His score for “Inferno” had already been completed before the German composer started going on tour, so he decided to play a slightly altered version of his famous “Chevaliers de Sangreal” as a special gift to his fans – an altered version that is now featured in “Inferno”. As someone who had entered the film music scene mainly because of his ever-popular music, the show was a must-see for me and I was not disappointed at all to say the least seriously, it was one of the best experiences of my entire life. However, his European concert tour was said to be a gigantic event and immediately became an immense success. Hans Zimmer himself is having quite an interesting year: After the exceptional fun-providing “Kung Fu Panda 3” for which he received mainly positive critical acclaim (well, to be honest, a large amount of the music had actually been written by the seemingly never-sleeping Lorne Balfe), the score which he and Junkie XL had composed for the disastrous “Batman v Superman: Dawn of Justice” was punished mercilessly by both longtime Zimmer fans and most other film music enthusiasts.
#HANS ZIMMER THE DA VINCI CODE MOVIE#
Sienna Brooks, played by Academy Award nominee Felicity Jones, who is helping him to regain his lost memories, Langdon is trying to solve one of the most complicated riddle’s he’s ever faced: stopping the spread of a horible disease developed by the story’s main antagonist, Bertrand Zobrist, whose aim it is to sustainibly decimate humanity in order to stop the problem of overpopulation on earth… and admittedly, the movie is rather enjoyable although it lacks the ambition of being more than a solid thriller. Once again, the expert in symbology finds himself the target of a massive manhunt. Speaking of the new movie’s content, it is noteworthy that it does basically sound like a simple rehash of the previous movies: This time, Robert Langdon, the series’s main protagonist, again played by the extraordinary Tom Hanks, finds himself awakening in a hospital in Florence, Italy, with no memory of what has happened during the past few days. But while “Da Vinci Code” surprised everyone with an exceptionally classical approach, contrasting Zimmer’s recent filmography, the following “Angels & Demons” heavily relied on the incorporation of electronics and synthesizer sounds. With “Inferno”, Zimmer takes this development even one step further. “The Da Vinci Code” is still considered to be one of the finest and most intelligent musical creations the composer has ever written, especially noteworthy is the ever-popular piece “Chevaliers de Sangreal” which has become a fan favourite in a comparatively fast period of time, while the sequel score for “Angels & Demons” was generally getting positive acclaim by the fans though it is not considered to be as well-crafted as the composer’s previous entry. Same can be said about Zimmer’s involvement.
#HANS ZIMMER THE DA VINCI CODE SERIES#
Both films earned generally positive critical response which made it unsurprising news that a third entry into the series had been announced early on. After Howard’s latest movie, “In The Heart of The Sea” which Zimmer was not able to score due to scheduling conflicts (seriously, what project would you choose if you were given the chance to decide between a movie with an only marginally interesting screenplay or a Christopher-Nolan-science-fiction-blockbuster? Just asking…), he is now continuing his collaboration with the director by coming back to score the franchise that had been established with “The Da Vinci Code” in 2006 and was soon developed into 2009’s “Angels & Demons”. Director Ron Howard is returning to the Robert Langdon franchise based on the bestselling novels written by author Dan Brown, and so is composer Hans Zimmer.