| Latest |
|
Please install Flash®
and turn on Javascript.
 | |
BOOKLET CREDITS
"Do Not Go Gentle Into That Good Night"
Poem by Dylan Thomas
Recited by John Lithgow, Ellen Burstyn, Casey Affleck, Jessica Chastain, Matthew McConaughey & Mackenzie Foy
Music Composed by Hans Zimmer
Score Produced by Christopher Nolan, Hans Zimmer & Alex Gibson
Soundtrack Album Produced by Chris Craker, Hans Zimmer & Christopher Nolan
Supervising Music Editor: Alex Gibson
Music Editor: Ryan Rubin
Music Consultant: Czarina Russell
Sequencer Programming: Andrew Kawczynski & Steve Mazzaro
Music Production Services: Steven Kofsky
Technical Score Engineer: Chuck Choi & Stephanie McNally
Technical Assistants: Jacqueline Friedberg & Leland Cox
Digital Instrument Design: Mark Wherry
Supervising Orchestrator: Bruce L. Fowler
Orchestrators: Walt Fowler, Suzette Moriarty, Kevin Kaska, Carl Rydlund, Elizabeth Finch & Andrew Kinney
Orchestra Conducted by Gavin Greenaway & Richard Harvey
Score Recorded at Lyndhurst Hall, Air Studios & Temple Church, London
Score Recorded by Geoff Foster & Alan Meyerson
Score Mixed by Alan Meyerson
Score Mix Assistant: John Witt Chapman
Additional Engineering: Christian Wenger, Seth Waldmann & Daniel Kresco
Assistant to Hans Zimmer: Cynthia Park
Studio Manager for Remote Control Productions: Shalini Singh
Contractor: Isobel Griffiths
Sampling Team: Ben Robinson, Taurees Habib & Raul Vega
Music Preparation: Booker T. White
Music Librarian: Jill Streater
Score Mixed at Remote Control Productions, Santa Monica CA
Air Studios Sessions
Air Studios Bookings: Alison Burton
Booth Reader: Chris Craker
ProTools Recordist at Lyndhurst Hall: Chris Barrett
ProTools Recordist in Studio 1: Laurence Anslow
Temple Church Sessions
Protools Recordist at Temple Church: John Prestage
Assistant / Abbey Road Mobile: John Barrett
Assistant / Abbey Road Mobile: Jon Alexander
Technical Engineer: Dan Cole & Matt Kingdon
Booth Reader: Steve Mazzaro
Featured Musicians:
Ambient Music Design: Mario Reinsch
Soloists:
The Organ at Temple Church Performed by Roger Sayer
Piano: Hans Zimmer
Violin: Ann Marie Simpson
Steel Guitar: Chas Smith
Tuned Percussion: Frank Ricotti
Harp: Skaila Kanga
Synth Programming: Hans Zimmer
Orchestra:
Leader of the 1sts: Thomas Bowes
Leader of the 2nds: Roger Garland
First Cellist: Caroline Dale
First French Horn: Richard Watkins
First Viola: Peter Lale
Bass: Mary Scully
Choir: London Voices
Choirmasters: Ben Parry & Terry Edwards
String Quartet: Rita Manning, Emlyn Singleton, Bruce White & Tim Gill
Piano Quartet: Simon Chamberlain, Dave Arch, John Lenehan & Andy Vinter
Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek
Executive in Charge of Music for Paramount Pictures: Randy Spendlove
Executive in Charge of WaterTower Music: Jason Linn
Art Direction & Soundtrack Coordination: Sandeep Sriram
Music Business Affairs Executive: Lisa Margolis
Hans Zimmer wishes to thank:
Emma Thomas, Lee Smith, Jonathan Nolan, Kip Thorne, Jordan Goldberg, Thomas Tull, Lynda Obst, Jake Myers, Paul Broucek, Hoyte Van Hoytema, Andy Thompson, Alison Burton, John Shearer, Ian Mayes, Christopher Moger, Rev Robin Griffith-Jones, Colette Barber, Randy Spendlove, Lisa Margolis, Ny Lee, Christina Toth, Lucy Whalley, Susie Gillis, Ann Barnard, Richard King, Gregg Landaker, Gary Rizzo, Brett Milan, Troels Folmann, Jonte Knif, Urs Heckmann, Suzanne Zimmer, Peter Asher, Max Golfar, James Golfar, Patricia Golfar, Emma Burnham, Kai Krause, Vau Teschner, Candace Carlo, Bonnie Abaunza, Jillian Abood, Tiffany Bordenave, Kelly Bush, BeBe Lerner, Rae Murillo and the ID team, Nick Douillard, Ari Emanuel, Sam Kubert, Chaz Lebrecque, Peter Nelson, Amos Newman, Albert Nolasco, Matthew O’Driscoll, Ryan Ouchida, Bradley Rainey, Chris Strong & Michael Caine
For Jake, Max, Zoë, Annabel, Flora, Rory, Oliver & Magnus
Water Tower Music thanks:
Susan Alexander, Peter Axelrad, Joseph Billé, Rocco Carrozza, Glenn Eckerle, Kerrylyn Genetieve, Joe Kara, Kevin Kertes, Ny Lee, Kris Little, Genevieve Morris, Jaimie Roberts, Bobby Thornburg, Raymond Walden, John F.X. Walsh & Robert Zick
Release date : 11/17/2014
|
|
CD1- Dreaming Of The Crash (3:55)
- Cornfield Chase (2:06)
- Dust (5:41)
- Day One (3:19)
- Stay (6:52)
- Message From Home (1:40)
- The Wormhole (1:30)
- Mountains (3:39)
- Afraid Of Time (2:32)
- A Place Among The Stars (3:27)
- Running Out (1:57)
- I'm Going Home (5:48)
- Coward (8:26)
- Detach (6:42)
- S.T.A.Y. (6:23)
- Where We're Going (7:41)
CD2- First Step (1:47)
- Flying Drone (1:53)
- Atmospheric Entry (1:40)
- No Need To Come Back (4:32)
- Imperfect Lock (6:54)
- No Time For Caution (4:06)
- What Happens Now? (2:04)
- Who's They? (7:17)
- Murph (11:21)
- Organ Variation (4:52)
- Tick-Tock (8:19)
- Day One (Original Demo) (3:49)
- Day One Dark (6:57)
- Do Not Go Gentle Into That Good Night (Poem) (1:39)
|
| |
Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading !
Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.
|
| Greg |  Replies: 0 || 2020-11-28 21:55:12 | |
Loved the new tracks!
Hans & Chris really did something special.
I enjoyed the Tenet score, but honestly Ludwig's work doesn't compare to Zimmer's. I just hope they work together again instead of Chris choosing Ludwig as his main collaborator from now on. |
|
|
| charan | Replies: 1 || 2020-11-22 03:47:50 | |
 |
| Utkarsh Jha | 2020-11-28 13:34:41 | |
| same |
|
|
|
|
| Fernando | Replies: 0 || 2019-03-02 19:58:28 | |
Does anyone know what this track is called?
https://www.youtube.com/watch?v=Sxrk75UcwZI
|
|
|
| Mike | Replies: 9 || 2018-08-18 17:46:05 | |
So everybody talks about No Time for Caution, and that is a great cue, but I think an underappreciated track from this score is Cornfield Chase. It sounds so whimsical and uplifting. It captures the wonder and fun of childhood really well. The fact that it's so driven by the pipe organ makes it even better. I love how Hans incorporated the organ into most of the tracks.
|
| Moggyman | 2018-08-18 18:35:31 | |
| Mike, I definitely agree with you. I think that Cornfield Chase is an excellent example of Zimmer's diversity in music. It shows that He can compose themes that are adventurous and light-hearted rather than being so dark, which is quite different from a lot of his works including his other collaborations with Nolan. |
|
|
| Mephariel | 2018-08-18 23:19:07 | |
| I don't think Cornfield Chase is underappreciated because that is the cue everyone is talking about besides No Time for Caution and Mountains. The most underappreciated cue to me is Dust. The amount of mystery, wonder, and curiosity from that cue is amazing. |
|
|
| mpolonest123 | 2018-08-18 23:26:31 | |
| Don’t forget Coward! :D |
|
|
| Anonymous | 2018-08-19 00:08:47 | |
| Coward is amazing. Ntfc is overrated |
|
|
| Hybrid Soldier | 2018-08-19 00:24:07 | |
Mountains too... The Tick Tock suite.
"Our World" is a fav' of mine too, how could they not release it ? |
|
|
| Mike | 2018-08-19 01:59:55 | |
| Dust, Who's They, and Our World are other favorites, for sure. Our World is some fantastic ambient music. Before the film was released, I expected most of the score to sound like "Our World." |
|
|
| mpolonest123 | 2018-08-19 02:04:29 | |
| “Our World” is a pretty amazing track, the “Murph” suite is also incredible just in how it gradually builds to that finale... |
|
|
| Mike | 2018-08-19 02:08:15 | |
| Hybrid, do you know if any suites were written besides the ones that they released? |
|
|
| Hybrid Soldier | 2018-08-19 09:01:35 | |
| Well with that score we got pretty lucky in term of theme suites being released, with 5 of them. I don't know for sure if there's more but I think we have it covered. |
|
|
|
|
| ZG | Replies: 0 || 2017-03-26 21:25:09 | |
Hi. Where can I find the sheet music (orchestral AND piano reduction) for Interstellar? Thank you!
Zac |
|
|
| John J. Rambo | Replies: 0 || 2016-04-18 04:02:19 | |
This was addressed a few years ago, but unfortunately this doesn't seem to be have been escalated:
Why does every track (I own the flac & cd version of the soundtrack) have a spike at ~15.7 KHz? Every(!) track has a high-frequency noise throughout the whole track.
You can easily visualize this when using a spectrogram. Because it's on each track, I can't believe this was intended.
There was a huge discussion when the album came out in 2014 in reddit's audio-engineering subreddit:
https://www.reddit.com/r/audioengineering/comments/2mszh4/wh ats_up_with_this_spike_at_around_157khz_on_the/?sort=top
It's sad that no one from Hans' side responded to that issue. |
|
|
| ei18 | Replies: 2 || 2015-10-15 01:56:12 | |
https:/ /www. youtube.com/watch?v=NdG5dEfAcxQ
|
| Cyberpunk88 | 2015-10-16 22:59:24 | |
| If Hans Zimmer wants us to hear his scores on big speakers, then why won't he provide us with the needed quality of his tracks to play it on our big speakers.. None of his (louder) scores have an isolated score option on the blu-ray of the movies (only inception has a 5.1 selection on the bonus disc). I still don't understand why he won't release complete versions of his scores, in either 2.0 or 5.1 (just like the Lord of the Rings collector's soundtrack collection). People clearly want it, but instead we get shitty cd's with half of the tracks missing and some are released as bonus tracks in 256kbps.. Why Hans?! |
|
|
|
|
|
| 
-