edx]

You'd be suprised to know that many of them will do it, have someone else orchestrate it and mock it up.


Not a good comparison here, but I hear that John Williams mostly writes in short score and has a few guys that do his mockups for him (for directors I guess)

Flame away.

[Edx]

If you watch the Harry Gregson Williams interview about using Cubase, he says that it was Hans who taught him how to use computers to create music.
And that using a computer has helped him create some of the work he does today. Harry was a pen and paper guy. Now he uses both, but more computer side.
LEX

I think its the same with John Powell, who says very nice things about him. Gregson Williams says he could hardly use a computer before he met Hans :D