Hans' protege Klaus Badelt wrote the score for Pirates of the Caribbean: Curse of the Black Pearl. Hans took over for Klaus and wrote the score for the two subsequent films - Pirates of the Caribbean: Dead Man's Chest and Pirates of the Caribbean: At World's End.
In December 2003 Hans' business partner, Jay Rifkin, filed a $10 million lawsuit against him. In the suit, he accused Hans of conspiring to take business for himself.
Hans co-founded the music studio Media Ventures with fellow composer Jay Rifkin.
Hans has been nominated for a total of seven Academy Awards as of 2007. They are for Rain Man (1988), The Lion King (1994), The Preacher's Wife (1996), As Good As It Gets (1997), The Prince of Egypt (1998), The Thin Red Line (1998), and Gladiator (200).
Hans won his first and only Oscar as of 2007 for his score in the 1994 animated film The Lion King.
Hans is completely self-taught. He learned everything by collaborating and experimenting with other composers.
Hans' favorite movie theme of all time is the 1976 theme of Assault on Precinct 13 by John Carpenter.
Hans is inspired by Ennio Morricone's 1986 score of the movie The Mission.
The 2003 film The Last Samurai marked Hans' 100th score.
Hans has a wife, Suzanne, and four children.
Hans' last name means "room" in German.
Hans frequently works with director Ridley Scott on such movies as Black Hawk Down, Hannibal, and Gladiator.
Hans: If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning.
Hans: (On Hannibal) This is the best love theme I've ever written, I keep telling everyone this is a romantic comedy, but nobody believes me.
Hans: I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas... It's a very irresponsible life. The only decisions I make are about the notes I'm writing.
Hans: I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty - but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three and a half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.