sesje nagraniowe obu batmanów dokładnie pokazują co jest Howarda a co nie. wystarczy zajrzeć na ascap. najmniej robił przy pierwszym, najwięcej przy drugim:
Begins:
2m11-12 v.8
2m16v8
3m18-19 v.6
3m20v2
3m21B v.1
3m21v7
3m22v1
3m23v4
3m24v5
4m28v8
4m34v5
7m62v6
Dark Knight:
Harvey Dent Suite v.7
Harvey Dent Suite v.7 Rev
TDK Passacaglia EFX
1m3v9.00 o p7r [RFK]
1m3v10.00 t p7r [RFK]
1m4v7.01 Dirty Cash
1m5v8_0 The New DA
1m6v3 Hostile Witness
1m6 v.7_0 Hostile Witness
1m7v4.01 Bank Warrants
1m7v8_0 P8 Bank Warrants
1m7v8_0 P8 Alt Brass Insert
1m9v2 Who Appointed Batman
2m9v3.01_T P8 Who Appointed Batman
2m10_t p6a Move The Money [RFK]
2m12v2 Halfway To Hong Kong
2m17v6_0 P8 Mobsters Taken To Justice
2m12v8_0 P8 Halfway To Hong Kong
2m18v7.01_0 P8 Are You Up To It?
3m20-21v2_T P8 Hero With A Face
3m20-21v4_0 P8 Hero Without A Face
3m22v6.00 t p7r Joker Crashes Party [RFK]
3m23v1.01_t p6 Panic Room [RFK]
3m24-25 v5.06_t p6 You're Gonna Love Me [RFK]
3m26-27 v4.00_t p7r Lau, Watch The World Burn [RFK]
3m28v3.00 t p6 Loud Enough? [RFK]
3m28v6.00 t p7r Loud Enough? [RFK]
3m30v4.00_t p6 Speech Ambush [RFK]
3m32bv1.03_t p7r [RFK]
4m34-35v3_0 P8 Rachel Is Next
4m34-35 Alternative (No Midi)
4m37-38v9_0 P8 I Don't Know Anything
4m38Alt Bars 17-41 (Overlay)
4m39v3_T Blood On My Hands
4m39B v2.00_t p6a LB's High Strings [RFK]
4m40v6_0 P8 I Am The Batman
4m40v6_0 P8 Alt. (Bars 62-66)
4m40v6_0 P8 Alt. Horns
4m42 v2.03_t p7r Pod Deploys [RFK]
4m42 v4.03_o p7r Pod Deploys [RFK]
4m43v6_T P8 Gotcha
4m44v2 Gordon Returns Home
5m48-49v9_0 P8 Harvey Two-Face
5m48-49 Alt [RFK]
5m48-49REVv9_0 P8 Harvey Two-Face
5m51-52 v6.04 t p7r Hospital Bomb Scare [RFK]
6m52B v6.05 t p7r Hospital Bomb Scare [RFK]
6m54Av2_0 P8 New Brass
6m54Av2_0 P8 Dent Kills Werts
6m54Cv1_0 P8 Rev. Unlucky Driver
6m54Cv1_0 P8 Unlucky Driver
7m60 Motifs
7m60v7_0 P8 Eye For An Eye
HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
NO CD = NO SALE
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Teraz wiadomo, przez kogo score do TDK tak kuleje 
wszystko wina JNH
wszystko wina JNH Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
a tutaj macie zeskanowany ocr'em ten słodki elaborat Nolana z "książeczki" do TDKR, który zajmuje jej pół objętości (mozliwe jakieś błędy ort, nie sprawdzałem):
There is one musical contribution to The Dark Knight Rises that clearly demonstrates the importance of Hans Zimmer as a creative collaborator. It explains why, eight years ago, as a first time tentpole filmmaker, I so needed his help with reinventing Batman. A fresh musical approach was going to be a key component, but beyond that I needed the help of a master -someone who had faced such huge odds and emerged unscathed. For me Hans Zimmer was the sound of contemporany movies and I was delighted when he agreed to talk about the project. I was less delighted with his initial thoughts - why make the music heroic? Why not play the tragedy and nobility of the tale, like an Elgar concerto? Fear provied a couple reason right away, but then I started to learn the method to Hans's madness.. an unerring ability to hone in on the one thought that cracks a project open. The darkly romantic, lush score, with its strangely minimalist core that he and James Newton Howard labored over with such passion brought new ways of tapping emotion and pathos within the context of relentless action. The sound was fresh, distinctive and has been mercilessly plundered by every action movie (or at least their trailers) since 2005.
The score for Batman Begins dominated the direction of blockbuster movie music for everyone except Hans, who, when we came to revisit Gotham, insisted on moving in a completely different direction for the crazed, tortured sound of the Joker, and refused to let us put in our favorite cues from the first film, insisting on pushing further towards a destination that only he could hear. Hans has sometimes been accused (not within earshot) of taking the long way round, but what I've seen over the last eight years is that you have to take the long way round to find the new sound, the new approach. I have never worked with someone so dedicated to the idea that the real risk is in playing it safe. Hans taught me that you have to pull aggressively in the wrong direction to discover the possibilities - and that without discovering the possibilities you can never do anything exceptional. Togheter with his team of extraordinary collaborators, Lorne and Mel among others- Hans sets creative goals for a project higher than your ever thought possible or practical. He took the same approach with The Dark Knight Rises, crafting a magnificent and totally unexpected suite for our new villain as we were just starting to shoot. Hans pinpointed our prison world as the seed of an evil spreading across the world, and we were able to incorporate that notion into the shooting of the sequences, leaning more and more on the significance of the sound of evil rising. Here you see the essence of Hans's approach. He is not playing along his gratest thinking is not even done to pictore - Hans sees through the screen to the dark beating heart of the story and is faithful to that and only that.
But this is not the contribution to which I was referring.
The musical contribution in The Dark Knight Rises that most clearly demonstrates Hans's importance as a creative collaborator is not to be found on this record. He did not write a not of it. It is a hinge point of the entire film and it is the lonely fragile voice of a boy singing the National Anthem at the center of a massive, crowded football stadium. While we we're considering how to stage this sequence I called Hans to ask what big draw artists we might convince to do a star spangled cameo. He threw out a few ideas, trying to get into the spirit of the thing. Then called me back a few minutes later, gently suggesting I might be betraying the spirit of our endeavor. He told me to make the most instinctive and unconscious connection with the lonely boy at the genesis of our story. It was the sort of priceless contribution that gives you goosebumps and revals your dangerous dependence on a collaborator. I told him I'd think about it.
Christopher Nolan
June 1, 2012
There is one musical contribution to The Dark Knight Rises that clearly demonstrates the importance of Hans Zimmer as a creative collaborator. It explains why, eight years ago, as a first time tentpole filmmaker, I so needed his help with reinventing Batman. A fresh musical approach was going to be a key component, but beyond that I needed the help of a master -someone who had faced such huge odds and emerged unscathed. For me Hans Zimmer was the sound of contemporany movies and I was delighted when he agreed to talk about the project. I was less delighted with his initial thoughts - why make the music heroic? Why not play the tragedy and nobility of the tale, like an Elgar concerto? Fear provied a couple reason right away, but then I started to learn the method to Hans's madness.. an unerring ability to hone in on the one thought that cracks a project open. The darkly romantic, lush score, with its strangely minimalist core that he and James Newton Howard labored over with such passion brought new ways of tapping emotion and pathos within the context of relentless action. The sound was fresh, distinctive and has been mercilessly plundered by every action movie (or at least their trailers) since 2005.
The score for Batman Begins dominated the direction of blockbuster movie music for everyone except Hans, who, when we came to revisit Gotham, insisted on moving in a completely different direction for the crazed, tortured sound of the Joker, and refused to let us put in our favorite cues from the first film, insisting on pushing further towards a destination that only he could hear. Hans has sometimes been accused (not within earshot) of taking the long way round, but what I've seen over the last eight years is that you have to take the long way round to find the new sound, the new approach. I have never worked with someone so dedicated to the idea that the real risk is in playing it safe. Hans taught me that you have to pull aggressively in the wrong direction to discover the possibilities - and that without discovering the possibilities you can never do anything exceptional. Togheter with his team of extraordinary collaborators, Lorne and Mel among others- Hans sets creative goals for a project higher than your ever thought possible or practical. He took the same approach with The Dark Knight Rises, crafting a magnificent and totally unexpected suite for our new villain as we were just starting to shoot. Hans pinpointed our prison world as the seed of an evil spreading across the world, and we were able to incorporate that notion into the shooting of the sequences, leaning more and more on the significance of the sound of evil rising. Here you see the essence of Hans's approach. He is not playing along his gratest thinking is not even done to pictore - Hans sees through the screen to the dark beating heart of the story and is faithful to that and only that.
But this is not the contribution to which I was referring.
The musical contribution in The Dark Knight Rises that most clearly demonstrates Hans's importance as a creative collaborator is not to be found on this record. He did not write a not of it. It is a hinge point of the entire film and it is the lonely fragile voice of a boy singing the National Anthem at the center of a massive, crowded football stadium. While we we're considering how to stage this sequence I called Hans to ask what big draw artists we might convince to do a star spangled cameo. He threw out a few ideas, trying to get into the spirit of the thing. Then called me back a few minutes later, gently suggesting I might be betraying the spirit of our endeavor. He told me to make the most instinctive and unconscious connection with the lonely boy at the genesis of our story. It was the sort of priceless contribution that gives you goosebumps and revals your dangerous dependence on a collaborator. I told him I'd think about it.
Christopher Nolan
June 1, 2012
NO CD = NO SALE
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Templar
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
To jest też w tej aplikacji na iOSa razem z kilkoma zdjęciami, macie screeny:Adam pisze:a tutaj macie zeskanowany ocr'em ten słodki elaborat Nolana z "książeczki" do TDKR, który zajmuje jej pół objętości (mozliwe jakieś błędy ort, nie sprawdzałem)
http://i.imgur.com/U9J9W.jpg
http://i.imgur.com/hvfPA.jpg
http://i.imgur.com/TRgEU.jpg
http://i.imgur.com/c3bA9.jpg
http://i.imgur.com/tMzvf.jpg
http://i.imgur.com/xbvP7.jpg
http://i.imgur.com/uRkNB.jpg
http://i.imgur.com/HlYEu.jpg
http://i.imgur.com/p2oCq.jpg
http://i.imgur.com/LdZIx.jpg
http://i.imgur.com/Qwch6.jpg
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Mefisto
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Nie, to po prostu ostatnia recka Wawrzyńca i tyleDanielosVK pisze:Ja myślę, że to raczej stara recka, którą teraz wrzucili. Przecież MF ciągle wrzuca jakieś zaległe recki.
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
nooo to trzeba przyznać że na farewell wybrał genialny tytuł - szacun 
NO CD = NO SALE
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
podajcie linka do reckiAdam pisze:nooo to trzeba przyznać że na farewell wybrał genialny tytuł - szacun
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Wawrzyniec
- Hans Zimmer
- Posty: 35045
- Rejestracja: sob lip 12, 2008 02:00 am
- Kontakt:
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Nie niemrawa, tylko dopiero co z urlopu wróciłem. Niedługo coś ode mnie się pojawiAdam pisze:niech wraca bo coś niemrawa ta zmiana redakcji
A TDKR wyszło jak wyszło. Ale Mefisto miał wtedy rację, jestem zbyt fanboyski, aby ją pisać.
Score'u nie słyszałem, ni fragmenty. We wtorek idę do kina i wtedy się pozachwycam. Na razie czytając Wasze komentarze jestem bardzo dobrej myśli #WinaHansa #IStandByDaenerys
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Wawrzyniec
- Hans Zimmer
- Posty: 35045
- Rejestracja: sob lip 12, 2008 02:00 am
- Kontakt:
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Właśnie byłem w szoku i na początku myślałem, że ktoś się pod Ciebie podszywa. Ale ogólnie Ty i Templar jesteście na tak, reszta marudzi. Więc jest dobrze
#WinaHansa #IStandByDaenerys
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Jest dobrze. Hans "Long John" Zimmer wrócił. Rzekłem.
NO CD = NO SALE
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Templar
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
"I'm back!" jakby to powiedział ArniAdam pisze:Jest dobrze. Hans "Long John" Zimmer wrócił. Rzekłem.
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Wawrzyniec
- Hans Zimmer
- Posty: 35045
- Rejestracja: sob lip 12, 2008 02:00 am
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Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Bardzo dobrze. 
Zresztą kiedy przeczytałem pierwsze opinie Templara i marudzenia innych, odetchnąłem z ulgą. Teraz tylko do wtorku i wtedy każdemu komu jest życie miłe, niech ucieka z forum. Gdyż szykuje się bomba wodorowofanboyowa z bardzo długim efektem promieniowania, tak do końca roku. 
Zresztą kiedy przeczytałem pierwsze opinie Templara i marudzenia innych, odetchnąłem z ulgą. Teraz tylko do wtorku i wtedy każdemu komu jest życie miłe, niech ucieka z forum. Gdyż szykuje się bomba wodorowofanboyowa z bardzo długim efektem promieniowania, tak do końca roku. #WinaHansa #IStandByDaenerys
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hp_gof
Re: HANS ZIMMER - THE DARK KNIGHT RISES (2012)
Chętnie posłuchamWawrzyniec pisze:Gdyż chyba nie chcesz, aby zaczął udowadniać jak wielkim fanboyem jestem.
Nie ma lekko, musisz nadrobić zaległości Ja już kiedyś wspominałem: ja w 99,99% przypadków chodzę na film do kina w dniu premiery, gdyż jeśli decyduję się wesprzeć twórców (tudzież wytwórnie
) moimi pieniędzmi, to znaczy że na ten film od wielu miesięcy oczekuję, a jeśli na niego oczekuję, to zależy mi, żeby go obejrzeć jak najszybciej, czyli właśnie w dniu premiery A w przypadku bycia fanbojem zwykły pokaz w dniu premiery też nie wystarcza, trzeba iść na przedpremierowy albo ten o północy, jeśli jest A w tej chwili wychodzi, że ja jestem większym fanbojem Zimmera i Nolana niż Ty, bo znam już OST niemal na pamięć i idę na pierwszy w ciągu dnia pokaz Hahahahaha