Composer: Hans Zimmer .
Personnel: Heitor Teixeira Pereira (guitar); Eun Mee Ahn, Anatoly Rosinsky, Katia Popov, Robin Olson, Aimee Kreston, Ana Landauer, Alan Grunfeld, Ken Yerke, Songa Lee Kitto, Lee Kitto, Song-A, Julia Ann Gigante, Rene Mandel, Marc Sazer, Mari Tsumura, Tamara Hatwan, Sungil Lee, Becky Bunnell, Daisy Jopling, Eric J. Hosler, Aleksey Igudesman, Norm Hughes, Mark Robertson , Jay Rosen, Joel Derouin, Kevin Connolly , Lisa Sutton, Patricia Johnson , Sid Page, Richard Altenbach, Jacqueline Brand, Bruce Dukov, Natalie Leggett, Sarah Thornblade, Armen Anassian, Darius Campo, Michael Markman, Liane Mautner, Josefina Vergara, Dimitrie Leivici, Miwako Watanabe, Rafael Rishik, Charlie Bisharat, Endre Granat (violin); Shawn Mann, Karen Van Sant, Andrew Picken, Matthew Funes, Karie Prescott, Steven Gordon, Cassandra Richburg, Rick Gerding, Gordon Berg, Robert Becker, Keith Greene, Jennie Hansen, Janet Lakatos, Michael Nowak , Simon Oswell, Danny Seidenberg, Dave Walther, Thomas Dienner, Darrin McCann, Samuel Formicola, Denyse Buffum, Andrew Duckles, Shanti Randall, Robert Berg (viola); Paula Hochhalter, Mathew Cooker, Christina Soule, Trevor Handy, Timothy Landauer, Dennis Karmazyn, Erika Duke-Kirkpatrick, Jen Kuhn, Paul Cohen , Rowena Hamil, David H. Speltz, Tristan Schulze, Kevan Torfeh, Martin Tillman, Antony Cooke , Larry Corbett, Douglas Davis , Stephen Erdody, Armen Ksadjikian, Dane Little, David Low , Sebastian Toettcher, Cecilia Tsan, John Walz, Steve Richards , Stefanie Fife, Victor Lawrence, Christine Ermacoff (cello); Susan Greenberg, Steve Kujala, Geri Rotella (flute); Steven Roberts, Phillip O'Connor, Michael Grego, Donald Foster , Ralph Williams , Gary Bovyer, Marty Krystall, James Kanter (clarinet); Barbara Northcutt, Phil Ayling (oboe); Kenneth Munday, Sara Schoenbeck (bassoon).
Audio Mixers: Alan Meyerson; Slamm Andrews.
Arrangers: Heitor Teixeira Pereira; Henning Lohner; Trevor Morris.
Hans Zimmer's elegant score for James L. Brooks' dramedy Spanglish is an understated gem. Zimmer, the man who matched Ridley Scott's visual bombast with its audio equivalent on Gladiator, has crafted a quiet, contemplative work that relies on familial tension rather than blood, honor, and warfare. The composer has managed this feat successfully before -- Green Card, As Good As It Gets -- but never this effortlessly. For Spanglish, he's pared down the keyboard-driven crescendos and worldbeat rhythms of the past into a tight marriage of tense strings and flamenco guitar that never rises above conversation level, allowing the characters room to breathe and the listener the chance to hear them. ~ James Christopher Monger