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And as far Zimmer scores that I don’t like for the most part, there is a small handful (Madagascar, MI2, etc.)That’s completely fair, and I honestly couldn’t defend this score and be genuine about it. I think it does help that I love this movie (despite being hard to watch) and have come to associate the music with it so much. Still, I can’t lie that I find portions of it to be incredibly effective, even when the music does become solely ambient. In terms of listenability/originality the best cue is, ironically, the 24-second “Washington” cue.<br><br>I would kill to know what Zimmer personally thinks of this score. I’m sure he had a great working relationship with Steve, hence him working on “Windows”, but I’m sure the temptrack must have been murder on his creativity...This is my least favorite Zimmer score, actually. Or else the one that I feel has the least going for it; I guess it doesn't make me mad like On Stranger Tides, but at the same time it lacks anything even remotely compelling. "Boat Trip to New Orleans" is the only halfway interesting cue and even then I don't really like to listen to it much. The experimental parts aren't interesting experiments (ooh...clapping...wow), and the Journey to the Line stuff is just tired and bland (on top of being super derivative). I get that it works in the movie or whatever but if I had a gun to my head with orders to delete one Hans score from my library and never listen to it again, I'm pretty sure this would be the one I'd go for.Even 5 years later, I’m still not sure how I feel about this score. <br><br>On one hand, the music complements the film extremely well. “Boat Trip to New Orleans” and “Soap” are both incredible in context, and even some of the more ambient cues are pretty effective. Alongside Interstellar probably Hans’ most minimilastic score, something which actually suits him well.<br><br>On the other hand, the Time/Journey to the Line temp is extremely blatant, and it definitely doesn’t help that 60% of the music used in film is basically a variation on that one idea (and some cues are purely sound effects). I still admire the score though, regardless of the familiarity issues.<br><br>With Windows coming out I’m very curious to see what approach will be. Personally, I like seeing Zimmer tackle a project with minimalism. Hopefully McQueen (who is a very talented director) doesn’t box Hans in with another TTRL temp... or any temp for that matter.Are you going to visit Russia?!) We are waiting for very much!)
He posted it before this site added the tracklist.Did you just copied and paste the tracklist above? lmaoThe reprise of "Batman on Fire" from Begins (1:59-2:30 in the Transfiguration suite) is good stuff! I wonder why Hans decided to reuse that particular idea.When are we going to see you in Chicago?Indeed, this score reminds me — in a good way — of The Rock.
Track 11, Onwards, here is my most favorite cue from the CoH franchise. It has that old school "power anthem" thing going on about it with full force. I truly wish this style is brought back to life again soon.Are there any more tour dates planned?Lord of the Rings - Shore<br>Battlestar Galactica - McCreary<br><br>Both are up there as my two favorite collection of works. GOT doesn't even compare to BSG. <br><br>For solo albums, my candidates are:<br><br>Titanic<br>The Lion King<br>Interstellar<br>Memoirs of a Geisha<br>Jurassic Park<br><br><br> <br><br>@superultramega<br>Honestly I feel like most of the issues with AUJ (and the other two hobbit films) were stemming from Peter Jackson editing the hell out of the music after the fact. It could be why they ended up dumping some themes in the following films.<br><br>Still, I don’t understand some of the criticism that the Hobbit trilogy scores received. DoS has some of the best action material imo, and the interpolations of Smaug’s theme(s) throughout the films are personally some of my favorite music from any LoTR project.<br><br>And this might be controversial, but I would put PoTC (the first three at least) on the level of Lord of the Rings in terms of the sheer amount of themes and development they receive. Maybe not quite as complex but they shouldn’t be overlooked.The Lion King and The Last Samurai are good choices, but I'm not as much of a fan as Zimmer's aesthetic or thematic work nearly as much as Howard Shore, or even Jablonskly at times. Game of Thrones I still can't comment on as I've never watched the show, or payed attention to Djawadi in general.<br><br>I would say Shore's heart wasn't in Desolation and Five Armies, but to say that about Unexpected Journey doesn't really feel right to me. Even themes like Gondor Restored and Nazgul's uses have some logic to them. <br><br>Gondor Restored was also used when the Ring is destroyed, meaning it also has a secondary meaning of victory against evil, (yes I know it affected Gondor too, but Gondor it isn't as direct). Which also applies in The Hobbit, as Bilbo saving Thorin was not only important for their relationship but also the future of Middle Earth as Thorin is vital to the battle against the orcs in Five Armies. <br><br>The Nazgul theme also makes sense as its first appearance is in Fellowship's opening, playing over Sauron's army of orcs, then Sauron himself. So it's linked both to Sauron himself and his servants, which includes Azog. Plus the version that plays in the film is the exact same variant (and lyrics) that plays in the Fellowship prologue. It serves almost as a precursor to the Nazgul. Plus I don't see why themes can't have several meanings anyway. <br><br>Plus I love most of the new themes of AUJ (before they were abandoned in later films).
Not really a fair comparison, Hybrid, since videogames as a medium are much younger than films, and their scores weren't using real orchestras right until... mid 90's, would be my guess (feel free to correct me, guys).<br><br>The all time best film score for me would be a battle between The Last Samurai and Lion King. If "movie" includes TV shows, then it's Game of Thrones without a doubt, but I'm not gonna have this argument again ;)<br><br>Btw. I wouldn't mention Hobbit in the same sentence with LotR, even music-wise. A couple of great cues cannot hide the fact that Shore's heart wasn't in it.IS * lion kingBest film score of all time in lion king. Without any doubt. ;-)Can I just add, the album presentation for MW2 is really lame? It's a big, dare I say "epic" score in the 1990s Media Ventures mold. I think it's really solid. There are lots of different ideas from the first mission to the last, and a lot of them are written in the power anthem style that Hans ans co. don't really use much these days. Even Opening Titles is a throwback for Hans himself. <br><br>Unfortunately, almost none of the music as heard through the game is here. Instead, we got a bunch of shortened theme suites. :P<br><br>But the Gulag mission, the oil rig stuff, The Enemy of My Enemy, and lots of other missions all have pretty engaging and powerful music. I wish the RCP guys would do scores like this one more.Lord of the Rings (and even The Hobbit), are the only film scores that I'm buying an entire book for, just to fully understand the themes and motifs.
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Jim DooleyHarry Gregson-WilliamsSteve JablonskyJames S. Levine
ComposerComposerComposerComposer
WWII In HD (TV Documentary)
Label: Extreme Music (Digital Download Only)
Length: 44'39
HZimmer.com rating:        5/5
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 (5089 votes)
  1. Nu Dimension (2:27)
    James S. Levine
  2. Mount Legend (2:33)
    Lorne Balfe (as Oswin Macintosh)
  3. Shaft Of Glory (3:24)
    Lorne Balfe (as Oswin Macintosh)
  4. Victory Quest (1:19)
    John Powell
  5. Rough Justice (2:50)
    Klaus Badelt
  6. Trailblazing (2:53)
    Steve Jablonsky
  7. Black Passage (2:33)
    James S. Levine, Dolph Taylor, Russel Emanuel
  8. Wicked Way (1:48)
    John Paesano
  9. Flood Rush (2:18)
    Lorne Balfe (as Oswin Macintosh)
  10. Strings Of Change (2:28)
    James S. Levine
  11. Gross Encounter (2:16)
    Atli Örvarsson
  12. Three Strikes (3:02)
    James Dooley
  13. Destiny's Wild (3:09)
    James Dooley
  14. Eruptive Force (1:32)
    Lorne Balfe (as Oswin Macintosh)
  15. All The Way (1:51)
    Lorne Balfe (as Oswin Macintosh)
  16. 8th Wonder (1:00)
    Harry Gregson-Williams
  17. Nowhere To Run (2:04)
    Klaus Badelt
  18. Stone Cold (2:18)
    Geoff Zanelli
  19. White Hope (2:54)
    James Dooley
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MacArthur reply Replies: 0 || 2013-09-02 21:22:39
It's funny all of these Composers are RCP but no Hans Zimmer. and was Oswin Macintosh Lorne Balfe

Phill B reply Replies: 0 || 2011-09-15 18:43:39
sooo epic
LOVE IT, especially Shaft of Glory
many thanks to all Composers of this Album !!!

Dakota reply Replies: 0 || 2011-06-14 03:39:00
This compilation is the sh!t! Can anyone tell me where I have heard some of these tracks from, because I'm recognizing some of them as I add each one into iTunes.

Hybrid Soldier reply Replies: 1 || 2011-06-05 17:56:24
This excellent compilation has been released lately by Extreme Music... It's all Directors Cuts series cues for the WWII in HD show, finally available !

Anonymous2011-06-09 03:18:31
Seems kinda pointless to market this as a soundtrack when its just unrelated library music... but then again it lets fan get their hands on some hard-to-find tracks!

Brad reply Replies: 6 || 2011-06-05 20:21:19
@Hybrid:
Why does Lorne Balfe go under the sur-name Oswin Macintosh for this album? Just curious.

al bundy2011-06-05 20:26:42
that was his name when the track was composed. All these tracks are from the directors cuts album (from extreme music).

Hybrid Soldier2011-06-06 07:50:55
It's just a nickname, nothing more or special with it... ;)

Taaboo2011-06-08 19:34:55
It's actually Oswin Mackintosh with a "k" after the C.

Thanks,

O.M.

Hybrid Soldier2011-06-08 20:21:15
Whatever !

It's just L-O-R-N-E B-A-L-F-E anyway !!! haha :D

Kon2011-06-08 21:15:33
@Hybrid

why does track 15 all the way sound like a transformers track, its like lorne had a big hand in the score beside the additional composer credit?

Adrian2011-06-08 21:20:06
@ Hybrid,

No you should be accurate, dude! :P
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WWII In HD (TV Documentary) soundtrack - Jim Dooley - Harry Gregson-Williams - Steve Jablonsky - James S. Levine 2011