TRACKLISTING
1. Dear Clarice (featuring Sir Anthony Hopkins) 
2. Aria Da Capo from Goldberg Variations
Written by Johann Sebastian Bach
Performed by Glenn Gould
Courtesy of Sony Classical/The Estate of Glenn Gould
By Arrangement with Sony Music Licensing (P) 1981 Sony Music Entertainment Ltd
3. The Capponi Library
4. Gourmet Valse Tartare
Written and Produced by Klaus Badelt
Performed by The Lyndhurst Orchestra

5. Avarice
6. For A Small Stipend
7. Firenze Di Notte
Written by Martin Tillman and Mel Wesson
8. Virtue
> 9. Let My Home Be My Gallows (featuring Sir Anthony Hopkins)
10. The Burning Heart (featuring Sir Anthony Hopkins)
11. To Every Captive Soul
12.
Written by Patrick Cassidy
Libretto taken from Dante's La Vita Nuova
Produced by Patrick Cassidy and Hans Zimmer
Performed by Danielle De Niese and Bruno Lazzaretti

DIRECTOR'S NOTES
Nothing at present.

ABOUT THE FILM
Genre: Thriller

Cast: Anthony Hopkins, Julianne Moore, Ray Liotta, Frankie R. Faison, Giancarlo Giannini, Francesca Neri
Directed by: Ridley Scott
Screenplay by: David Mamet and Steven Zaillian
Based upon the novel by: Thomas Harris
Produced by: Dino De Laurentiis, Martha De Laurentiis and Ridley Scott
Executive Producer: Branko Lustig
Based on the best-selling novel by Thomas Harris, Hannibal continues the story begun in The Silence Of The Lambs. Seven years have passed since Dr Hannibal Lecter escaped from custody, seven years since FBI Agent Clarice Starling interviewed him in a maximum security hospital for the criminally insane. The doctor is now at large in Europe, pursuing his own interests, savouring the scents, the essences of an unguarded world. But Starling has never forgotten her encounters with Dr Lecter, and the metallic rasp of his seldom-used voice still haunts her dreams.
Mason Verger remembers Dr Lecter, too, and is obsessed with revenge. Verger was Dr Lecter's sixth victim and, though hideously disfigured, has survived to rule a vast financial empire. Verger soon realizes that in order to draw the doctor out into the open, he must use someone Lecter cannot resist as bait: Clarice Starling.

LINKS
Visit the Hannibal website
www.mgm.com/hannibal

COMPOSER'S NOTES

Oscar winning composer Hans Zimmer is currently experiencing the most prolific time in his distinguished career. In 1994, Zimmer wrote the score for the phenomenally successful film The Lion King, Disney's highest grossing animated film of all time which also proved to be the most successful soundtrack in the history of Walt Disney Records, selling over 12 million copies worldwide, making it the top selling album of the year.

For his work on The Lion King, Zimmer received an Academy Award, the Golden Globe for Best Original Score and the Chicago Film Critics Award for Best Original Score as well as 2 Grammys and the American Music Award for Best Album of the Year. His music is also currently winning rave reviews in the new Broadway production of The Lion King, directed by Julie Taymor, which won the 1998 Tony for Best Musical and is already setting new box office records for advance sales and has earned him a Tony nomination for Best Original Score Written For The Theatre.

Zimmer also received Academy Award nominations for his scores for Rain Man (1989), The Preacher's Wife (1996), the hit romantic comedy As Good As It Gets (1997), a Grammy for Crimson Tide (1995) and most recently, Oscar and Golden Globe nominations for his score on the DreamWorks animated film, The Prince Of Egypt, and his sixth Oscar nomination for The Thin Red Line (a double nominee in the 1998-99 Oscars).

German born, Zimmer is a pioneer in the use of digital synthesizers, advanced computer technology, electronic keyboards and their successful integration with the traditional orchestra in music for film and television.

Zimmer began his career as a composer writing jingles and teamed up with Trevor Horn and Geoff Downes as the The Buggles to produce the worldwide hit, "Video Killed the Radio Star" and subsequent album The Age of Plastic.

Once meeting and working with the film composer Stanley Myers, Zimmer began to realize the importance of incorporating the two music forms, electronic and classical. The two set up the "Lillie Yard Studio" in London which has the very latest state of the art music technology. They worked very successfully on Jerzy Skolimovski's Moonlighting, The Lightship, Nicholas Roeg's Insignificance and The Castaway. They went on to compose the box office hit My Beautiful Laundrette which won Best Picture Evening Standard Awards.

In 1986, Zimmer worked solo on the film Vardo and with Ryuichi Sakamoto and David Byrne to produce the soundtrack for the award winning epic The Last Emperor. He then wrote scores for Philip Saville's Wonderland, and Paperhouse for director Bernard Rose. Then for Vestron, he composed the music for the Faye Dunaway, Klaus Maria Brandauer feature Burning Secret.

Following their successful collaboration on Gladiator, composer Hans Zimmer and film director Ridley Scott have teamed up on the film adaptation of Thomas Harris's best-selling novel Hannibal. This is the fourth time composer and director have worked together. Their past collaborations include Thelma and Louise and Black Rain. Reveals Zimmer: "Ridley encourages me to experiment and leaves me more and more to my own devices. Yet we always push ourselves to go one better than our last score — and that's never easy."

Starring Sir Anthony Hopkins and Julianne Moore, the film tells of how serial killer Hannibal escapes from an asylum in Baltimore to Florence, Italy where he lives in disguise as an art scholar. It's both gruesome and satirical, featuring romance and comedy. "I'm rather fond of Hannibal," says Zimmer. "Once the audience realises they're allowed to laugh despite themselves, the film becomes a romantic comedy with a small twist."

Zimmer and Scott first warmed to the idea of making a film about a killer in 1989 whilst working on Black Rain. They both read Patrick Süskind's Perfume: The Story of a Murderer with a view to creating an operatic adaptation of the story. That project never came to fruition. But more than 10 years later, whilst writing the music for Gladiator, Zimmer picked up a copy of Thomas Harris's best-selling novel Hannibal and was bowled over by it. "I went straight to the cutting room and told Ridley I'd read a great love story," he recalls. "At the time I thought he might think I was a bit of a pervert, but instead he suggested we do something with it."

Ridley read Hannibal whilst shooting Gladiator and wasn't sure at first how he might adapt it. He discussed the themes of Harris's novel at length with Zimmer before shooting began. "We talked a lot about nineteenth-century art, Florence — where much of the film is set — and about Hannibal's impeccable manners," recalls Zimmer. "Then the question emerged, what makes a morally correct person? Why is the character of Hannibal Lecter so seductive? I think those were the questions which really inspired Ridley to get the film underway."

Central to the soundtrack is a scene in which Hannibal visits the opera in Florence and is joined in the audience by cop Rinaldo Pazzi, who sets out to turn Dr Lecter over to his old patient Mason Verger in return for money. Zimmer asked Irish composer Patrick Cassidy to write a romantic aria for the scene, setting the words from Dante's first book La vita nuova ('The New Life') sung by mezzo-soprano Danielle de Niese with tenor Bruno Lazzaretti. In June 2000 Cassidy joined Zimmer on location in Florence. "As first film's go, this was an excellent one to work on," enthuses Cassidy. "Where else would you find Hannibal but at the opera in Florence? The man has such good taste."

Zimmer formed his first ideas for the score in Florence. He also spoke to Thomas Harris about some of the themes in his novel. It was the psychology of the romance — the ambiguous attraction that exists between FBI agent Clarice and serial killer Hannibal — that grabbed Zimmer's attention. His first idea was to write for a large 19th-century orchestra. Explains Zimmer: "I wanted to go and write this thing at Freud's house in Vienna and create a score that is dripping with decadence and romanticism. But the more I worked on it the more I realised how effective it would be to work with smaller, more intimate forces instead."

For much of the film Zimmer trimmed down the brass section to just one trombone and expanded the strings to include 28 cellos and 12 double-basses. He exploits the extreme ranges of the lower strings, even including an electric cello for added spine-chilling effect. Performing in the string section is star cellist Anthony Pleeth, son of Jacqueline du Pré's teacher William Pleeth, who inspired Zimmer to push back the boundaries of string writing. "In its highest registers the cello creates an unreal sound which is ideally suited to Hannibal," he says. "Just as Hannibal's sense of morality is offset from the norm, so the cellos create a sound of their own."

Former Frank Zappa trombonist Bruce Fowler was Zimmer's first and only brass-player of choice for Hannibal. Fowler, who is also Zimmer's long-time orchestrator, is given a starring role in his depiction of the Italian cop Pazzi. Explains Zimmer: "Because Pazzi is out to catch Hannibal Lecter for money, I wanted to surround him with gold by using the trombone. It was also a good chance to hear Bruce Fowler who is one of the world's great trombone players. His circular breathing technique really comes into its own in this score."

Hannibal features an original recording of Glenn Gould performing Bach's Goldberg Variations and the German composer's influence can also be felt in Zimmer's score. Zimmer looked to Bach's keyboard style for inspiration, distorting it to the point at which it became more Hannibal than Bach. "Bach is perfect for Hannibal because of its poise and intellectual beauty," he says. "Yet on listening to him, I saw a very simple way of taking some of his ideas and perverting them," he laughs.

In the scene in which Mason Verger meets with Hannibal, Zimmer turned to Johann Strauss II's The Blue Danube for inspiration. The theme is gradually distorted as Mason confronts Hannibal and meets with his worst nightmares. It is played once in its original form and then progressively distorted in two further repetitions. "Originally Hannibal put on a record in this scene," reveals Zimmer. "We always imagined it would be The Blue Danube and though the shot was removed we kept Strauss playing because it matches the horror so perfectly."

Zimmer turned to the Libera-boys choir under the direction of Robert Prizeman to capture the purity of Clarice Starling's character. Explains Zimmer: "Clarice has the soul of a child in some ways, so a boys choir seemed the obvious choice. The themes of this film are also mythological. It's all about resurrection: Clarice resurrects Hannibal by being on his trail and in so doing resurrects her career at the FBI. Her life is lonely. All reasons why the boys choir seemed to fit."

Hannibal was recorded at London's Air Lyndhurst studios — one of Zimmer's favourite stomping grounds. "I remember when the studios were built and actually seeing the foundations when they were laid," he recalls. "When I record here I take comfort in knowing every nook and cranny of this place and how therefore to get the desired sounds out of the instruments."

Zimmer counts Hannibal as one of his most successful collaborations with Scott. Having completed his score, however, he is ready to return to Florence — this time for a holiday. "Film scoring gets harder," he says. "I asked Ridley when we did Gladiator, why does everything take so much longer these days? I think the reason is because when writing a film score you have to come from a strong intellectual standpoint. It gets tougher and tougher to find those standpoints, maybe because I keep busting myself for ever better ideas!"

Credits:
Executive Soundtrack Producer: Ridley Scott Music; Composed by Hans Zimmer; Produced by Hans Zimmer and Pietro Scalia; Conducted by Gavin Greenaway; Supervising Orchestrator: Bruce Fowler; Ambient Music Design by Mel Wesson; Recorded by Alan Meyerson and Slamm Andrews; Mixed by Alan Meyerson; Music Editors: Marc Streitenfeld and Vicki Hiatt; Music Production Supervisor: Gretchen O’Neal; Additional Arrangements by Jim Dooley, Steve Jablonsky and Geoff Zanelli; Additional Orchestrations by Ladd McIntosh, Yvonne S. Moriarty, Walter Fowler and Elizabeth Finch; Samples Coordinator: Bart Hendrickson; Music Production Services Provided by Media Ventures, Santa Monica, CA; Engineers for Media Ventures: Gregg Silk and Kevin Globerman Recorded at Air Lyndhurst, London Performed by The Lyndhurst Orchestra; Boys Choir: Libera; Director: Robert Prizeman; Boys Choir Conducted by Rupert Gregson-Williams; London Music Coordinator: Maggie Rodford for Air-Edel Associates Ltd.; Music Preparation: Tony Stanton; Musician and Choral Contractor: Tonia Davall; Assistant Engineers for Air Studios: Nick Wollage, Jake Jackson, Neale Ricotti and Becca Gatrell; Orchestra Leader: Gavyn Wright; Assistants to Hans Zimmer: Moanike’ala Nakamoto, Adam Barber and Clay Duncan; Music Published by: Universal Music Corp. Except Track 2

Featured Performers: Cello: Martin Tillman; Solo Trombone: Bruce Fowler; Soprano: Danielle De Niese; Tenor: Bruno Lazzaretti; Lyndhurst Orchestra Cello Soloist: Anthony Pleeth; Additional Vocals: Olive Simpson

Executives In Charge Of Music For Universal Pictures: Kathy Nelson and Harry Garfield; Executive In Charge Of Music For MGM: Anita Camarata; Chairman, Universal Classics Group: Chris Roberts; Soundtrack Coordination: Randy Dry; Music Business Affairs: Phil Cohen


Art Direction: Michael Thresh; Storyboard Sketches by Ridley Scott; Additional Artwork by Nick Livesey; Photos by Phil Bray; Booklet Editor: Ben Pateman

Hans would like to thank:
Ridley Scott, Dino De Laurentiis, Martha De Laurentiis, Branko Lustig, Sir Anthony Hopkins and Thomas Harris

Dante Alighieri, Johann Sebastian Bach, Francis Bacon, Arnold Böcklin, The Capponi Library, Gustav Mahler and Johann Strauss II
Karen Baker, Tom Broderick, Emma Burnham, Ronni Chasen, Judith Daniel, Bob Daspit, Ramin Djawadi, Giannina Facio, Nick Glennie-Smith, Michael Gorfaine, Harry Gregson-Williams, Per Hallberg, D.M. Hemphill, Mike Henein, James Newton Howard, Marc Johnston, Teresa Kelly, Milly Leigh, Nick Livesey, Henning Lohner, Paul Massey, John Mathieson, Jay Rifkin, Jeff Rona, Joseph Rothchild, Steven Sacks, Sam Schwartz, Wesley Sewell, Stacey Snider, Fulvio Valsangiancomo, Beth Vitallo, Chisako Yokohama, Jake Zimmer, Suzanne Zimmer, Zoe Zimmer, The Media Ventures Team

Universal and MGM would like to thank:
Fred Brown, Mark Cavell, Kaylin Frank, Robert Gasper, Bret Johnson, Trevon Kezios, Tracey Levine, Kevin Misher, Mary Parent, Michael Rogers, Chris Saranec and everyone at MGM and Universal