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The Peacemaker
(1997)
Album Cover Art
1997 Dreamworks
2000 Bootleg
Album 2 Cover Art
2014 La-La Land
Album 3 Cover Art
Composed, Arranged, and Co-Produced by:

Additional Music and Co-Conducted by:
Gavin Greenaway

Orchestrated by:
Bruce L. Fowler
Ladd McIntosh
Y.S. Moriarty

Co-Conducted by:
Harry Gregson-Williams

Co-Produced by:
Adam Smalley

Vocals by:
Mamak Khadem
Labels Icon
LABELS & RELEASE DATES
Dreamworks Records
(September 9th, 1997)

Bootleg
(2000)

La-La Land Records
(May 20th, 2014)
Availability Icon
ALBUM AVAILABILITY
The 1997 Dreamworks album is a regular U.S. release. The bootlegs of the recording sessions began circulating around the secondary soundtrack market in 2000. The expanded 2014 La-La Land Records set is limited to 3,000 copies and available primarily through soundtrack specialty outlets for an initial price of $25.
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... on any of its album presentations if you appreciate the extremely masculine and often brutal synthetic and organic blend that defines Hans Zimmer's action sound of the era.

Avoid it... on the commercial album if you seek a coherent presentation of the score, for the definitive 2014 set paints a far more balanced and impressive picture of Zimmer's composition by offering both the film's original cues and the composer's preferred arranged suites.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #97
WRITTEN 9/11/97, REVISED 8/9/14
Zimmer
Zimmer
The Peacemaker: (Hans Zimmer) While The Peacemaker didn't involve producer Jerry Bruckheimer or directors Michael Bay or Tony Scott, most regular moviegoers could easily have been fooled. Directed actually by "E.R"'s Mimi Leder and receiving input from Steven Spielberg, who had, in part, chosen this project as the debut of his new Dreamworks studio, the 1997 film follows many of the same formula techniques that Bruckheimer productions had introduced very popularly to the world but with a slightly deeper dramatic reach. A story of international diplomatic intrigue is wrapped around an old-fashioned American pursuit of a stolen Russian nuclear weapon. A distraught Bosnian diplomat to the United Nations, in grief over the loss of his family in the warfare of Sarajevo, seeks to smuggle the weapon into New York and exact his revenge. The acting of George Clooney and Nicole Kidman elevated the film's mainstream appeal outside of military buffs in much the same way that Crimson Tide had accomplished two years earlier. Leder's direction offered a somewhat more stylish and poignant take on what the Bruckheimers, Bays, and Scotts of the industry could muster, a few densely spectacular scenes floating the picture above the usual testosterone-fest. One of the most obvious direct connections between the Crimson Tide and The Peacemaker was the music by composer Hans Zimmer, who was in the process of revolutionizing the sound of the bombastic blockbuster score and influencing his numerous assistants in the same direction. For Zimmer, The Peacemaker was an opportunity to forget the contentious circumstances over the production of music in both Crimson Tide and The Rock. In Crimson Tide, Zimmer had to battle with Bruckheimer over the use of the choir, and in The Rock, Zimmer was forced into an uncomfortable position of serving as a ghostwriter for Nick Glennie-Smith when Bruckheimer refused some of Glennie-Smith's music. Interestingly, however, Spielberg was an enormous fan of the score for Crimson Tide (which is always amusing to consider given how vastly different its tone is from the usual John Williams score), and he specifically encouraged Zimmer to carry over one of the swinging rhythm action figures from that score into The Peacemaker.

Zimmer was much more insistent that he was confident in his approach for The Peacemaker, and Leder and Spielberg extended him far greater courtesy in allowing him space to write what he felt was correct for the film, starting with his usual "concept suite" of ideas. The resulting score is a culmination of ideas that were arguably more satisfying for Zimmer than his previous work in the genre. "In Peacemaker, I managed to finish off all the ideas that I didn't quite get right in Crimson Tide. How many sunflowers scenes did Van Gogh paint before he was happy?" Zimmer stated just after the score's completion. "Sometimes it's nice to go over old ground just because you learn something. In film scoring, there's revolution and there's evolution." He was likely doing both at once, though Zimmer would joke about how the sound he created for Crimson Tide and perpetuated in The Peacemaker caught on so furiously with other composers. His music for The Peacemaker definitely draws connections to the earlier, superior score, but it also stands on its own with no less than eight distinct themes and its own strikingly powerful and often dissonant style. The ensemble would be different for this score as well. Most of the sound effects and choral employment in Crimson Tide carry over directly to The Peacemaker, but Zimmer's electronics and the choir would be aided by over 100 orchestral players this time around. With the composer's usual technique of merging the synthetic and organic, though, the live players exist at an inherent disadvantage. In fact, some casual listeners will likely interpret most of the score as entirely synthetic, a trait of recording and mixing habits that would prove bothersome to some Zimmer fans for years to come. Even when a score like The Peacemaker makes use of the full ensemble, the arrangement of that recording with synthetic percussion, among other samples and backing of bass elements, causes the entire mix to take on a harsh, electronic edge with a heavy emphasis on the bass region. This soon-to-be trademark Zimmer sound represents both the best and worst of the composer's divisive appeal, depending on your taste for ultra-masculine film music. In retrospect, it's refreshing to hear that Zimmer had not yet dropped the woodwinds and other treble elements, ferocious flute lines accenting the train hijack sequence and violins often wildly hyperactive in their upper ranges during several cues as well.

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VIEWER RATINGS
2,773 TOTAL VOTES
Average: 3.22 Stars
***** 562 5 Stars
**** 675 4 Stars
*** 714 3 Stars
** 472 2 Stars
* 350 1 Stars
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COMMENTS
3 TOTAL COMMENTS
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Alternative review at Movie Wave
Southall - August 10, 2014, at 1:38 p.m.
1 comment  (275 views)
2014 album complaints
Dawson A - August 9, 2014, at 6:53 p.m.
1 comment  (457 views)
Themes
Levente - March 1, 2009, at 3:26 a.m.
1 comment  (2055 views)
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Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
1997 Dreamworks Album Tracks   ▼Total Time: 54:43
• 1. Trains (13:53)
• 2. Devoe's Revenge (5:15)
• 3. Sarajevo (8:42)
• 4. Chase (17:07)
• 5. Peacemaker (9:44)
2000 Bootleg Tracks   ▼Total Time: 103:22
2014 La-La Land Set Tracks   ▼Total Time: 152:01

Notes Icon
NOTES AND QUOTES
The Dreamworks album's insert includes a list of musicians, but no extra information about the score of film. That of the 2014 La-La Land set contains extensive notation about both. The bootlegs feature many different variations in artwork.
Copyright © 1997-2015, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Peacemaker are Copyright © 1997, 2000, 2014, Dreamworks Records, Bootleg, La-La Land Records and cannot be redistributed without the label's expressed written consent. Page created 9/11/97 and last updated 8/9/14.
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