Hans Zimmer and Lorne Balfe write anthem for Amnesty International

[indy4 152]

Amnesty International is a group that promotes human rights across the globe. Zimmer and Bolfe recently composed an anthem, which can be heard here:

There's also a competition to compose the best version of the anthem. Winner gets $1000. http://www.ujam.com/campaigns/amnestyrejam/introduction

[KK 3,202]

You know what I don't get? Why does there need to be 2 people to compose an anthem? Its clear that Lorne Balfe did most of the work and that Zimmer is just there for publicity's sake.

The anthem is sub-par and disappointing. Frankly it doesn't sound very inspiring, especially for promoting change. I miss Zimmer of old, he's REALLY been disappointing lately.

[Koray Savas 2,095]

You want Zimmer to revert back to his older style in order to promote change? Yeah, that makes sense. I bet you wanted it to sound like this:

[indy4 152]

You know what I don't get? Why does there need to be 2 people to compose an anthem? Its clear that Lorne Balfe did most of the work and that Zimmer is just there for publicity's sake.

You know Balfe did most of the work? How? Also, what's the problem with only putting Zimmer's name on it for publicity's sake? It's not like they are a film studio that just wants to reel in profits, if they want publicity it's to protect human rights across the globe.

[KK 3,202]

You know what I don't get? Why does there need to be 2 people to compose an anthem? Its clear that Lorne Balfe did most of the work and that Zimmer is just there for publicity's sake.

You know Balfe did most of the work? How? Also, what's the problem with only putting Zimmer's name on it for publicity's sake? It's not like they are a film studio that just wants to reel in profits, if they want publicity it's to protect human rights across the globe.

I don't know that Balfe did most of the work, but I'm just guessing. Tell me, listening to that anthem, did you really think 2 composers were needed to co-operate to compose that. Not to mention that with most of his recent collaborations, Zimmer only comes up with a theme or so and gives the rest of the work to his collaborator. Was this not the case for the Assasin's creed game he helped work on.

You want Zimmer to revert back to his older style in order to promote change? Yeah, that makes sense. I bet you wanted it to sound like this:

No, not necessarily. I never asked for a power anthem. I was thinking more along the lines of his lyrical works of the 90s with a children's choir singing or something. I honestly don't know what to expect. I simply think that THIS anthem is mediocre. And this isn't a film score, so I'm not sure I'm the best judge of what may be more appropriate. But I miss Zimmer's past works where as his recent output show clear signs of laziness and sub-par material. I just think its the whole collaboration scheme. I think the last time he went solo with a score was the Da Vinci Code, and that produced great results (at least for me). I'd like to see the man take on another solo project.

[Koray Savas 2,095]

I don't think Zimmer has ever done an entire score by himself. He's in his prime with scores like Sherlock Holmes, Kung Fu Panda, Inception, and Rango.

On a side note, Zimmer didn't work on Assassin's Creed Revelations. Balfe did.

[indy4 152]

Well, the anthem is just one theme, I don't see why Zimmer couldn't have composed it. And like I said, if they just hired him for publicity then good for them. They know how to spread a message.

Also I don't think Zimmer was solo on Da Vinci. I think one of his students wrote "Kyrie for Magdalene"?

[Koray Savas 2,095]

Richard Harvey. Not a "student," but a pretty good composer that time forgot.

[KK 3,202]

I don't think Zimmer has ever done an entire score by himself. He's in his prime with scores like Sherlock Holmes, Kung Fu Panda, Inception, and Rango.

Agree with that list except for Inception. But Zimmer has truly had a great career. Sherlock Holmes was a fresh wave of creativity although the sequel score was horribly disappointing. Rango was a fun score if it weren't for the terrible album presentation.

On a side note, Zimmer didn't work on Assassin's Creed Revelations. Balfe did.

Didn't Zimmer help out with the main theme or something? I recall he was involved in the whole recording contest of the theme song,

Well, the anthem is just one theme, I don't see why Zimmer couldn't have composed it. And like I said, if they just hired him for publicity then good for them. They know how to spread a message.

That's fine, I don't really have the biggest problem with that. I just don't like how Zimmer's name is exploited in film scores where he composes like ONE melody and is given credit for the whole score. Give credit where its due.

Also I don't think Zimmer was solo on Da Vinci. I think one of his students wrote "Kyrie for Magdalene"?

Zimmer did compose the Da Vinci Code as a solo assignment. Kyrie for Magdalene was a source-like cue that was composed by Richard Harvey ( a talented composer btw). Its very beautiful, but Zimmer did really go solo with this score. His last solo score before that was the Last Samurai which is another fantastic score. So its clear proof that Zimmer does great when he flies solo!

[Koray Savas 2,095]

On a side note, Zimmer didn't work on Assassin's Creed Revelations. Balfe did.

Didn't Zimmer help out with the main theme or something? I recall he was involved in the whole recording contest of the theme song,

No, the score was composed by Jesper Kyd and Lorne Balfe. Kyd did all the previous games. Balfe did use a child vocalist who was discovered through Zimmer's UJam, so that's really the only connection.

Well, the anthem is just one theme, I don't see why Zimmer couldn't have composed it. And like I said, if they just hired him for publicity then good for them. They know how to spread a message.

That's fine, I don't really have the biggest problem with that. I just don't like how Zimmer's name is exploited in film scores where he composes like ONE melody and is given credit for the whole score. Give credit where its due.

You're telling Zimmer to give credit where credit is due?

[KK 3,202]

On a side note, Zimmer didn't work on Assassin's Creed Revelations. Balfe did.

Didn't Zimmer help out with the main theme or something? I recall he was involved in the whole recording contest of the theme song,

No, the score was composed by Jesper Kyd and Lorne Balfe. Kyd did all the previous games. Balfe did use a child vocalist who was discovered through Zimmer's UJam, so that's really the only connection.

I see. Thanks for the clarification.

Well, the anthem is just one theme, I don't see why Zimmer couldn't have composed it. And like I said, if they just hired him for publicity then good for them. They know how to spread a message.

That's fine, I don't really have the biggest problem with that. I just don't like how Zimmer's name is exploited in film scores where he composes like ONE melody and is given credit for the whole score. Give credit where its due.

You're telling Zimmer to give credit where credit is due?

Alright, that was asking for a bit much But I just wish we heard some of his better output again. Considering how enjoyable POTC 3 was (despite the inferiority of its predecessors), I had high expectations for POTC 4 and ended up being terribly disappointed. And then I was hoping Sherlock Holmes 2 would be that same refreshing wave of enthusiasm and creativity but that ended be disappointing as well. Zimmer has seriously got to pick it up...

[tannhauser 101]

I think Thin Red Line was pretty much a solo effort too. Great score. He really is losing it over the past few years though, the last really interesting scores were the first Sherlock Holmes, and Angels and Demons. Inception was pretty good but a bit samey. Pirates 4, Rango, and SH2 weren't very good at all. I think when he really tries hard it turns out good, eg SH1 where he worked on it for 6 or 7 months.

[crocodile 6,294]

You want Zimmer to revert back to his older style in order to promote change? Yeah, that makes sense. I bet you wanted it to sound like this:

Well it sounds like Anti-Amnesty International anthem, if you ask me.

Karol

[ComposerEthan 8]

I think Thin Red Line was pretty much a solo effort too. Great score. He really is losing it over the past few years though, the last really interesting scores were the first Sherlock Holmes, and Angels and Demons. Inception was pretty good but a bit samey. Pirates 4, Rango, and SH2 weren't very good at all. I think when he really tries hard it turns out good, eg SH1 where he worked on it for 6 or 7 months.

Didn't he just reuse the same motifs from Da Vinci Code? I haven't really analyzed the Code score, but in watching the film (after I saw Angels and Demons), I know that he used Citrine Cross motif and the motif in Rose of Arimathea as an action and villain motif respectively. The only "new" theme I heard in Angels and Demons was Earth/160 BPM.

[gkgyver 1,638]

I think it would be foolish to rank Angels & Demons over DaVinci Code, since the former uses quite a bit from the latter.

DaVinci Code is the only Zimmer score I would consider truly captivating.

I won't comment on Zimmer's output of 2011, that would give it too much credit.

[MrJosh 440]

There are parts of the anthem, that are pretty nice, but it's nothing special. I can imagine them dreaming the concept of this anthem up

"so it starts off haunting, and then we bring in the awesome drum tracks, OH YES! And then we have this amazing violin solo, so intense, oh and then after that we can bring in the vocals that have a slight ethnic sound to them oh yeaaaahhhhh, and more drums, louder!! Crescendo!!!! Then we pause for silence and bring back that tear-jerking vocal melody to finish it off. WINNING"

[#SnowyVernalSpringsEternal 10,251]

Maybe Junta regimes can use the track as a form of torture!

[Koray Savas 2,095]

Well, the anthem is just one theme, I don't see why Zimmer couldn't have composed it. And like I said, if they just hired him for publicity then good for them. They know how to spread a message.

That's fine, I don't really have the biggest problem with that. I just don't like how Zimmer's name is exploited in film scores where he composes like ONE melody and is given credit for the whole score. Give credit where its due.

You're telling Zimmer to give credit where credit is due?

Alright, that was asking for a bit much

I honestly don't know if you were serious with that comment, but Zimmer is the only composer that truly gives credit where credit is due. He fights to give those credits to his collaborators. Look through the booklets of his scores and see.

I think Thin Red Line was pretty much a solo effort too. Great score.

John Powell, Klaus Badelt, and Francesco Lupica worked on The Thin Red Line as well.

[Richard Penna 2,082]

That cue was average at best IMO.

Felt too mechanical, like the guy was trying to find an interesting melody, rather than just writing from the heart.

[KK 3,202]

Well, the anthem is just one theme, I don't see why Zimmer couldn't have composed it. And like I said, if they just hired him for publicity then good for them. They know how to spread a message.

That's fine, I don't really have the biggest problem with that. I just don't like how Zimmer's name is exploited in film scores where he composes like ONE melody and is given credit for the whole score. Give credit where its due.

You're telling Zimmer to give credit where credit is due?

Alright, that was asking for a bit much

I honestly don't know if you were serious with that comment, but Zimmer is the only composer that truly gives credit where credit is due. He fights to give those credits to his collaborators. Look through the booklets of his scores and see.

I understand that. I really like Zimmer's modest personality and how he looks up for all his underlings (he really stuck out for Powell and Gregson-Williams, often boasting Powell was greater than him in talent). He is a man of collaborations. Unfortunately, its become one of his inherent flaws. In many of his scores, its very hard to tell who wrote what. Often the roles that you see in the notes are pretty interchangeable. I like it better when I have a clear idea of who wrote what when I listen to a score. And earlier, you said you don't think he's done any solo scores. I believe that he has which includes stuff like The Last Samurai, Da Vinci Code, Beyond Rangoon, etc.

Don't get me wrong, I'm a big fan of Zimmer. He's one of my favourite composers, its just his recent work has been sickly disappointing.

I think Thin Red Line was pretty much a solo effort too. Great score.

John Powell, Klaus Badelt, and Francesco Lupica worked on The Thin Red Line as well.

I believe John Powell wrote Beam and Lupica wrote Sit Back and Relax, not sure about Klaus Badelt. The beautiful stuff is largely Zimmer...I think

I think Thin Red Line was pretty much a solo effort too. Great score. He really is losing it over the past few years though, the last really interesting scores were the first Sherlock Holmes, and Angels and Demons. Inception was pretty good but a bit samey. Pirates 4, Rango, and SH2 weren't very good at all. I think when he really tries hard it turns out good, eg SH1 where he worked on it for 6 or 7 months.

Didn't he just reuse the same motifs from Da Vinci Code? I haven't really analyzed the Code score, but in watching the film (after I saw Angels and Demons), I know that he used Citrine Cross motif and the motif in Rose of Arimathea as an action and villain motif respectively. The only "new" theme I heard in Angels and Demons was Earth/160 BPM.

He did cross over the great themes from the Da Vinci Code, but he brings them in fresh variations. The only new introduced theme is 160 BPM. Its a shame he didn't add new themes, but that doesn't change the fact that its still a great, heart-pulsing score.

I prefer the more religioso Da Vinci Code.

2009 was the last great year from Zimmer, after that his work has ranged from average to downright mediocre...

- KK

[Roll the Bones 2,967]

KFP2 was good, but that was probably because Powell did the bulk of it...

[MSM 85]

Amnesty International is a group that promotes human rights across the globe. Zimmer and Bolfe recently composed an anthem, which can be heard here:

There's also a competition to compose the best version of the anthem. Winner gets $1000. http://www.ujam.com/...am/introduction

Can it be any blander? LOL

[gkgyver 1,638]

That cue was average at best IMO.

Felt too mechanical, like the guy was trying to find an interesting melody, rather than just writing from the heart.

"Write from the heart"?

I couldn't think of a phrase that describes RC composing less.

[Koray Savas 2,095]

I honestly don't know if you were serious with that comment, but Zimmer is the only composer that truly gives credit where credit is due. He fights to give those credits to his collaborators. Look through the booklets of his scores and see.

I understand that. I really like Zimmer's modest personality and how he looks up for all his underlings (he really stuck out for Powell and Gregson-Williams, often boasting Powell was greater than him in talent). He is a man of collaborations. Unfortunately, its become one of his inherent flaws. In many of his scores, its very hard to tell who wrote what. Often the roles that you see in the notes are pretty interchangeable. I like it better when I have a clear idea of who wrote what when I listen to a score. And earlier, you said you don't think he's done any solo scores. I believe that he has which includes stuff like The Last Samurai, Da Vinci Code, Beyond Rangoon, etc.

Don't get me wrong, I'm a big fan of Zimmer. He's one of my favourite composers, its just his recent work has been sickly disappointing.

He's never truly done a score by himself. I mean, no composer has. There are always orchestrators, arrangers, synth programmers, etc. Most people like to give these people more credit than what's already there though.

When you have a situation like The Thin Red Line or Pearl Harbor, there are additional composers, but that's their credit. Their job isn't to have a unique individual voice in the score. When you have something like Kung Fu Panda or Batman Begins, you have two credited composers. I can tell what's Powell and Zimmer, and what's Howard and Zimmer, respectively.

I think Thin Red Line was pretty much a solo effort too. Great score.

John Powell, Klaus Badelt, and Francesco Lupica worked on The Thin Red Line as well.

I believe John Powell wrote Beam and Lupica wrote Sit Back and Relax, not sure about Klaus Badelt. The beautiful stuff is largely Zimmer...I think

That is correct. Badelt worked with the Melanesian choirs and arranged their material, I believe.

[tannhauser 101]

Didn't he just reuse the same motifs from Da Vinci Code? I haven't really analyzed the Code score, but in watching the film (after I saw Angels and Demons), I know that he used Citrine Cross motif and the motif in Rose of Arimathea as an action and villain motif respectively. The only "new" theme I heard in Angels and Demons was Earth/160 BPM.

It's a while since I've seen the film or listened to the score, but I'm sure there was a theme (played by Joshua Bell's violin) for Ewan McGregor's priest character.

[Not Mr. Big 3,589]

Awful.