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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Steve JablonskyJay FloodClay DuncanNick Glennie-Smith
ComposerAdditional MusicAmbient Music DesignConductor
A Nightmare On Elm Street (Expanded Score)
Label: Unofficial Release
Length: 91'46
HZimmer.com rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (3619 votes)
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  1. Opening Credits (2:36)
    Steve Jablonsky
  2. Grave Girl (0:37)
    Steve Jablonsky
  3. Funeral (2:09)
    Steve Jablonsky
  4. Water Glass (0:31)
    Steve Jablonsky
  5. Missing Pictures (1:05)
    Steve Jablonsky
  6. Freddy In The Attic (1:45)
    Steve Jablonsky
  7. Freddy In Class (1:11)
    Steve Jablonsky
  8. Hair In The Book (0:27)
    Steve Jablonsky
  9. Elm Street Sign (0:12)
    Steve Jablonsky
  10. Attic False Scare (0:37)
    Steve Jablonsky
  11. Jesse At The Window (0:58)
    Steve Jablonsky
  12. Stay With Me (1:18)
    Steve Jablonsky
  13. Dead Dog (Part 1) (1:34)
    Steve Jablonsky
  14. Dead Dog (Part 2) (0:30)
    Steve Jablonsky
  15. Jump Rope (0:21)
    Steve Jablonsky (Charles Bernstein)
  16. Dead Dog (Part 3) (0:15)
    Steve Jablonsky
  17. Ceiling Death (0:31)
    Steve Jablonsky
  18. Jesse Runs (1:16)
    Steve Jablonsky
  19. Jesse's Arrest (2:47)
    Steve Jablonsky
  20. Bookstore (1:51)
    Steve Jablonsky, Jay Flood
  21. Jessie Run Through (1:50)
    Steve Jablonsky
  22. Jesse Dies (0:36)
    Steve Jablonsky
  23. Micro Naps (1:01)
    Steve Jablonsky, Jay Flood
  24. Nancy Draws (0:46)
    Steve Jablonsky
  25. Wouldn't Lie To Me (1:15)
    Steve Jablonsky
  26. Claws In The Tub (0:27)
    Steve Jablonsky, Jay Flood
  27. You Smell Different (2:12)
    Steve Jablonsky
  28. Discovering The Picture (5:02)
    Steve Jablonsky
  29. Driveway Pullout (1:04)
    Steve Jablonsky
  30. Nancy Library (1:11)
    Steve Jablonsky, Jay Flood
  31. Freddy Burns (Part 1) (1:26)
    Steve Jablonsky
  32. Freedy Burns (Part 2) (2:03)
    Steve Jablonsky
  33. Breathe (0:44)
    Steve Jablonsky
  34. Video Diary (1:27)
    Steve Jablonsky, Jay Flood
  35. I Know What Happened (0:19)
    Steve Jablonsky
  36. Dad's Office (1:21)
    Steve Jablonsky
  37. Dead Kris (1:09)
    Steve Jablonsky, Jay Flood
  38. Drive To The Pharmacy (0:35)
    Steve Jablonsky
  39. Freddy At The Car (0:11)
    Steve Jablonsky, Jay Flood
  40. Nancy Burns Herself (0:27)
    Steve Jablonsky
  41. Freddy In The Pharmacy (1:39)
    Steve Jablonsky, Jay Flood
  42. Hospital (1:01)
    Steve Jablonsky
  43. Signing The Release (1:04)
    Steve Jablonsky
  44. Driving (1:47)
    Steve Jablonsky
  45. Finding The School (5:50)
    Steve Jablonsky
  46. The Kiss (2:21)
    Steve Jablonsky
  47. Boiler Room (2:43)
    Steve Jablonsky
  48. Chase Through The House (1:34)
    Steve Jablonsky
  49. Like It Used To Be - Now It's Time To Play (3:29)
    Steve Jablonsky
  50. Killing Freddy - Burning The School (3:18)
    Steve Jablonsky
  51. All's Well That Ends Well (0:41)
    Steve Jablonsky
  52. End Credits (2:19)
    Steve Jablonsky
  53. Freddy's Coming Suite (7:25)
    Steve Jablonsky
  54. Missing Pictures (Alternate) (1:04)
    Steve Jablonsky
  55. Stay With Me (Alternate I) (1:57)
    Steve Jablonsky
  56. Stay With Me (Alternate II) (1:55)
    Steve Jablonsky
  57. Jesse Run Through (Alternate) (0:58)
    Steve Jablonsky
  58. Wouldn't Lie To Me (Alternate) (1:17)
    Steve Jablonsky
  59. Nancy Library (Alternate) (1:11)
    Steve Jablonsky, Jay Flood
  60. Finding The School (Alternate) (1:00)
    Steve Jablonsky
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Hybrid Soldier reply Replies: 1 || 2016-07-10 00:13:17
Cuesheet details !!


Bayhem2017-07-19 12:02:06
Nice.

Clearly, Steve works on these horror scores (mostly) on his own. Would love to get my hands on this expanded score.

Poe reply Replies: 0 || 2011-07-14 18:16:48
Jablonsky, for me, will always be a horror guy :)

Hybrid Soldier reply Replies: 6 || 2011-05-28 19:26:38
The fact that I add it to HZ.com and its recent "leak" is... just a coincidence... :P

I had it for quite some time, and believe it or not, but these tracktitles were actually made by... me... Took me quite some time by the end of last year ! haha


Dakota2011-05-29 07:04:37
Haha I knew it was only a matter of time before you added This Hybrid! I got a hold of it the other day. Nice job with the tracklists. So now that I have both Nightmare releases, who did what on each of them?


Adrian2011-05-29 10:08:17
Indeed, compliments from me too for this tracklist!


Hybrid Soldier2011-05-29 10:36:19
When I made the tracklist, I only had the OST tracktitles and a few tracknames from BMI... Only AFTER I made the tracklist, BMI added almost all the credits... lol

Bookstore, Micronaps, Bath Nap, Marcus Yeon's Videos, Kris In A Body Bag, Need More Pills, Car Micronap = Jay Flood


Dakota2011-05-29 21:50:07
Hybrid, is this missing 2 tracks? Cause on the one I have Disc 1 has 35 tracks, and Disc 2 has 28 tracks. Mine is also all in a different order....


Anonymous2011-05-29 21:54:25
Yeah it misses two tracks. Total lenght is 116:18 minutes.


Hybrid Soldier2011-05-30 09:34:55
I sent it back to its original owner who added unnecessary things (I know what I'm talking about, I spent so much time on it)...

I stick to my version... ;)

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A Nightmare On Elm Street (Expanded Score) soundtrack - Steve Jablonsky 2010