digital booklet - batman v superman

8/18/2019 Digital Booklet - Batman v Superman

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Music by HANS ZIMMER and JUNKIE XL

Soundtrack Produced by HANS ZIMMER and JUNKIE XLSoundtrack Co-produced by STEVE MAZZARO and ALAN MEYERSON

Additional Music bySTEVE MAZZARO, ANDREW KAWCZYNSKI, BENJAMIN WALLFISCH

Music Editor: MELISSA MUIK Score Wrangler: BOB BADAMIMusic Production Services: STEVEN KOFSKYMusic Conducted by NICK GLENNIE-SMITH and JUNKIE XLAssistant Music Editor: NEVIN SEUSTechnical Score Engineers: CHUCK CHOI and STEPHANIE MCNALLY Digital Instrument Design: MARK WHERRYSampling Team: TAUREES HABIB, RAUL VEGA, DREW JORDANSupervising Orchestrator: BRUCE FOWLERAdditional Orchestrators:WALT FOWLER, YVONNE S. MORIARTY, CARL RYDLUND, KEVIN KASKAOrchestra Contractor: PETER ROTTERScore Recorded and Mixed by ALAN MEYERSONAdditional Engineering by SLAMM ANDREWSScore Mix Assistant: JOHN WITT CHAPMAN

Studio Manager for Remote Control Productions: SHALINI SINGHAssistant to Hans Zimmer: CYNTHIA PARK Technical Assistants:JACQUELINE FRIEDBERG, JULIAN PASTORELLI,MAX SANDLER, LAUREN BOUSFIELDTechnical Assistants to Junkie XL:STEPHEN PERONE, EMAD BORJIAN, ALJOSCHA CHRISTENHUSSScore Mixed at REMOTE CONTROL PRODUCTIONS , Santa Monica CAAlbum Mastered by NATHANIEL KUNKEL and ALAN MEYERSON

Executive Album Producers:ZACK SNYDER, DEBORAH SNYDER, CHARLES ROVENExecutives In Charge Of Music For Warner Bros. Pictures:PAUL BROUCEK and DARREN HIGMANExecutive In Charge Of Music For WaterTower: JASON LINNArt Direction and Soundtrack Coordination: SANDEEP SRIRAMMusic Business Affairs Executives: LISA MARGOLIS and RAY GONZALEZ

Score published by

WARNER-OLIVE MUSIC LLC (ASCAP) and WARNER-BARHAM MUSIC LLC (BMI)


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FEATURED MUSICIANS:

Electric Cello: TINA GUOSolo Violin: BEN POWELLDrum Orchestra:CURT BISQUERA, BERNIE DRESEL, SHEILA E, PETER ERSKINE, JOSH FREESE,JIM KELTNER, TOSS PANOS, JOHN “JR” ROBINSON, SATNAM SINGH RAMGOTRA

Vocalists: HILA PLITMANN, DOMINIC LEWIS, TORI LETZLERSynth Programming: HANS ZIMMERScore Recorded at THE EASTWOOD SCORING STAGE , Warner Bros., Burbank CAand THE STREISAND SCORING STAGE , Sony, Culver City CAMusic Preparation: BOOKER WHITEProTools Operators: KEVIN GLOBERMAN and LARRY MAH

Choir: THE ERIC WHITACRE SINGERSChoirmaster: ERIC WHITACREChoir Orchestrated by ERIC WHITACRE and GAVIN GREENAWAYChoir Conducted by GAVIN GREENAWAYChoir Contractor: MEG DAVIES, MUSIC PRODUCTIONS LTDChoir Recorded by GEOFF FOSTERProTools Operator for Choir: CHRIS BARRETTAssistant Engineer for Choir: LAURENCE ANSLOWUK Music Preparation: JILL STREATERChoir Recorded at LYNDHURST HALL , AIR STUDIOS LONDON

WE WOULD LIKE TO THANK:ZACK SNYDER, WESLEY COLLER, DAVID S. GOYER, GEOFF JOHNS, CURT KANEMOTO,BENJAMIN MELNIKER, BRUCE MORIARTY, CHRISTOPHER NOLAN, CHARLES ROVEN,DEBORAH SNYDER, EMMA THOMAS, MICHAEL USLAN, GREGOR WILSON,DAVID BRENNER, ANDREA WERTHEIM, PAUL BROUCEK, DARREN HIGMAN, LISA MARGOLIS,NY LEE, KARI MIAZEK, JOSEPH BILLÉ, JASON LINN, SANDEEP SRIRAM, GENEVIEVE MORRIS,JOE KARA, ROCCO CARROZZA, KEVIN KERTES, PETER AXELRAD, ROBERT ZICK, SUE KROLL,BLAIR RICH, JOHN STANFORD, ARIADNE CHUCHOLOWSKI, SIMON MCILROY, KOLETTE KLEBER,JOHN ALTHOUSE, RAYMOND WALDEN, JAIMIE ROBERTS, MARK CAVELL, JOHN F.X. WALSH,ERIC JOHN MATTHIES, ROSS GARFIELD, ZAK ST JOHN, URS HECKMANN, CANDACE CARLO,JILLIAN ABOOD, BEBE LERNER, RAE MURILLO AND THE ID TEAM, MICHIEL GROENEVELD,AMOS NEWMAN, STEPHEN PERONE, EMAD BORJIAN, ALJOSCHA CHRISTENHUSS,CHRISTIAN WENGER, SETH WALDMANN, FOREST CHRISTENSON, ALFREDO PASQUEL,RYAN OUCHIDA, EDITH MUDGE, CHRIS STRONG, STEPHANE HUMEZ, MAXIME MARION,PIERRE FUTSCH, NICOLAS CABARROU, KRISZTINA LUKACSI, SASKIA AND JULIAN,BEN AND ELLY, ZOË, JAKE, MAX & ANNABEL


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VIOLIN:KATIA POPOV - CMBRUCE DUKOV - CO-CMJULIE GIGANTE - P2EUN-MEE AHNRICHARD ALTENBACHCHARLIE BISHARATBELINDA BROUGHTONANDREW BULBROOKSANDRA CAMERONCAROLINE CAMPBELLDARIUS CAMPOROBERTO CANIKEVIN CONNOLLYENDRE GRANATJESSICA GUIDERITAMARA HATWANAMY HERSHBERGERBENJAMIN JACOBSONCARRIE KENNEDYAIMEE KRESTONKEVIN KUMARANA LANDAUERNATALIE LEGGETTPHILLIP LEVYLISA LIUSERENA MC KINNEYHELEN NIGHTENGALEJOEL PARGMANALYSSA PARKRADU PIEPTEABENJAMIN POWELLRAFAEL RISHIKNEIL SAMPLESJEANNE SKROCKIMARY K SLOANTEREZA STANISLAVLISA SUTTONJOSEFINA VERGARASHALINI VIJAYANIRINA VOLOSHINAROGER WILKIESTEVEN ZANDER

VIOLA:BRIAN DEMBOW - 1STROBERT BROPHYJOHN DELLINGERANDREW DUCKLESMATTHEW FUNESSCOTT HOSFELDSHAWN MANNLUKE MAURERDARRIN MC CANNVICTORIA MISKOLCZYMARIA NEWMANMICHAEL NOWAKDAVID WALTHER

CELLO:STEVE ERDODY - 1STJACOB BRAUNERIC BYERSERIKA DUKETING GUOTREVOR HANDYPAULA HOCHHALTERDENNIS KARMAZYNARMEN KSAJIKIANTIMOTHY LANDAUERGEORGE KIM SCHOLESANDREW SHULMANEVGENY TONKHACECILIA TSANSIMONE VITUCCIJOHN WALZXIAODAN ZHENG

BASS:NICO ABONDOLO - 1STDREW DEMBOWSKISTEPHEN DRESSTHOMAS HARTEOSCAR HIDALGOEDWARD MEARESGEOFFREY OSIKADAVID PARMETERNICOLAS PHILIPPONMICHAEL VALERIO

FRENCH HORN:DAVID EVERSON - 1STMARK ADAMSANDREW BAINSTEVEN BECKNELLLAURA BRENESBENJAMIN JABERDANIEL KELLEYJENNY KIMTEAG REAVESAMY RHINE

TRUMPET:JON LEWIS - 1STTHOMAS HOOTENCHRISTOPHER STILL

TROMBONE:ALEXANDER ILES - 1STWILLIAM BOOTHCRAIG GOSNELLSTEVEN HOLTMANPHILLIP KEENWILLIAM REICHENBACH

TUBA:DOUG TORNQUIST - 1STPHILIP BLAKE COOPERGARY HICKMANLUKAS STORMSCOTT SUTHERLAND

THE HOLLYWOOD STUDIO SYMPHONY


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A CONVERSATION WITHHANS ZIMMER AND JUNKIE XL

How did both of you approach workingon the score? Was it a discussion betweenthe two of you? Or Hans, were youapproached rst?

Hans Zimmer (HZ): Well, remember, I have11 years of Batman already behind me and Iwanted to honor the partnership I had withJames Newton Howard on the previousBatman movies (Batman Begins and TheDark Knight). But also, this is a completelydifferent Batman. A completely differentcharacter. A completely different actor.

So, on the one hand, we had the legacy onour shoulders; and on the other hand, weboth have the future of this new Batmanto honor. And Superman. And WonderWoman! So of course, the perfect matchfor me was Antonio a.k.a Tom Holkenborga.k.a. Junkie XL who is not only one ofmy favorite people, but I think is just anincredibly insightful lm composer. Sincewe had such an incredible synergy on Manof Steel, it was a perfect idea for us to worktogether on the Batman vs Supermanscore.

Junkie XL (JXL): Yes, I’d like to point outthat Hans has been so incredibly importantin giving me the tools that I needed tobecome a composer in my own right,and I’m very thankful of that. With Man ofSteel, we were able to create an incredible

synergy and I was extremely thrilled whenHans approached me to work on Batmanv Superman together with him. Hans hasan incredible legacy with the ChristopherNolan Batman movies so we had big thingsto tackle: honoring a classic and amazingBatman landscape while creating a newand unique language. We discussed atlength what this character was in this lmand what was musically required. We bothfelt that we needed a completely differentlanguage.

Then Hans started playing some Batmantheme ideas on the piano and it was,Bingo!, from the start, right Hans?

HZ: Actually, the truth is I was stumpedat that point for eight weeks, completelyterried not knowing what to do because ofthe Batman legacy. This is why partnershipwas so important to me, we could supporteach other creatively.

None of this would have ever occurredhad I not had Tom giving me the courageto tackle Batman and being able to talkthings through with him. There were quitea few moments where I was completelystumped on what to do. I’m supposed tobe the one who had all the experienceand Tom would just go and lead me in theright direction, and it was absolutely himleading the charge.


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How did this collaboration include ZackSnyder?

HZ: The collaborative process, at the endof the day, is really about people sitting in aroom, discussing and talking out ideas andtrying to ll the space with the best ideas

possible. We worked very much the waya band would work, including with Zack,who was very involved with the music.Zack allows us to try things we haven’ttried before. He’s very supportive in theeccentricities that we bring to this.

JXL: Yes, he is so open. Whereas, somepeople have a predetermined idea of what

they want, Zack is so open-minded. Hereally knows what he wants as a lmmakeryet he is very open and accepting of ourideas. He leaves you with an energy thatmakes you want to perform at your very,very best - because he deserves it.

HZ: Exactly. It becomes this very creativeatmosphere. Everybody is trying theirbest. There are so many good musiciansinvolved, all putting their best foot forwardall the time. I think, very much on thismovie, everybody was trying to work atthe highest level. Early on, Zack showedus some of the movie, and it was mindblowing.

JXL: It was obvious he had a very clearvision of this whole world. And here wewere hanging on for dear life trying to

understand how everything – how all thesebits were tting together. I rememberwondering “How is this all going to work?How is Wonder Woman going to t inhere?”

Of course it all came together. Whatreally resonated for me was when Zackspoke to us about the importance andthe unimportance of working on movieslike this, saying Superman, Batman, all ourcharacters are so much bigger than all ofus in the room. In 20 years, 50 years, 100years, there will be a new Superman, a newBatman. Zack said the only thing we cando is adapt it, make it our own, and just do

the best we can with who these charactersare, and that’s all we can do.

Here is a man who truly loves comic booksand is really able to represent his entirevision in a beautiful way. I mean there isn’ta single thought in this movie that isn’tbreathtakingly beautiful in its design. AndI nd that the choices that Zack has made,not only in the Man of Steel but also in thismovie, are so brave and so unique andso on their own, yet honors the legacy ofwhat the comic books have set out to doover the last 75 years.

HZ: I think the thing to always keep at theforefront of our minds is that Zack Snyderloves these characters and he loves comicbooks.


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JXL: Yes, he lives and breathes it.

HZ: Right and not like the cliché “he livesand breathes it.” Zack’s energy and hisenthusiasm about everything that heworks on and believes in, goes straightto your heart. When Zack presented us

with this incredible world, this incrediblecreativity that he crafted, we got to live inthis dream world, to live our fantasies outin wonderful ways. And it feels very real.It’s this parallel universe that Zack gets usto inhabit. And I think that’s what we weretrying to do – to bring that world out in themusic.

JXL: It’s a radiance that makes you, as acomposer, go into overdrive.

HZ: Tom and I often talk about how Zack isthe ultimate comic book director becausehe loves that world so much. He loves thecolor from the art and the lines and theway that the characters are drawn. Whenwe speak with Zack, he is always drawingsomething. He has a powerful way oftranslating that into a vision. Tom and Iare total sound geeks, and we are equallyobsessive about translating that vision intoan aural world. So the way we approachsound - it’s the audio equivalent of Zack’sstyle.

Did this approach weave its way intodeveloping themes for the othercharacters, like Wonder Woman and LexLuthor?

JXL: From Man of Steel, we’d already foundthe language for Superman and then we

got on a roll with Batman. When we startedgetting into the Lex Luthor character, wetalked about what this character shouldbe musically, and Hans had a pretty clearmusic solution for what to do with it. ForWonder Woman, we talked about it somany times.

HZ: Yes, I felt Wonder Woman needed to

be tribal and ferocious and I felt the themeneeded to be performed by a woman whohas that ferocity in her. We have a friend,Tina Guo, who is one of the nicest, andmost graceful people we know. But as soonas she has that cello in front of her, thisferocity comes out. She wields that cellolike a weapon and I just thought she wasperfect for this –she lives Wonder Womanin real life.

JXL: I think with the Wonder Woman theme,that evolved brilliantly. The obvious thing wasto do something with vocals, remember? Wetried a couple of things, and then you cameup with the idea to do it with the electric celloand I thought it was fantastic. It’s unusual,and Tina takes it home when it comes toplaying. There’s almost an aggression that

comes out; it’s a remarkable self-condence.


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HZ: Right, we needed somebody toparaphrase that idea for voice and Tinaknocked it out really well.

Were there any specic aspects of thelm that you both enjoyed working on

together?

HZ: I mean, let me just put it this way, I justthink my friend, Tom, wasted an enormousamount of time being a very, verysuccessful DJ and electronic musician andhaving this other career because he wasborn a lm composer. Junkie is the mostenergetic human being I’ve ever met and

he’s constantly coming up with new soundsand surprising ways of doing things. You just can’t stop him from building roomsand rooms of modular synthesizers andcoming up with new sonic adventures forall of us.

JXL: And I have to say that, Hans, I’ve noticedin the few years that we’ve worked together,you’ve always had an incredible talent forputting the right people together for a project.It’s something that has single handedlychanged the world of lm-scoring. We justkept challenging each other on this lm. It’slike, “Can this be better? Is there a better wayto solve this or better sounds or better musicnotes?” And I think that’s one of the reasonswhy it turned out special. We’d inspire eachother because we’d constantly modify

each other and lift the music to new levels.

HZ: Combine that with our team of SteveMazzaro, Andrew Kawczynski, BenjaminWallsch, and the colors, the ideas justpour out. The fun part of the challenge,and part of why this works, is everybody isin a friendly artistic competition with the

other person. Everyone is trying to impresseach other by trying to come up with thegreat idea. It’s never an argument, and weget to be very honest with each other aswell: “This works, this doesn’t work. Andhow can we make it better?” It’s a greatatmosphere to work in.

What makes me like this experienceis the process and the people you arehanging out with. You know the secondsof everybody’s life are ticking away, sothe experiences that we have together ofmaking this music, it’s very important thatthe friendship is there. There is friendshipin this music; it’s a sound that I can hear,and that makes me really happy. Wesurround ourselves with the people whosetalent we admire and at the same time, werespect. Ultimately, that’s what elevates agood movie: the musicianship, the ideas,the craftsmanship, the artistic vision thateverybody that we have in this room bringsto the table.

HANS ZIMMER AND JUNKIE XL


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1. BEAUTIFUL LIE (3:47) 2. THEIR WAR HERE (4:35)3. THE RED CAPES ARE COMING (3:32) 4. DAY OF THE DEAD (4:02)

5. MUST THERE BE A SUPERMAN? (3:59) 6. NEW RULES (4:03)7. DO YOU BLEED? (4:36) 8. PROBLEMS UP HERE (4:25)

9. BLACK AND BLUE (8:31) 10. TUESDAY (4:01)11. IS SHE WITH YOU? (5:47) 12. THIS IS MY WORLD (6:24)

13. MEN ARE STILL GOOD (THE BATMAN SUITE) (14:04)

(BONUS TRACKS)14. BLOOD OF MY BLOOD (4:26) 15. VIGILANTE (3:54)

16. MAY I HELP YOU, MR. WAYNE? (3:28) 17. THEY WERE HUNTERS (2:46)18. FIGHT NIGHT (4:20)

SOUNDTRACK PRODUCED BY HANS ZIMMER AND JUNKIE XLSOUNDTRACK CO-PRODUCED BY STEVE MAZZARO AND ALAN MEYERSON

EXECUTIVE ALBUM PRODUCERS: ZACK SNYDER, DEBORAH SNYDER AND CHARLES ROVENEXECUTIVES IN CHARGE OF MUSIC FOR WARNER BROS. PICTURES: PAUL BROUCEK AND DARREN HIGMAN

EXECUTIVE IN CHARGE OF WATERTOWER MUSIC: JASON LINN

2016 WaterTower Music. Motion Picture Artwork © 2016 Warner Bros. Entertainment Inc. Motion Picture Photography © 2016Warner Bros. Entertainment Inc. and RatPac-Dune Entertainment LLC. All rights reserved.

digital booklet - batman v superman

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