# Hans Zimmer - Planet Earth II



## CACKLAND (Nov 29, 2016)

Hey all,

Wanted to discuss Hans Zimmer's recent work for BBC's Planet Earth II. If you haven't heard it, be sure to indulge here.



Personally, as a huge fan of Hans, I thought it was uplifting and inspiration. A fantastic piece.

What are your thoughts?

C


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## Richard Wilkinson (Nov 29, 2016)

I have mixed feelings about it. The music is good, of course, and Hans' theme is used in lots of the score itself which gives it a nice continuity. But something about Bleeding Fingers winning the gig makes me wonder if that was at the expense of a single composer getting to stamp her/his mark on the music. I'm sure Hans will have some thoughts on this(!) - maybe you could argue that it gives an opportunity to more composers since the score is being produced by a team. 

I noticed the last episode had a swarm of billions of locusts - truly stunning cinematography - and couldn't help but feel the music could've given the visuals a bit more space, perhaps going choral and dissonant to echo the biblical connotations, rather than action-spiccato strings.

I loved the work Ben Foster did on Hidden Kingdoms, and thought it was a fantastic take on nature doc scoring - but with a real personality and character to it.


That said, I think the theme is great. It has that real '_draw people into the room_' quality that The Crown also had.


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## mc_deli (Nov 29, 2016)

I was watching the tigers-giraffe bit (no spoilers) and said: "weird that HZ is hiding here behind a rock". Had no idea RC was on the score. Makes sense now!


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## AlexanderSchiborr (Nov 29, 2016)

CACKLAND said:


> Hey all,
> 
> Wanted to discuss Hans Zimmer's recent work for BBC's Planet Earth II. If you haven't heard it, be sure to indulge here.
> 
> ...




Sure, it does serve the picture what he or his team (whoever they are) did there and technically very well done. I was never a big supporter of his style or in general of such writing and I wish composers would incoorporate just other styles of music and break out and go different ways and there are so many more.

At least for me I would have appreciated a bit more of a diversity in instrumentation and harmony as a reflection of the vast variety of areas and landscapes, nature and animals this video is showcasing.

Sure a matter of taste but that track ends up again into this pounding taikos epic style which is very clichee, still very well executed, but so predictable, also instrumentation like. Though I like the beginning probably the most where he features the winds as texture and element for the orchestra.

That´s my opinion. I know there are many out there who might disagree with me and hail that, and that is also fine, but that is my honest opinion and how I feel when listening to that theme.


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## rottoy (Nov 29, 2016)

AlexanderSchiborr said:


> Sure, it does serve the picture what he or his team (whoever they are) did there. I was never a big fan of his style or in general of such writing and I wish composers would incoorporate just other styles of music and break out and go different ways and there are so many more.
> 
> At least for me I would have appreciated a bit more of a diversity in instrumentation and harmony as a reflection of the vast variety of areas and landscapes, nature and animals this video is showcasing.
> 
> ...


I have to agree that the piece overall isn't very exciting in terms of fresh, new instrumentation.
The beginning part of the suite I really enjoy though, who's the cellist playing on it?


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## Zhao Shen (Nov 29, 2016)

Still a huge fan of George Fenton. His documentary work (Planet Earth, The Blue Planet, Frozen Planet) is absolutely stunning.


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## MarcelM (Nov 29, 2016)

well. i like the track! sure, its not beethoven symphony no.5 but i enjoyed it and i think it fits to the picture. i actually also like that you hear the "hans zimmer" in this track. ofcourse everything is a matter of taste


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## Puzzlefactory (Nov 29, 2016)

I've been really enjoying the series and the music. I've been imagining the thought processes behind developing the themes for the different scenes. 

My particular favourites are the "trasluscent frog" theme and the "sloth going for a swim" theme.


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## Rctec (Nov 29, 2016)

wilx said:


> I have mixed feelings about it. The music is good, of course, and Hans' theme is used in lots of the score itself which gives it a nice continuity. But something about Bleeding Fingers winning the gig makes me wonder if that was at the expense of a single composer getting to stamp her/his mark on the music. I'm sure Hans will have some thoughts on this(!) - maybe you could argue that it gives an opportunity to more composers since the score is being produced by a team.
> 
> I noticed the last episode had a swarm of billions of locusts - truly stunning cinematography - and couldn't help but feel the music could've given the visuals a bit more space, perhaps going choral and dissonant to echo the biblical connotations, rather than action-spiccato strings.
> 
> ...




Jasha Klebe and Jacob Shea have both really payed their dues here at RCP, starting as interns years ago, going through the whole assistant learning process. They've worked on a lot of films in different capacities over the years: making coffee, tech'Ing., arranging, sampling, sound design (Jacob had the unenviable task of sifting through days of 'Inception' low brass Braaaahms) and then getting their own small - and slowly bigger writing projects.
"Bleeding Fingers" was always designed as a way of giving new composers a proper and fair shot at a career.
We submitted the music to the BBC quite anonymously. That's what they liked - and they had a huge amount of music from other composers to chose from.
But part of why it worked out so well was all the years Jacob and Jasha had - in not just learning music (both went to college for music), but the actual nuts and bolts of film-making "under fire", so to speak.
The only reason this comes to mind is that I'm working with a highly over-educated musician right now, who (my fault!) didn't actually go through the full 'learning by being an assistant' on many projects before. On a daily basis he struggles valiantly with all the 'real-world' problems he never encountered at music school. Being brilliant (and he is!) isn't good enough, if you don't have it as second nature to work, for example, in film pull-down, know which compressor or EQ is the right one for a situation, know that 5 brilliant sounds will do, while having to listen to 24 mediocre sounds to find 5 great ones will just simply piss everybody off, because no one has the time to listen. Just the simple decision making, the 'knowing what works and what doesn't' - and the 'why' something works emotionally and precisely for a film and it's story and style is so important. Making quick decisions to radically throw things out is the only way to meet a deadline with quality. And learning how to manage the stress, which never diminishes or ever fully goes away...
There are reasons why 'Planet Earth' uses the style it does. A lot of thought went into that. Alexander Schiborr is quite right that a more diverse colour palette could have worked, but the idea for an opening title is not to show off your greatest orchestration or the basic competence you've learned at music school (do you really want to compete with Stravinsky's woodwind writing as an appropriate challenge for an opening title - and we all can easily learn how "Firebird" works. Just look and study the at the score. That doesn't make our task better or more original, that's just technique, not invention...), but to do something that gets people out of their kitchen and in front of their TV, because they instantly need to know - in one phrase or sound - that it's the music from 'That' program they want to see and it's starting! So it's not always about a lot of subtlety, but about making sure that it registers straight away.
And Alexander, the composers "whoever they are" have a name and an identity. They are talented human beings. And actually quite nice. They are credited, and they have worked hard over the years to earn their success and a bit more respect than an "whoever they are".
But than you liked and stood up firmly for that weird French composer I was so rude to, even though he ruined Elgar. It's a difficult life out there on the internet, one never knows who to insult next! So much choice, so little time! 
-Hz-


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## Zhao Shen (Nov 29, 2016)

Rctec said:


> Jasha Klebe and Jacob Shea have both really payed their dues here at RCP, starting as interns years ago, going through the whole assistant learning process. They've worked on a lot of films in different capacities over the years: making coffee, tech'Ing., arranging, sampling, sound design (Jacob had the unenviable task of sifting through days of 'Inception' low brass Braaaahms) and then getting their own small - and slowly bigger writing projects.
> "Bleeding Fingers" was always designed as a way of giving new composers a proper and fair shot at a career.
> We submitted the music to the BBC quite anonymously. That's what they liked - and they had a huge amount of music from other composers to chose from.
> But part of why it worked out so well was all the years Jacob and Jasha had - in not just learning music (both went to college for music), but the actual nuts and bolts of film-making "under fire", so to speak.
> ...



Indeed, and it fits really well with the actual documentary, which is the most important aspect. Every time those main title chords swell up, I got a tranquil feeling of familiarity and comfort...


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## Andrajas (Nov 29, 2016)

I absolutely love the main theme. So powerful and majestic, just like our planet is. I get goosebumps everytime. Don't need to be so technical all the time, the emotion is spot on


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## Mike Greene (Nov 29, 2016)

Rctec said:


> Jasha Klebe and Jacob Shea have both really payed their dues here at RCP, starting as interns years ago . . .


Fun fact: Jacob was working here (the composing side of things, not the sample library stuff) when he got the opportunity to take an assistantship with Hans. I like to joke that Hans "stole" Jacob from me, but obviously this was a great opportunity for him and I'm thrilled that things worked out so well. Jacob's a very talented guy.


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## NoamL (Nov 29, 2016)

Jacob also did _*Through The Wormhole*_ with Morgan Freeman. It's not like Bleeding Fingers is winning documentary projects out of nowhere.


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## ClefferNotes (Nov 29, 2016)

Rctec said:


> Jasha Klebe and Jacob Shea have both really payed their dues here at RCP, starting as interns years ago, going through the whole assistant learning process. They've worked on a lot of films in different capacities over the years: making coffee, tech'Ing., arranging, sampling, sound design (Jacob had the unenviable task of sifting through days of 'Inception' low brass Braaaahms) and then getting their own small - and slowly bigger writing projects.
> "Bleeding Fingers" was always designed as a way of giving new composers a proper and fair shot at a career.
> We submitted the music to the BBC quite anonymously. That's what they liked - and they had a huge amount of music from other composers to chose from.
> But part of why it worked out so well was all the years Jacob and Jasha had - in not just learning music (both went to college for music), but the actual nuts and bolts of film-making "under fire", so to speak.
> ...



Amen, just to chime in here and just wanted to say: wonderful job from everybody involved in the production of the soundtrack, one of my favourites recently that is for sure! I adore that main theme, it is beautifully written. I thought the soundtrack fitted the production perfectly. The respect you show to your team is honestly amazing and is very inspiring! A big congrats to Jacob and Jasha too for having the amazing opportunity of scoring this amazing show, they done a mighty fine job! Thanks as always!


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## mac (Nov 29, 2016)

I said a few weeks back when I first saw it, this is the perfect trailer. I don't know why exactly (I wish I did), but it really moves me.

A perfect example of the whole being greater than the sum of its parts.


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## Richard Wilkinson (Nov 29, 2016)

Rctec said:


> Jasha Klebe and Jacob Shea have both really payed their dues here at RCP, starting as interns years ago, going through the whole assistant learning process. They've worked on a lot of films in different capacities over the years: making coffee, tech'Ing., arranging, sampling, sound design (Jacob had the unenviable task of sifting through days of 'Inception' low brass Braaaahms) and then getting their own small - and slowly bigger writing projects



Thanks for the thoughtful reply Hans. Perhaps it shouldn't, but it makes a difference knowing a bit more of that backstory. I'm a big fan of 'white labeling' pitches (not everyone is) so it's nice to hear that was the approach on PE2.


And as I mentioned, the theme is perfect for that attention-grabbing living room beckoning vive. Same with The Crown.


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## AlexanderSchiborr (Nov 29, 2016)

Rctec said:


> And Alexander, the composers "whoever they are" have a name and an identity. They are talented human beings. And actually quite nice. They are credited, and they have worked hard over the years to earn their success and a bit more respect than an "whoever they are".
> But than you liked and stood up firmly for that weird French composer I was so rude to, even though he ruined Elgar. It's a difficult life out there on the internet, one never knows who to insult next! So much choice, so little time!
> -Hz-



And, what is the conclusion? At least for me I really don´t care what you have to say in regards of that "weird french" composer. Yes, respect..that is a good thing, Hans. Come one, give me a break, where was your respect with Orcel? Show respect, and I will give you respect, isn´t it like that? Actio generates a reactio, simple mechanic equation. Before I forget: Cyril is his name just by the way.
Ever listened to his piano concerto? Yeah you should,dude.



After you - earlier this year, dumped down C. Orcel, whatever you think and talk about what weird french and effortless composer that was for you - who ruined Elgar with his midi mockup rendition -..gosh what a crime, that seems to be probably for you that you even mention him after 11 months where this old and very infamous thread was deleted by the administration of Vi. Control.
Truth is, at least for me that he is an outstanding pianist and composer and all due to respect and seriously you need not to tell me something about respect when you seem to have a lack of respect to others like Cyril. But funny you mentioned it, still what has that do to with my comment? My comment was related to subject and your trailer track. And normally I wouldn´t comment but cackland asked for opinions.

Wounded Vanity isn´t an option for you I guess, how should it be. So live with it that there are people for instance like me, who are not always hailing your work because they just don´t feel right about it and that is also their god damn right to do so. Hans, it is just taste...and what the one guy likes, dislikes the other - yes, nothing more, so relax. And if that helps I was leaving something positive regarding the trailer cue, did I..yes. ..I know..the internet and their oddities..strangely enough for me.


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## CACKLAND (Nov 29, 2016)

All credit to Jasha Klebe and Jakob Shea, for not only being able to work with Hans, but by proving themselves throughout the years to achieve what they have thus far. It is a competitive industry, and like many, I believe it's about the journey. 

I thoroughly have been enjoying the series and the score, and think it's a wonderful piece that accompanies the picture and the 'story' it tells. Thank you Hans


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## Grizzlymv (Nov 29, 2016)

It’s easy to judge someone else work. The question I always have is, would you have done better? If so, why he was chosen and not you?  I always find it strange to see people complaining about the work of a composer on a project solely based on the music itself. Movie composers are not rock stars. They are not doing albums for fans. Glad if you like the music as standalone though. But movie music serves a purpose. It serves someone’s vision/dream. It’s supposed to elevate the project, not steal the show. It’s not meant to work outside of that project. And what works or not on a project is defined by the guy who own this project. 


It’s like building a house. You need painters, electrician, plumber, etc. They all help achieving the owner’s dream of the perfect house. The choice of colors is up to the owner. The painter might do some recommendations, but in the end, he needs to paint in the colors he’s been asked for. Even if you believe a room would be better in green, if it doesn’t fit with the rest of the house, it doesn’t serve the project. 


Everyone have the rights to like or not something. Taste is very subjective. But no matter how much you love or hate something, the amount of respect you have toward an artist shouldn’t reflect the amount of love you have for the work he has done.


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## dgburns (Nov 29, 2016)

I like @Rctec (we have yet to meet,I owe you a dinner I think)
I also liked Orcel (well ....poor sod)
I like @AlexanderSchiborr (although I don't get the hat....)

To put all this in context, Netflix is spending about 6 billion next year on content. You still want to talk about Orcel??

Seems to me there's work to be had, and scores to get completed.


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## desert (Nov 29, 2016)

Rctec said:


> but to do something that gets people out of their kitchen and in front of their TV, because they instantly need to know - in one phrase or sound - that it's the music from 'That' program they want to see and it's starting! So it's not always about a lot of subtlety, but about making sure that it registers straight away.
> -Hz-



Perfectly said - GoT is a great example


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## rottoy (Dec 7, 2016)

Rctec said:


> But than you liked and stood up firmly for that weird French composer I was so rude to, even though he ruined Elgar.


 My God, that thread was such a clusterfuck of disappointments.


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## jononotbono (Dec 7, 2016)

This one isn't haha


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## rottoy (Dec 7, 2016)

dgburns said:


> To put all this in context, Netflix is spending about 6 billion next year on content. You still want to talk about Orcel??


Cyril basically got bullied out of this forum by eccentrics such as re-peat and even Hans himself. That should never be forgotten, no matter how much dough Netflix is shilling out on producing / buying content.


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## dannymc (Dec 7, 2016)

> Cyril basically got bullied out of this forum by eccentrics such as re-peat and even Hans himself.



who is Cyril? or maybe that's a delicate question to ask by the sounds of things 

Danny


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## rottoy (Dec 7, 2016)

dannymc said:


> who is Cyril? or maybe that's a delicate question to ask by the sounds of things
> 
> Danny


Cyril Orcel is a French composer who frequented the forums until a year ago, when he posted a mockup of an Elgar piece that got torn apart and he got ridiculed for it. He subsequently left the forum after he asked the staff to remove all his posts and content, which was unprecedented if I recall correctly.

There was an ugly mob mentality to the whole thread that really showcased something terrible.


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## Parsifal666 (Dec 7, 2016)

rottoy said:


> Cyril Orcel is a French composer who frequented the forums until a year ago, when he posted a mockup of an Elgar piece that got torn apart and he got ridiculed for it. He subsequently left the forum after he asked the staff to remove all his posts and content, which was unprecedented if I recall correctly.
> 
> There was an ugly mob mentality to the whole thread that really showcased something terrible.



That's awful. I thought better of this forum. A lot.


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## dannymc (Dec 7, 2016)

> Cyril Orcel is a French composer who frequented the forums until a year ago, when he posted a mockup of an Elgar piece that got torn apart and he got ridiculed for it. He subsequently left the forum after he asked the staff to remove all his posts and content, which was unprecedented if I recall correctly.
> 
> There was an ugly mob mentality to the whole thread that really showcased something terrible.



god it must of been bad. by the sounds of things the moderators were a bit asleep at the wheel to allow that to happen. haven't felt this forum has an atmosphere like that since been here. 

Danny


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## Puzzlefactory (Dec 8, 2016)

dannymc said:


> god it must of been bad. by the sounds of things the moderators were a bit asleep at the wheel to allow that to happen. haven't felt this forum has an atmosphere like that since been here.
> 
> Danny




Me too. 

So far I've found this forum very friendly and "un-bitchy" compared to other music forums I've frequented over the years (I've found it quite a refreshing change)...


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## robharvey (Dec 8, 2016)

rottoy said:


> Cyril Orcel is a French composer who frequented the forums until a year ago, when he posted a mockup of an Elgar piece that got torn apart and he got ridiculed for it. He subsequently left the forum after he asked the staff to remove all his posts and content, which was unprecedented if I recall correctly.
> 
> There was an ugly mob mentality to the whole thread that really showcased something terrible.




Damn. Always found this place to be a friendly sort of place where you can have a debate without feeling like a troll.


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## CACKLAND (Dec 8, 2016)

As have I. 

I started this thread with the intention to discuss the compositional work of Hans and his team, hoping it doesn't spiral into a negative discussion. Sure, everyone has their own thoughts and opinions on creative work, that is encouraged in all forms. 

Let's move back on topic


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## rottoy (Dec 8, 2016)

Humans are fickle. 
One can only hope that the low point of this forum has already passed us and that the future is more enlightened.


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## robharvey (Dec 8, 2016)

It is gorgeous. I don't think I've heard such dramatics in a documentary score before. 

A particular favourite of mine is the Jungle Weather track. Which is exactly not what I was expecting it to sound like.


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## CACKLAND (Dec 8, 2016)

Overall, the score between Hans, Jasha Klebe and Jacob Shea is fantastic in opinion. It accompanies the emotion and story developed throughout the documentary.


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## Parsifal666 (Dec 8, 2016)

I like it, but my favorite pieces by Hans are Dark Knight Rises, Interstellar, Lion King, Inception, and Man of Steel. I so love what he did with the organs on Interstellar, and adore the John Carpenter-and-beyond synth incorporation of DKR .

As much as I love specific Marvel movie soundtracks, DC comics movies made quite the score in getting Hans for their superhero soundtracks. I think his influence in that department will continue to be felt for many decades coming. A little disappointed when he was quoted saying there would be no more coming in that genre (the quote might have been a misrepresentation, of course...uhh, actually I mean "I _*hope*_"  ).

The Man of Steel soundtrack alone is easily my favorite movie music since Williams' Superman and Goldsmith's Omen.


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## jononotbono (Dec 8, 2016)

CACKLAND said:


> As have I.
> 
> I started this thread with the intention to discuss the compositional work of Hans and his team, hoping it doesn't spiral into a negative discussion. Sure, everyone has their own thoughts and opinions on creative work, that is encouraged in all forms.
> 
> Let's move back on topic



I've loved every minute of Planet Earth 2 so far. Those Racer Snakes! I haven't had my heart beat that fast for quite some time. Horrible mother Iguana leaving her children on that beach! It's a bit tight. Haha!

I think the music has been perfect for the picture. I didn't know who had written any of the music till after watching 1st episode and I only looked it up because I thought it was great. Each to their own of course. Will definitely buy this on Blu Ray when released. Hopefully 1 and 2 will be released together with a lot of making of stuff.


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## rpaillot (Dec 8, 2016)

Really loved Planet Earth 2 main theme , so powerful!!

It reminded me some bits from some of the Armaggedon soundtrack (which I also loved, guilty pleasure  )


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## resound (Dec 8, 2016)

Jacob and Jasha did a great job on the music, and I will echo what Hans said in that there is a reason they got the gig. Not only have they earned it through their hard work at Bleeding Fingers, but it is also important that whoever got the gig could work quickly and efficiently. These guys had to write a LOT of music in a pretty short amount of time. I had the pleasure of working with them on the orchestrations and we were working right down to the wire. I haven't had a chance to catch up on all the episodes yet, but what I have seen so far has been great. The Iguana vs. Snakes clip was so great, it was going viral on my FB feed.


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## jononotbono (Dec 8, 2016)

resound said:


> Jacob and Jasha did a great job on the music, and I will echo what Hans said in that there is a reason they got the gig. Not only have they earned it through their hard work at Bleeding Fingers, but it is also important that whoever got the gig could work quickly and efficiently. These guys had to write a LOT of music in a pretty short amount of time. I had the pleasure of working with them on the orchestrations and we were working right down to the wire. I haven't had a chance to catch up on all the episodes yet, but what I have seen so far has been great. The Iguana vs. Snakes clip was so great, it was going viral on my FB feed.



I don't want to ruin anything just in case but.. The Bears!!!


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## mwarsell (Dec 8, 2016)

Well done, guys @ RC, yet when it ended I was slightly led down for not getting the Chevaliers de Sangreal -moment of orgastic epicdom. So the apprentices might still have something to learn from the master...


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## resound (Dec 8, 2016)

jononotbono said:


> I don't want to ruin anything just in case but.. The Bears!!!


Haven't seen that part yet but sounds fun


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## Kejero (Dec 8, 2016)

Love that trailer. Plenty of these images put a smile on my face (no cheesy reference intended, I swear).
Music sounds great. I like me some good old "build" once in a while  Not too crazy about the percussion.


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## airflamesred (Dec 8, 2016)

jononotbono said:


> I don't want to ruin anything just in case but.. The Bears!!!


Too late.


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## Rodney Money (Dec 8, 2016)

I love all these epic thrilling scenes, and then we get... a bear scratching his butt?


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## Dave Connor (Dec 8, 2016)

Expertly done Main Title and I found the music fresh and not another take on someone else's music (even if Hans basically wrote it and avoided copying himself outright.) There is an original voice and sensibility in the music which had me hanging on what the next harmonic surprise was going to be. I think people can react to _Style _as a rehashing of things but there will always be style. HZ being an originator of a style can hardly be criticized for influencing others.


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## robharvey (Dec 9, 2016)

The bear sequence was perfect wasn't it. No shame, all satisfaction.


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## tokatila (Dec 9, 2016)

Well, the music is good. But you know what's even better? What goes with everything? And was most likely used as a temp track, since it's an universal temp track for every movie!

(Damn, procrastinated again by doing this. I'm gonna do a masterclass on procrastination.)

Here is direct link:
https://1drv.ms/v/s!Aqe9LadM9iGWgs0exPBHg_0YiCGCyw 

(It was autotagged in YouTube by BBC Worldwide even though it was hidden)


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## rottoy (Dec 9, 2016)

tokatila said:


> Well, the music is good. But you know what's even better? What goes with everything? And was most likely used as a temp track, since it's an universal temp track for every movie!
> 
> (Damn, procrastinated again by doing this. I'm gonna do a masterclass on procrastination.)



The comedic value of having the theme to The Rock underscoring Attenboroughs delicate narration is off the charts!


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## Tatu (Dec 19, 2016)

I haven't seen the show (execpt for that Iguana/Snakes scene, which I think wasn't "scored" that well... but I've only seen a poor quality video of it, so it sounded bad all together) and just listened to Zimmer's Planet Earth II Suite.

I think it's his best superhero theme thus far. Good time to quit that business at the top (knocks on wood).
Seriously, it's a great theme in a very Zimmerish fashion as far as it's structure goes.


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## Arbee (Dec 19, 2016)

Rctec said:


> ...but to do something that gets people out of their kitchen and in front of their TV, because they instantly need to know - in one phrase or sound - that it's the music from 'That' program they want to see and it's starting! So it's not always about a lot of subtlety, but about making sure that it registers straight away.


Beautifully simple, seductive and understated power in this theme, and after hearing only 10 seconds of it with the visuals - the marriage is consummated and permanently linked in my brain. Three beats to the bar gives it an almost stately dance undertone. That ability to draw folks to the TV upon hearing just a few notes of music is a wonderful magic wand indeed.


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## dannymc (Dec 25, 2016)

> Beautifully simple, seductive and understated power in this theme, and after hearing only 10 seconds of it with the visuals - the marriage is consummated and permanently linked in my brain. Three beats to the bar gives it an almost stately dance undertone. That ability to draw folks to the TV upon hearing just a few notes of music is a wonderful magic wand indeed.



yeah i particularly love the bird sequence at 52 secs with the woodwind flutters, beautiful almost could be the build to an individual prelude itself. pulls on the heart strings. 

Danny


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## synthetic (Mar 19, 2017)

Cool score. My only wish is that they localized some of the global elements in the music to ground us in the location. Common conversation with my wife while we're watching:

"Where is this?"
"I think he said India."
"Oh."

If there were a hint of Indian flavor in the supporting cue (not full Bollywood, you know what I mean, like a spy movie score) maybe that would ground us in the location. Because we're looking at elephants in grass with only a word of the VO to tell us where we are. I'm not sure if they used a library of music or if it was scored, though I think the latter from the Spitfire video. But still enjoying the music.


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## Alatar (Mar 20, 2017)

The music does not fit the visuals, in my opinion. 
I mean: the music is good. But there is a lot of visual changes in the trailer. These changes create a certain rhythm and feel. And it seems the music is not responding to that.


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## germancomponist (Mar 21, 2017)

AlexanderSchiborr said:


> After you - earlier this year, dumped down C. Orcel, whatever you think and talk about what weird french and effortless composer that was for you - who ruined Elgar with his midi mockup rendition -..gosh what a crime, that seems to be probably for you that you even mention him after 11 months where this old and very infamous thread was deleted by the administration of Vi. Control....


I remember this threat very well and all I have to say is that we were talking about that bad midi-mockup. And yes, it was very bad done!
Could it be that you have a problem with Hans Zimmer? Would you also like to be so successful? Hey, just write excellent music and be excellent ...!


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## AR (Mar 21, 2017)

So, just finished episode 1 and I gotta say, the music is great. The main title is probably a mockup. But a very good one and fits the picture. Of course BBC wanted it all a bit over the top for the intro. 

also the music for the picture is great. If it's a mockup? I'd say, I never heard better real sounding stuff. If it's recorded with an live orchestra, the orchestration is done quite well. 

Don't know why so much trouble is going on here in this thread. Either you like or you don't. Move on!


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## synthpunk (Mar 21, 2017)

Just ordered, Tx.


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## rottoy (Mar 21, 2017)

germancomponist said:


> I remember this threat very well and all I have to say is that we were talking about that bad midi-mockup. And yes, it was very bad done!
> Could it be that you have a problem with Hans Zimmer? Would you also like to be so successful? Hey, just write excellent music and be excellent ...!


You are naive or just intentionally spiteful if you think AlexanderSchibbor's critique is rooted in some jealousy of Hans's success as a composer.
I thought it was clear that his entire point was that he objected to the lack of tact and hostility
that some of the members here spewed towards Cyril Orcel. 
It was an embarrassment of a thread, and you are furthering the insult with your nonsense postulation.


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## germancomponist (Mar 21, 2017)

rottoy said:


> It was an embarrassment of a thread, and you are furthering the insult with your nonsense postulation.



Huh, thank you for the big smile you sent to my face!


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## jononotbono (Mar 21, 2017)

synthpunk said:


> Just ordered, Tx.




If this is in 4K 3D I would love it! Just about to order a new 4k screen maybe I need something to put it through it's paces!


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## resound (Mar 21, 2017)

AR said:


> So, just finished episode 1 and I gotta say, the music is great. The main title is probably a mockup. But a very good one and fits the picture. Of course BBC wanted it all a bit over the top for the intro.
> 
> also the music for the picture is great. If it's a mockup? I'd say, I never heard better real sounding stuff. If it's recorded with an live orchestra, the orchestration is done quite well.
> 
> Don't know why so much trouble is going on here in this thread. Either you like or you don't. Move on!


Score was recorded in London but they probably mixed in samples with the live players.


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## chimuelo (Mar 21, 2017)

Should have figured the ZMan was involved.
I love Planet Earth, and especially PEII.
Every now and then I feel the need to chill and escape my routines.
PE has always made my eyes and ears happy enough to just sit still for 3/4 hours.
That's rare for me.
It has to be UHD 4K?
My Corasair Bulldog HTPC uses my old Blue Sky 2.1 NFMs and yes, I output the audio to a 2.1 Bellari RP562 Tube Sonic Exciter with Kick ass Sub out.

My only suggestion is a female narrator.
Allesandra Ambrosia has the sexiest voice I've ever heard.
If they would actually show her while walking and talking I would pay rates equivalent to MMA Championship matches...

Once they had her laying down with shiny sand on her legs and back.
Day-am.
I knew then in my next life I wanted to come back as a Wisk Broom.


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## jononotbono (Mar 21, 2017)

chimuelo said:


> My only suggestion is a female narrator.



Planet Earth relies on Attenborough. He is a constant. Don't mess with the natural order of things.


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