Mission: Impossible II (2000) Soundtrack: Injection Composer: Hans Zimmer Vocals by Lisa Gerrard Director: John Woo Stars: Tom Cruise, Dougray Scott and Thandie Newton Awards: 10 wins & 17 nominations Genres: Action | Adventure | Thriller Country: USA | Germany Language: English Release Date: 24 May 2000 Runtime: 123 min Budget: $125,000,000 (estimated) Opening Weekend: $57,845,297 (USA) (28 May 2000) (3653 Screens) Gross: $565,400,000 (Worldwide) Production Co: Paramount Pictures, Cruise/Wagner Productions Hans Zimmer Hans Florian Zimmer (born September 12, 1957) is a German film score composer and music producer. For nearly three decades Zimmer has composed music for over 100 films including some critically acclaimed film scores, such as The Lion King, Gladiator, and The Dark Knight. Some of his recent compositions are Angels & Demons (2009), Sherlock Holmes (2009), Inception (2010), Megamind (2010), and Rango (2011). Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios, and works with other composers through the company which he founded, Remote Control Productions. His works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. His name also can be seen on the list of the Top 100 living geniuses, published by The Daily Telegraph. Zimmer was born in Frankfurt am Main, Germany, and moved to London as a teenager, where he attended Hurtwood House school. In an interview with the German television station ZDF in 2006, he commented: My father died when I was just a child, and I escaped somehow into the music and music has been my best friend. Zimmer began his career playing keyboards and synthesizers. He worked with The Buggles, a New Wave band formed in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in The Buggles music video for the 1979 song Video Killed the Radio Star. After working with The Buggles, he started to work for the Italian group Krisma, a New Wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox). In 1980 Zimmer co-produced a single, The History Of The World Part 1, with, and for, UK Punk band The Damned, which was also included on their 1980 LP release, The Black Album, and carried the description of his efforts as Over-Produced by Hans Zimmer. While living in London, Zimmer wrote advertising jingles for Air-Edel Associates. In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments. Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success is the Best Revenge (1984), Insignificance (1985), and My Beautiful Launderette (1985). Zimmers first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score. One of Zimmers most durable works from his time in the United Kingdom is the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: Going For Gold was a lot of fun. Its the sort of stuff you do when you dont have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time. A turning point in Zimmers career occurred with the 1988 film Rain Man. Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-Apartheid drama A World Apart, for which Zimmer had composed the music. A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresfords Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy’s instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound On Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: It didnt sound anything like a piano, but it behaved like a piano. 1991s Thelma & Louise soundtrack by Zimmer featured the trademark slide guitar performance by Pete Haycock on the Thunderbird theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone. For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Disney Animation Studios approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there for doing subversive movies after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M. Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Music (Original Score), a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998. Zimmers score for Crimson Tide (1995) won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music. Zimmers next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her. In the 2000s, Zimmer has composed scores for Hollywood blockbuster films including Gladiator (2000), Black Hawk Down (2001), The Last Samurai (2003), The Da Vinci Code (2006) and The Simpsons Movie (2007). While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music. During the scoring of The Last Samurai in spring 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, The Rock and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl, but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score. Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmers colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen. Zimmer was hired as the composer for the two subsequent films in the series, Pirates of the Caribbean: Dead Man’s Chest (2006) and Pirates of the Caribbean: At Worlds End (2007). Zimmer is also noted for his work on the scores of Christopher Nolans Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard. The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet. Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production. Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006: Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles - not having you are the composer, you are the arranger, you are the orchestrator - it just sort of helped us to work more collaboratively. It wasnt that important to me that I had score by Hans Zimmer and took sole credit on these things. Its like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didnt write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits. Lisa Gerrard Lisa Gerrard (born 12 April 1961) is an Australian musician, singer, and composer who rose to prominence as part of the music group Dead Can Dance with former music partner Brendan Perry. Since her career began in 1981, she has been involved in a wide range of projects. Gerrard received a Golden Globe Award for the music score to the film Gladiator, on which she collaborated with Hans Zimmer and Klaus Badelt. In addition to singing, she is an instrumentalist for much of her work, most prolifically using the yangqin (a Chinese hammered dulcimer). Lisa Gerrards first experience in composing music for a film came with the 1989 Spanish film El Ni?o de la Luna, directed by Agust?n Villaronga. The film score was composed by Dead Can Dance and the film featured Lisa Gerrard in her first acting role. El Ni?o de la Luna describes the story of David, a young orphan with special powers, escaping an institution with the help of a fellow institute inmate, Georgina, played by Lisa Gerrard. Gerrard participated in a number of musical scores but came to fame as a film composer after recording The Insider in 1999, with Pieter Bourke, and Gladiator in 2000, with Hans Zimmer, which received an Academy Award nomination for best music score, although only Zimmer was nominated. It did, however, win a Golden Globe Award for both composers. Gerrards score for the New Zealand independent film Whale Rider consisted entirely of solo material; a soundtrack album was released by 4AD. In 2005 Gerrard collaborated with Ennio Morricone for Fateless followed by a collaboration with Jeff Rona on the score for the feature film A Thousand Roads and the song On an Ocean for the Henry Poole Is Here score. Gerrard along with Dead Can Dance also provided several contributions to the soundtrack of Baraka, a visual journey showcasing mankinds impact on our planet. Gerrard was also invited by Denez Prigent to collaborate with him on his piece Gortoz a ran - Jattends (meaning I await), a piece that was later used in the soundtrack of Ridley Scotts film Black Hawk Down. In 2009 Lisa Gerrard wrote the score for Balibo, for which she won a Best Feature Film Score award at the 2009 APRA Screen Music Awards and an Aria Award for Best Original Soundtrack/Cast/Show Album at the 2009 Aria Awards. Gerrard finished 2009 by contributing her voice to the theme song for the Japanese NHK taiga drama Ry?maden, which began airing in 2010. In 2010 Gerrard completed the score for Tears of Gaza with Marcello De Francisci which was well received despite its controversial theme. Gerrard also scored the Jim Loach directed Oranges and Sunshine starring Emily Watson and Hugo Weaving released in April 2011. In November 2010 Gerrard provided vocals and additional music for the post-apocalyptic sci-fi thriller Priest scored by Christopher Young which is also set for release in 2011. https://youtube/watch?v=x11NURuaPwQ
Posted on: Mon, 21 Jul 2014 23:26:33 +0000
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