Conjectural map of a mediaeval manor. The method of "strip farming" was in use under the open field system. The brown areas are part of the demesne, the shaded areas part of the glebe. The manor house, residence of the lord and location of the manorial court, can be seen in the mid-southern part of the manor, near the parish church.

A manor in English law is an estate in land to which is incident the right to hold a court termed court baron, that is to say a manorial court. The proper unit of tenure under the feudal system is the fee, on which the manor became established through the process of time, akin to the modern establishment of a "business" upon a freehold site. The manor is nevertheless often described as the basic feudal unit of tenure and is historically connected with the territorial divisions of the mark, parish and township.

Legal theory[link]

The legal theory of the origin of manors refers them to a grant from the crown of a fee from the monarch's allodial lands, as stated in the following extract from Perkins's Treatise on the laws of England:

"The beginning of a manor was when the king gave a thousand acres of land, or greater or lesses parcel of land, unto one of his subjects and his heirs, which tenure is knight service at the least. And the donee did perhaps build a mansion house upon parcel of the same land, and of 20 acres, parcel of that which remained, or of a greater or lesser parcel, before the statute of Quia emptores did enfeoff a stranger to hold of him and his heirs to plough 10 acres of land, parcel of that which remained in his possession, and did enfeoff another of another parcel thereof to go to war with him against the Scots etc., and so by continuance of time made a manor".

It is still as the jurist Sir Joshua Williams terms it, a "fundamental rule" that all lands were originally derived from the crown and that the monarch is lord paramount mediate or immediate of all the land in the realm. A manor then arises when the holder of a parcel so granted or supposed to have been granted by the crown, and who is termed in relation thereto the Lord of the Manor, has in turn granted portions thereof to others who stand to him in the relation of tenants. Of the portion reserved by the lord for his own use, termed the demesne, part was occupied by villeins, with the duty of cultivating the rest for the lord's use. These were originally tenants at will and in a state of semi-serfdom but they became in course of time the copyhold tenants of the later law. It is of the essence of copyhold that it should be regulated by the custom of the manor, as evidenced in the court roll produced by the manorial court. Manors cannot be created at the present day because manorial courts cannot be established with any legal jurisdiction. Scriven stated:^[1]

"Length of time being of the very essence of a manor, such things as receive their perfection by the continuance of time come not within the compass of the king's prerogative"

[edit] Effect of Quia Emptores

The effect of the statute of Quia Emptores (1290) was to make the creation of manors henceforward impossible, inasmuch as it enacted "that upon all sales and feoffments of land the feoffee shall hold the same, not of his immediate feoffor, but of the chief lord of the fee of whom such feoffor himself held it". The statute did not apply to a tenant-in-chief of the king, who might have alienated his land under a license. Accordingly it is assumed that all existing manors are "of a date prior to the statute of Quia Emptores except perhaps some which may have been created by the king's tenants-in-chief with license from the crown".^[2] When a great baron had granted out smaller manors to others, the seignory of the superior baron was frequently termed an honour.

Constituent lands[link]

The manor comprised lands differentiated by legal status and by physical characteristics.

Differentiated by legal status[link]

• Demesne, land retained "in-hand" by the lord, without legal tenant. It was exploited for the lord's own profit using his manorial workforce, being those with no tenancy rights or those whose copyhold tenancies stipulated so many days per month or year to be worked on the demesne.
• Glebe, land reserved for the support of the parish priest.
• Common land, over which certain manorial tenants and other occupants held traditional rights exploitable for their own profit.

Differentiated by physical character[link]

• Arable, ploughed land used to grow corn.
• Waste, economically unproductive land.
• Pasture, grassland used for grazing livestock.
• Meadow, grassland used for haymaking.
• Closes, small enclosed fields created by hedge or stone wall boundaries, used for example to house ewes with their lambs requiring close observation.
• Marsh
• Woodland, an essential fuel resource.
• Furze, a fuel resource used by the lower tenants.
• Fallow, land resting within the cycle of crop rotation agriculture.
• Fishpond, used to breed fish such as carp

Officers[link]

A manor was akin to the modern firm or business or other going concern. It was a productive unit, which required physical capital, in the form of land, buildings, equipment and draught animals such as ploughing oxen and labour in the form of direction, day to day management and a workforce. It was further similar in that its ownership could be transferred, with the necessary "licence to alienate" having been obtained from the overlord, as can the ownership of a modern company. The administration was self-contained and the new lord needed only to collect its net revenues to form his return on investment. The direction was ultimately provided by the manorial court, presided over by the lord's personal steward, whose members included the freehold tenants of the manor. The court itself appointed most of the lower manorial officers, which included the following:

• Bailiff, in charge of supervising the cultivation of the manor.
• Reeve, an overseer.
• Ditch Reeve, responsible for maintaining drainage ditches.

The efficiency, productivity and thus profitability of a manor therefore depended on a mixture of qualities and interaction of location, micro-climate, natural resources, soil type, direction and labour. It was in the interest of all dwellers within the manor, to a greater or lesser degree, that it should be successful.

Jurisdiction[link]

The manorial court had wide legal jurisdiction over the inhabitants of the manor, sometimes with the right to administer capital punishment, if the lord had obtained from the king the right of holding a court leet. Much of the law was specific to a particular manor, as developed by "custom of the manor" and as interpreted by the manorial court. Rights of appeal existed to the hundred court and the county court beyond that over which presided the county's sheriff.

Free manor[link]

A free manor was an autonomous area, outside the jurisdiction, law and administrative control of the surrounding territory.^[3]

Membership[link]

Every person who dwelt in mediaeval England was deemed to exist under the jurisdiction of a manorial court, unless a citizen of a borough or a cleric, or a lord of the manor himself, when he was subject to the primary jurisdiction of the king's court if a tenant-in-chief or of the county court if a mesne lord. It was not permissible for a person to migrate from the manor of his birth except by special arrangement with the authorities. The manor was also the source of a poor man's charitable relief, should he fall into destitution, but such was at the discretion of the manorial court, by custom of each manor. An alien within a manor would not therefore be entitled to any such relief, or indeed protection offered by the power of the lord from crime or violence committed by marauding bands and robbers.

Residents of a manor[link]

• Lord of the manor, often absent, or an absentee, never resident
• Serfs
• Villeins
• Cottars
• Bordars
• Freeholders
• Copyholders

Current legal status[link]

See Lord of the Manor

Overlap with parish[link]

The parish is generally called by the same name as the manor and has clerical jurisdiction over the same geographic territory over which the lord has lay jurisdiction through his manorial court. The parish must have come into existence after the establishment of the manor, following the building of a church by the Lord of the Manor for the use of himself and his tenants, no doubt in consultation with the bishop within whose clerical jurisdiction the manor was situated. The lord then endowed the parish church with some of his landholdings, the revenues from which were used for the support of the priest and the maintenance of the church building. The lord of the manor retained the advowson, that is the right to select and appoint the parish priest, yet the parish was governed by the diocese within which it was situated, which also granted it the tithes to which it was legally entitled, which was a tax of one tenth of the produce of the manor. Outlying parts of a manor over time were exchanged between neighbouring lords, and thus would change from being within the manorial boundaries of the one to the other, but would remain within the original parish's boundaries. Thus over time a manor's lands could grow and shrink and could extend over several different parishes. Where a manor was split into two by the process of subinfeudation, the parish would then cover both manors, unless a new parish were also created.

See also[link]

• Manorialism
• Walter of Henley, 13th.c. writer on agricultural management of a manor.

Sources[link]

• Encyclopædia Britannica, 9th Edition, Volume 15, pp. 496–497, "Manor". Some text from this source now in the public domain is contained in this article.

Bibliography[link]

• Vinogradoff, Sir P., Growth of the Manor, 1951
• Bennett, H.S., Life on the English Manor, Cambridge, 1937
• Jerrold, D., Introduction to the History of England, 1949 (Source for Everyman's Encyclopaedia, 5th Edition, vol. 8, "Manor")

References[link]

1. ^ Scriven, John, (Serjeant at law), A treatise on copyhold, customary freehold, and ancient demesne tenure: with the jurisdiction of Courts baron and Courts leet; also an appendix, containing rules for holding Customary courts, Courts baron and Courts leet, forms of court rolls, deputations, and copyhold assurances, and extracts from the relative acts of Parliament, 2 vols., 2nd. ed., London, 1823, vol.1, chap. 1
2. ^ Williams, Real Property, chap. 4; See also Scriven, Copyholds, chap 1
3. ^ Across the open field: essays drawn from English landscapes, page 101 Laurie Olin, published 2000, ISBN 978-0-8122-3531-9, accessed 2011-10-17

Andi Eleazu Peters (born 29 July 1970 in Chelsea, London) is an English television presenter and television producer.

Education[link]

Peters was educated at Emanuel School, a co-educational independent school in Battersea, in south-west London.

Life and career[link]

Peters initially obtained national TV exposure as a presenter within Children's BBC playing second fiddle to Edd the Duck, and subsequently acquired technical experience. He is mostly associated with shows for young people. Initially he presented Freetime, on ITV, but reached a much wider audience with Edd the Duck and Wilson (an arm purporting to be part of a butler) in "The Broom Cupboard" slot on Children's BBC, which he presented from May 1989 to September 1993. He eventually left the Broom Cupboard and went on to present Live & Kicking, alongside Emma Forbes and John Barrowman, from 1993 to 1996. One of his most memorable moments on Live & Kicking was when Terry Nutkins brought a tarantula on air in his animal slot and then put it in Andi's hands so he could get over his phobia of spiders. Everything went well for a few seconds until the tarantula moved and Andi dropped it on the studio floor, so Nutkins came in and picked it up. After leaving CBBC, he began some work on CITV, including The Noise and appearing as a guest on Scratchy & Co.

Peters' film credits include Toy Story 2 in which he supplied the voice of 'Male Baggage Handler 1', a role he was offered whilst interviewing director John Lasseter for Andi Meets Toy Story 2, a making of programme. Because of American work card laws, Peters had to record the line in the UK over a live broadcast to the Pixar studio. Peters became executive producer of Top of the Pops in 2003 and resigned from that role in 2005. He also created the teenage-aimed T4 programming strand on Channel 4 and currently presents daytime reality show City Hospital on BBC One.

In January 2006, Peters took part in ITV1's reality ice-skating show Dancing on Ice. Along with fellow ex-contestant Andrea McLean, he presented fan show Dancing on Ice Extra every weekday on ITV for the rest of the show's run.

Peters returned to ITV1 in June 2006 to co-host the new Sunday morning cookery show, Sunday Feast.

In July 2006, Peters came runner up in Celebrity its a knockout

In September–October 2006, he co-presented Five's The All Star Talent Show with Myleene Klass.

On 16 December 2006, Peters made an appearance on ITV1's X Factor. As in the previous year, Peters was stationed as a reporter behind the scenes at the location of a CD factory, ready to launch production of the winner's single. Peters is a regular on BBC Radio 1's Chris Moyles Show. Like many segments of The Chris Moyles Show, Andi has his own theme tune which is based on the song 'Rule Britannia', however recently this is a rare occurrence.

Peters has hosted the Dancing On Ice Tour since 2007.

Peters owns a modelling agency, which caters for fitness models. This came about after he became a cover star for UK fitness magazine Men's Health in September 2007.^[1] He can sometimes be found playing Power Football. He does his own fitness training at Fitness First in Teddington.

He came runner up in the third series of Celebrity MasterChef which aired in July 2008.

Peters also appeared on the first episode of ITV2's CelebAir in September 2008, and was a contestant on the first episode of BBC One's Hole In The Wall that same month.

He appeared on the quiz show The Million Pound Drop along with Chris Moyles on the 10 February 2012, they won £25,000 to divide between their chosen charities.

References[link]

External links[link]

• Andi Peters' Official Website
• APM - Andi Peters' Models
• Sunday Feast at itv.com
• Andi Peters at the Internet Movie Database

Hans Zimmer
Hans Zimmer receiving his star at the Hollywood Walk of Fame (2010)
Background information
Birth name	Hans Florian Zimmer
Born	(1957-09-12) 12 September 1957 (age 54) Frankfurt am Main, Germany
Genres	Film score, Video game score
Occupations	Film composer, Video game composer, Music producer
Instruments	Piano, Keyboard, MIDI Master Keyboard, Synthesizer, Guitar
Years active	1977–present
Labels	Remote Control Productions
Website	hanszimmer.com

Hans Florian Zimmer, German pronunciation: [hans ˈfloːʁi̯aːn ˈtsɪmɐ]; (born 12 September 1957) is a German film composer and music producer. He has composed music for over 100 films, including award winning film scores for The Lion King (1994), Crimson Tide (1995), Gladiator (2000), The Last Samurai (2003),The Dark Knight (2008), and Inception (2010).

Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios, and works with other composers through the company which he founded, Remote Control Productions.^[1]

Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.^[2]

Early life[link]

Zimmer was born in Frankfurt am Main, Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home, but had piano lessons only briefly as he disliked the discipline of formal lessons.^[3] He moved to London as a teenager, where he attended Hurtwood House school.^[4] In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."^[5]

Early career[link]

Zimmer began his career playing keyboards and synthesizers. He worked with The Buggles, a New Wave band formed in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in The Buggles' music video for the 1979 song "Video Killed the Radio Star".^[6] After working with The Buggles, he started to work for the Italian group Krisma, a New Wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox).^[7] Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the "Mecano: En Concierto" album released in 1985 only in Spain. In 1980 Zimmer co-produced a single, "The History Of The World Part 1," with, and for, UK Punk band The Damned, which was also included on their 1980 LP release, "The Black Album," and carried the description of his efforts as "Over-Produced by Hans Zimmer."

While living in London, Zimmer wrote advertising jingles for Air-Edel Associates.^[7] In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments.^[8] Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success is the Best Revenge (1984), Insignificance (1985), and My Beautiful Launderette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score.^[7]

One of Zimmer's most durable works from his time in the United Kingdom is the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going For Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."^[9]

Hollywood film scoring[link]

A turning point in Zimmer's career occurred with the 1988 film Rain Man.^[8] Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-Apartheid drama A World Apart, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work, and hired him to score Rain Man.^[10] In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?".^[11] Zimmer’s score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.^[12]

A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy’s instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound On Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."^[13]

1991's Thelma & Louise soundtrack by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone.^[14]

For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Disney Animation Studios approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M.^[15] Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998.^[16][17] As of April 2012^[update], the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million.^[18]

	Crimson Tide - "Roll Tide" noicon A clip from the score of the 1995 film Crimson Tide.
Problems listening to this file? See media help.

Zimmer's score for Crimson Tide (1995) won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music.^[11] Zimmer's next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.^[11]

Work: 2000–present[link]

	Gladiator - "Battle" noicon A clip from the score of the 2000 film Gladiator.
Problems listening to this file? See media help.

In the 2000s, Zimmer has composed scores for Hollywood blockbuster films including Gladiator (2000), Black Hawk Down and Hannibal (2001), The Last Samurai (2003), The Da Vinci Code (2006) The Simpsons Movie (2007), Angels and Demons (2009) and Sherlock Holmes (2009). While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.^[11]

During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, The Rock and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl, but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score.^[19] Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen.^[20][21] Zimmer was hired as the composer for the three subsequent films in the series, Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), and Pirates of the Caribbean: On Stranger Tides (2011), collaborating with Rodrigo y Gabriela.^[22]

For the 2009 film Sherlock Holmes, "The Daily Variety" reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness".^[23]

Hans Zimmer in 2008

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard.^[9] The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet.^[24] Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production.^[25] Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

	Hans Zimmer and Lisa Gerrard - "Now We Are Free" noicon A clip from the score of the 2000 film Gladiator.
Problems listening to this file? See media help.

"Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles - not having "you are the composer, you are the arranger, you are the orchestrator" - it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits."^[26]

Zimmer is also composing the score for The Dark Knight Rises, the final installment of Christopher Nolan's Batman trilogy. The film is scheduled for release in July 2012.^[27]

Zimmer works with other composers through his company Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.^[28] His colleagues at the studio have included Harry Gregson-Williams, James Dooley, Geoff Zanelli, Henning Lohner, Steve Jablonsky, Mark Mancina, John Van Tongeren, John Powell and Thomas J. Bergersen.

In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent.^[29] He has received a range of honors and awards, including the Lifetime Achievement Award in film Composition from the National Board of Review, the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival, ASCAP’s Henry Mancini Award for Lifetime Achievement, and BMI's Richard Kirk Award for lifetime achievement in 1996. Recent work includes the Spanish language film Casi Divas,^[30] Sherlock Holmes, The Burning Plain (2009), and Inception (2010). He composed the theme for the television boxing series The Contender, and worked with Lorne Balfe on the music for Call of Duty: Modern Warfare 2, which was his first video game project.^[31] Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game Crysis 2.^[32]

In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long term friend Ronni Chasen, who was shot dead in Beverly Hills the previous month.^[33]

Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes.^[34]

Zimmer lives in Los Angeles with his wife Suzanne, and has four children.^[35][36]

Discography and awards[link]

References[link]

External links[link]

	Book: Hans Zimmer
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Hans Zimmer

• Official website
• Hans Zimmer at the Internet Movie Database
• Interview with Hans Zimmer in Film Score Monthly
• Interview with Hans Zimmer about Sherlock Holmes from C Music TV
• Focus.De

v t e Hans Zimmer Soundtracks Angels and Demons  · Driving Miss Daisy  · Batman Begins  · Beyond Rangoon  · Black Hawk Down  · The Da Vinci Code  · The Dark Knight  · Gladiator  · Inception · Kung Fu Panda  · Kung Fu Panda 2  · The Lion King  · Madagascar  · Mission: Impossible II  · Pearl Harbor  · Pirates of the Caribbean: At World's End  · Pirates of the Caribbean: The Curse of the Black Pearl  · Pirates of the Caribbean: Dead Man's Chest  · Pirates of the Caribbean: On Stranger Tides  · Pirates of the Caribbean: Soundtrack Treasures Collection · Rango  · Sherlock Holmes  · The Thin Red Line Songs "Hoist the Colours" Related articles Discography · Remote Control Productions Book:Hans Zimmer  · Category:Hans Zimmer