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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
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Steve JablonskyClay DuncanJeff BiggersJon Aschalew
ComposerAmbient Music DesignMusic Scoring MixerSynth Programmer
Pain & Gain
Label: Varese Sarabande
Length: 66'11
HZimmer.com rating:        Not yet rated
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 (7408 votes)
  1. I'm Big (2:20)
  2. Sun Gym (2:02)
  3. Definitely Guys (1:57)
  4. I'm A Doer (2:26)
  5. I Got Saved (1:19)
  6. Wrong Car (1:16)
  7. Taser (1:36)
  8. Cologne (2:18)
  9. I'm Gonna Tell Jesus (4:04)
  10. Buckle Up (2:09)
  11. Run Him Over (3:27)
  12. Catching Bad Guys (1:31)
  13. I Work Hard (3:45)
  14. Get A Pump (1:38)
  15. Sometimes You Gotta Run (1:24)
  16. Difficult Victim (0:59)
  17. 14 Minutes (2:49)
  18. I Believe In Fitness (2:24)
  19. Supermen (3:32)
  20. So Buff (3:06)
  21. Sacred Trust (3:30)
  22. Du Bois (3:26)
  23. CIA (1:43)
  24. My Sh*t Stopped Workin' (3:59)
  25. Toe (2:00)
  26. Doyle (5:31)
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Bayhem reply Replies: 0 || 2017-07-18 13:47:04
I really do consider this to be one of the most unusual (in a good way) and original MV/RC scores. Don't even recall any tracks that successfully suggest that this is MV/RC. My opinion, of course. I wonder if some of you peeps feel the same. And I admit, I'm not the biggest fan of too much electronics and experimentation, but in this case it actually works. It's a very contained score with some exceptional tracks. 14 Minutes is a personal favorite.

Evenstar reply Replies: 6 || 2015-01-30 08:51:05
Supermen was written by Clay Duncan. Clay just told on his facebook page.


Hybrid Soldier2015-01-30 19:01:16
And I know about 5 tracks that were written Jon Aschalew... :P


Adam2015-01-30 19:16:58
Thanks for letting us know that, Evenstar!

And Hybrid - can we have those credits, please? That would be awesome!


Hybrid Soldier2015-01-30 19:31:52
Sun Gym, I'm A Doer, CIA, My Shit Stopped Working'

That's 4 in fact lol...


Adam2015-01-30 20:03:34
Awesome! Thanks so much ;)


JamesT2015-01-31 02:33:19
Hybrid, can you tell me if my fav tracks are SJ....I'm Big, Run Over Him (love this!), Du Bois, Doyle?


Bayhem2017-07-18 13:42:25
Du Bois is definitely Jablonsky. Definitely.

Bondo reply Replies: 0 || 2014-09-18 22:25:55
Anybody got a chronological list of this by chance?

Steve reply Replies: 0 || 2014-07-08 01:35:10
correct chronological tracklist anybody?

dark prince reply Replies: 0 || 2014-02-03 02:33:41
My expectations for this score was really little, for the thematic of the movie, the fact of I don't trust completly on Steve Jablonsky, but this score was a surprise for good, isn't an excellent score, but is funny and even cool

Evenstar reply Replies: 0 || 2013-11-15 00:59:30
Steve is going to be busy! Steve Jablonsky and Nathan Whitehead have signed on to compose the music for the upcoming TNT original series The Last Ship, produced by Michael Bay!

Evenstar reply Replies: 2 || 2013-11-13 22:21:16
Jablonsky talkes about Lone Survivor
youtube.com/watch?v=w4nUbQvVL6g


Ds2013-11-14 06:54:26
Awesome, i didn't know he was part of that project! Thanks for sharing!

Btw there's a very small cue playing at lonesurvivorfilm.com, it might be some of Jablonsky's music.


marty2013-11-14 16:11:41
thank you!!

Hybrid Soldier reply Replies: 13 || 2013-04-26 22:54:08
I didn't really expect anything from that score but... it's really great for those liking electro stuff like Tron, Oblivion or TF3...

Some very very cool highlights =>

I'm Big / I Believe In Fitness (the same theme)
Definitely Guys
Run Him Over (:O)
Doyle

Excellent stuff ! :)


Ds2013-04-27 00:22:30
Hybrid, how did you listen to it? If i'm not wrong you're not living in the US... I'm searching for it everywhere but can't find it.


Everan2013-04-27 17:52:37
I love both synth music and orchestral music, and this one is one great synth soundtrack, it gives emotion and synths usually don't. Really enjoying this one, reminds me of Mass Effect sometimes.

Worth a listen if you like synths and Jablonsky score, if you don't like synths, don't expect any big stuff like in previous scores of Steve.


Ds2013-04-27 19:16:38
Agree. This is classy music, i'm sure it complements perfectly Michael Bay's strong visual style. Makes me want to watch the movie... unfortunately it's not out before August in Europe :'(


Trent Easton Navarro2013-04-27 19:36:50
Wasn't really sure what to expect from this one. But just listened to it and I really dig it. Jablonsky's best in quite some time


MrZimmerFan2013-04-27 19:39:55
I really like this score by Steve, not masterpice, but very cool


Tunerline2013-05-04 14:18:19
Du Bois is goood track!!!!


Mr Motivator2013-05-04 17:24:29
Piss poor effort from jablonsky. I was expecting him to at least make an effort of something new unlike to two transformer sequels he composed. C'mon steve your better than this!


al bundy2013-05-04 18:34:17
maybe michael bay didn't want anything better


Ds2013-05-04 19:28:33
Sorry guys but this is a small movie, what were you expecting? A bombastic epic score? Imo Jablonsky did exactly what the movie needed: a modern ambient score that's at times very cool almost hip-hop, at times angry and savage.


Mr motivator2013-05-04 20:52:51
@al bundy. That's exactly why all of his movies have got worse since ''the rock'



MrZimmerFan2013-05-07 13:30:50
You mean The Island, Transformers or Armageddon sucks?!, wtf


Mr motivator2013-05-09 01:07:30
Well.....yeah. His films may have the action value but c'mon they are as poor as a bum.


Guitwo2013-09-13 00:06:24
I'm big is about to be the next theme for any movie trailers ;)

run over him is freaking awesome. I like buckle up too. halfway through the album, it's really great.

the movie itself is really funny, crazy frankly one of the best movie from Bay (and i'm a disappointed, "old" fan of MB -Bad Boys 1 and The Rock are amazing).

Bondo reply Replies: 0 || 2013-05-17 05:59:38
Anyone who has seen the film, can you provide the tracklist in chronological order?

OKKU reply Replies: 1 || 2013-05-08 10:11:54
Only electronic music....


Everan2013-05-08 22:18:33
Low budget film, low budget for score. Jablonsky managed to work around it and make something nice, maybe not perfect but it really is nice.

Evenstar reply Replies: 1 || 2013-04-26 21:53:42
A lot of synthie in this score... not sure if I like this but I expected more. Got it from iTunes btw.


Evenstar2013-04-28 11:23:04
Ok after listening a couple times, also with my headphones, I like it more. Steve put a lot of small, tiny synthie sounds in every track (most of them you can only hear with headphones). Although it's just synthie, Steve did a good job to do the best he could. Track "Doyle" really got me :)

ps: Some sounds remain me to Harry Gregson-Williams.

T-Mann036 reply Replies: 0 || 2013-04-27 17:22:39
I truly like this soundtrack. It may not be like the Transformers trilogy, Your Highness, or Gangster Squad... but Steve's composed work isn't all that bad.

Overall: 7 out of 10

JOhnson reply Replies: 9 || 2013-04-24 17:56:28
Cant say I agree with this score. This sounds like every track is the Sam Witwicky cue from Transformers...Its already out on Itunes.

Oh well...Gotta pass on this one.


Ds2013-04-24 18:05:47
I can't disagree more! I listened to the 26 snippets and found it looked very nice and adapted to the tone of the movie. Did you listen to the full album? I can't find it since it's only available in the US...


MrZimmerFan2013-04-24 18:14:50
Sam Witwicky tone?, that's no make any sense men


Jeff2013-04-24 22:33:35
Where did you find this on iTunes? I don't see it anywhere.


Ds2013-04-24 23:00:24
US store only...


Jeff2013-04-24 23:09:10
I live in Chicago. I typed in Steve Jablonsky and it doesn't show up in his list of albums. I also typed in "Pain & Gain" and it didn't come up there either.


Ds2013-04-24 23:25:35
Try this: https://itunes.apple.com/us/album/pain-gain-music-from-motio n/id640378255


Jeff2013-04-24 23:32:26
Thank you very much. That worked.


Ds2013-04-24 23:39:46
You're welcome. Please tell us what you think about it!


Johnson2013-04-25 07:09:57
Type in Steve Jablonsky and it's further down on the album list...


yes...I find the score to be minimalistic like his Sam Whitwicky cues from the Transformers album.



Mr. Charles reply Replies: 6 || 2013-04-22 22:09:35
Will this be on iTunes any earlier than May 7th? I'd like it before the film opens on Friday...usually that's when an OST is released. I really want this one :(

Does anyone happen to have it yet? Or is there even a tracklist anywhere? Why do I feel like we're gonna get the same treatment as DotM. The film opens in (technically) 3 days (Thursday 10PM screenings is the new midnight) and we have no info. I'd like some info if possible, please! Thanks


JamesT2013-04-23 19:27:19
Varese says digital release by next Tuesday, perhaps sooner :)


Ds2013-04-23 21:27:22
Found this in a Pain&Gain review, a little taste of Jablonsky's work:

"The first hour or so of Pain and Gain is incredibly off-putting. (...) The score, by composer Steve Jablonsky, feels like it never ends. Seemingly each and every scene has a constant, almost club-like beat over it, giving the on-screen action an urgency it doesn’t really warrant.
(...)
After about an hour or so, Bay’s wild visuals and Jablonsky’s score sync up with the story, which devolves into a weird, entertaining amalgamation of Pulp Fiction, Very Bad Things and Bad Boys."


Edmund Meinerts2013-04-24 01:19:00
That doesn't sound ultra promising, but it also doesn't really tell us much. I've been disappointed in Jablonsky lately, but we'll just have to see how this turns out.


MrZimmerFan2013-04-24 13:23:34
Is in Itunes, check it


Ds2013-04-24 15:30:46
US iTunes only :(
Samples are cool. I can already say that Jablonsky tried something different :)


MrZimmerFan2013-04-24 17:05:50
I hope are better than Mazzaro's Bullet to the Head

Ds reply Replies: 1 || 2013-04-13 03:30:03
There's a piece of music playing at the movie official website, this is the intro music of the 1st trailer. I think it can be part of the original score! --> painandgainmovie.com


Mr. Charles2013-04-17 00:36:43
Yes!!! You're right, it's the cue heard in the opening of the trailer! I love this piece, I'm so glad it's part of the score!!

Everan reply Replies: 9 || 2013-04-11 18:25:58
So, no news yet on a release date, or cover, or samples or something? The film ain't that far away.

Really wanna know what he'll do here, he gets more working freedom with Bay so he can do anything he wants.


Everan2013-04-11 18:27:54
Just saw the date, silly me :P


Edmund Meinerts2013-04-11 19:48:37
More working freedom? I'd argue the opposite. It's on the Bay movies that Jablonsky's scores tend to expose a lot of temp track love (Gladiator in The Island, King Arthur and Batman Begins in TF1, Angels and Demons in TF2, The Last Samurai, Inception, The Dark Knight and Mind Heist in TF3...). I like all of those scores but I certainly wouldn't say he was able to do anything he wanted!

Jablonsky tends to do best when he's on movies that have nothing to do with Bay, but still let him stretch his thematic/action muscles: Steamboy, Your Highness and to a lesser extent D-War (although that one still has a lot of temp love from The Last Samurai). Unfortunately he doesn't seem to get many chances to write that kind of thing these days... :/


Ds2013-04-12 00:45:33
But yet Jablonsky is the only one that keeps offering us the classical 2000's Zimmer sound we all loved :)


aldan2013-04-12 06:23:17
It's still the same though, when Jablonsky enters animation business, it features a lot of similarities to those of John Powell's or Harry Gregson Williams's, especially in theirs '98-'01 era style.

His Steamboy score, allthough great, still bears a lot of that resemblance. One can simply hear Powell's Paycheck, Williams's Sinbad, or Powell/Williams's Antz in it, especially that timpani/ drums, and violas progressions. But because i'm a big fan of Powell's, that doesnt disturb me at all.

Jablonsky's Your Highness also bears similarities to Zimmer's Spirit and POTC.



Hybrid Soldier2013-04-12 07:11:28
Well Jablonsky did work on Antz and did a large part of Spirit, and worked on POTC 1... :P


Edmund Meinerts2013-04-12 07:17:13
@Ds, up until a couple of years ago I'd agree with you...he's one of the few that continues to write the good old power anthems! But Battleship and Gears of War: Judgment seem to indicate he's veering away from that mold into something a lot more electronic and noisy and sound-design-based, and I really hope he doesn't keep going in that direction.

@aldan, I do agree with you about the Powell/Gregson-Williams comparisons, but if you're going to imitate anyone in MV/RC, those two are a really good place to start, so I'm not the least bit disturbed either! :)


MrZimmerFan (Fan from Spain)2013-04-12 10:17:31
@Edmund

Certain article from Variety says Jablonsky no recives no indication about his scores with Bay, temp-tracking? i don't think so.

And working with Berg, he imposed in that style Battleship


Trent Easton Navarro2013-04-12 19:28:27
@MrZimmerFan (Fan from Spain)

So how would you explain that "It's Our Fight" sounds very similar to Mind Heist? Or "My Name Is Lincoln" and "Now We Are Free"? (to name just a few examples)


Ds2013-04-12 23:02:21
Hybrid, do you know if Jablonsky will score the next Peter Berg movie (Lone Survivor)?

MrZimmerFan (Fan from Spain) reply Replies: 3 || 2013-03-07 12:13:58
I know it... jejejeje


Edmund Meinerts2013-03-07 14:59:59
That Spanish laughing cracks me up. Jejejejejejejejejeje


MrZimmerFan (Fan from Spain)2013-03-08 21:23:15
Wtf?


Evenstar2013-03-08 21:40:16
Me too Edmund ;-)

btw. I'm very curious about this score!

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Pain & Gain soundtrack - Steve Jablonsky 2013