In his first collaboration with Christopher Nolan, Hans joined the Dark Knight trilogy for the first film Batman Begins in 2005. The addition of the choral voices at the end adds to the drama as well as a necessary link to religion. The overlapping strings, with the ostinato string sequence underneath is driving without being forceful – almost as if it's gently encouraging Langdon and spurring him on to discover the tomb and not give up. Whether you enjoy the film or not, Hans' score to this moment makes it feel so important and meaningful. I'm just going to start over.'" Like most of Hans' scores – and indeed, most film scores in general – one particular piece is the pinnacle of the soundtrack, and for this film comes in the form of the finale piece 'Chevaliers de Sangreal', played at the very end of the film when everyone has agreed to stop searching for the Holy Grail, and Hanks' character realises where the tomb of Mary Magdalene actually lies: beneath La Pyramide Inversée at the Louvre. Halfway through the movie, I just stopped and I said, 'Please don't say anything. Literally from the first moment, I just knew it was wrong. I remember the first time playing it to Ron Howard.
He told GQ in 2018, "I'm pretty obnoxious at not letting anything leave my studio which I think is complete and utter crap. The composer took his role in the film so seriously, that he completely scrapped what he'd written for the film after playing it for Ron Howard the first time, and completely started again.
He's never said anything of the sort, but it's easy to see how that sort of anti-establishment attitude would appeal to Hans, who was nominated for a Golden Globe for his score.
THE DA VINCI CODE SOUNDTRACK LIST MOVIE
The film was lambasted by the Catholic Church for being blasphemous, but the production crew would have known the movie would stir up criticism, just as the 2003 novel on which it's based did upon its release. Hans worked with director Ron Howard on his 2006 film adaptation of Dan Brown's The Da Vinci Code, following the story of symbology expert Robert Langdon (Tom Hanks) who gets drawn into a religious conspiracy while trying to clear his name from a murder investigation. Where it would be about danger, at the same time, it's about peace." And what was fun was to take this very humble theme and turn it into 1,000 different emotions. But it really is about this personal life of this character. And at the same time, it becomes the kiss, it becomes the figurines, it becomes the thing about family. Hans said of the main theme, heard most prominently in the chorus of 'Now We Are Free', in the documentary, "It's a very, very beautiful theme, but I can turn it on its head – before battle, you really hear it down in the bass and it's very threatening. A more uplifting section kicks in about halfway through the track, still with the ticking percussion, perhaps to celebrate Maximus' reunion with his family and all that he accomplished in his life. The depth of feeling in Lisa's vocals combined with the instrumentation is so moving, and the soft percussion underneath almost sounds like a clock ticking – a reminder that life goes on. The track plays at the end of the film as Maximus dies, showing him finally being reunited with his wife and son in Elsyium. You put the picture up and you better be in record because amazing things would start happening." The main song on the soundtrack is 'Now We Are Free', in which Lisa sings in her own language, moving from note to note with sounds that feel right – much like Elizabeth Fraser of the Cocteau Twins. Everybody is called an artist these days, but trust me, there are very few who are the real thing. She's a formidable character insofar that she has an incredible aesthetic sense she is a real artist. In a documentary about the making of the soundtrack, Hans said of her involvement, "I found a musical soulmate suddenly. In turn, Hans reached out to Dead Can Dance vocalist Lisa Gerrard, who signed onto the project, providing her ethereal vocals. Although Hans wasn't initially sold on the idea of a Gladiator story, Ridley Scott was able to get him on board for the Ancient Roman flick once he told him about the deeper aspects of the story – family, loss, betrayal human traits that appeal to Hans' emotional storytelling side. Apparently, 2000 isn't actually part of the 21st century… But we thought we'd throw it in anyway.
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