Additional Music by Al Clay & Jack Dolman Album Produced by Henry Jackman, Al Clay & Jack Dolman Executive Soundtrack Album Producer: Robert Townson Executive in Charge of Music for Sony Pictures: Lia Vollack Featured Cello: Tristan Schulze Featured Violin: Ann Marie Calhoun Featured Percussion: Satnam Ramgotra Featured Bass: Nico Abondolo Percussion: David Chegwidden & Alan Lightner Music Production Services: Steven Kofsky Music Contractor: Peter Rotter Synth Programming: Henry Jackman, Al Clay & Jack Dolman Score Recorded, Mixed & Produced by Al Clay Score Mixed at Remote Control Productions, Santa Monica, CA
Score Technical Engineer: Alex Belcher Mix Assistant: John Chapman
Henry Jackman would like to thank: Paul Greengrass, Chris Rouse, Scott Rudin, Hans Zimmer, Lia Vollack, Steve Kofsky, Raul Perez, Amos Newman, Mike Higham, Jack Dolman, Al Clay, Alan Meyerson, Stephen Coleman, Dominic Lewis, Matthew Margeson, Alex Belcher, Jasha Klebe, Satnam Ramgotra, Tristan Schulze, Ann Marie Calhoun, Steve Erdody, David Chegwidden, Alan Lightner, Mike Solinger, Peter Rotter, Frank Garcia, Victor Chaga, Vivian Aguiar-Buff, John Chapman, Richard Whitfield, Beth Caucci, Christian Wenger, Jason Soudah, Simon Charger, Czarina Russell, Shalini Singh, Ralph, Ellie & Mum
Release date : 10/08/2013
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I really like this score. Say what you want, but I love to listen. Henry Jackman is not my favorite composer, so I think there's a big part of HZ in it.
Well, if the credits above can be trusted, Zimmer participated in only five tracks of the album...This isn't so much (unless he wrote each of them nearly completly, as it seems to be the case at least for "Safe Now"...)
Is "Safe Now" longer in the film or is the end just edited differently than it is on the album? Because that closing shot within the film REALLY sounds like Journey to the Line.
yeah I noticed that also, Safe Now is really not 3 min long if you watch it on blu-ray with real 5.1 then you can hear that the mix is completely different, the guitar is almost up front and yes the end part is longer. I think what happened is that the end part was simply professionally doubled and edited together. the exact same thing happened with journey to the line in thin red line, but with the first part. also with chevaliers de sangreal
Little interview with Jackman in this month's Empire magazine:
"Paul Greengrass is obsessed with objectivity and psychological credibility. I would strip the cues back to as minimalist and uninformative a state as I thought was possible, and Paul would say, "Hmm... I still feel it's a bit acrobatic..."
Is the player back on, Hybrid? I see the player but I don't think it is working. I believe you guys are still working on it. Hope it will be on soon :)
It IS back and working fine for me ! :)
It's working fine for me on some pages (Hans and Lorne), but when I go to e.g. Geoff Zanelli's page, the site gives me a message that says "Failed to select playlist!"
By the way, this player thing is kind of illuminating in that it tells us a couple who-did-whats..."Brooding" from TF1 being on Balfe's page, for example. ;)
Geoff has no extracts yet, maybe that's why.
But yes, it's exactly my point, to add what composers did ! ;)
Some cues are shared of course and on 2 composer players...
@Edmund : I have fixed the problem. Could you reload the page and try again ?
ps: I have created a topic on the feedback page. Please, post your remarks there :)
Oho! Just now I checked and it's working for me too when I open it in Chrome, but it doesn't work in Firefox (was using this all this time). When I open it in Firefox it just keeps on loading those three bars moving on and on and on never completing. Anyone using Firefox facing the same problem?
I finished Lorne & Atli's ones. :) I encourage anyone to go check Lorne's Blackwood, it's really cool stuff... ;)
Sudden realization, since I had been wanting Henry Jackman to retain Silvestri's theme in Captain America 2: seeing as the Silvestri theme made an appearance in Brian Tyler's score for Thor 2, can we assume that Henry will keep it? That'd be a glaring continuity rupture if not, as it was used in The Avengers and now in Thor.
But then, the folks at Marvel have no idea how to maintain thematic continuity, do they? ;)
Brian Tyler is a theme guy. If the theme is good, he loves it and wants to use it again. Obviously, he didn't like the original themes for Iron Man and Thor (which, I agree with - that said, I didn't like how similar is Iron Man and Thor themes were...), so he wrote new ones, but it doesn't surprise me that he would keep Captain America's theme as it's a good theme and he would want to pay that tribute.
However, while Jackman is also a theme guy, he did omit Michael Kamen's original X-men theme (John Ottman and John Powell each did variations, but Jackman never once used it). As well, there is a new trend, as you said, of Marvel movies keeping all thematic continuity EXCEPT the music. Because of this, I'd say there are slim chances of Silvestri's theme being used in Captain America 2.
Real shame. It was a great theme. Here's hoping Silvestri scores Avenger's 2, so we can maybe have some musical continuity in the series...
I love Silvestri's score for Avengers!
Silvestri's theme and score for Captain America were terrible. Same goes fo The Avengers. Hopefully Jackman won't be using any of that material.
Silvestri's scores for CA and The Avengers were perfectly fine, the last thing Cap needs is Jackman. We know how the switch from the maestro to Jackman worked out for G.I. Joe... :/
As much as I wish there was better musical continuity in the Marvel movies, I have to say I'm glad there's such a diversity of composers working on them. I'd hate it if they were all done by the same guy in the same style.
I think Jackman will do well. I just think that Silvestri's score for Cap and Avengers were very good.
I really disliked those two scores by Silvestri. He can be a good composer but i wish he stayed away from the modern sci-fi/action movies. The first CA's story happends 50 years ago so an old-fashioned score is understandable. I don't like that, but it played well in the movie.
But his music really hurt The Avengers, it was in my opinion the only bad thing in that movie. Not that it was terrible, but it was nothing exceptional - and that is a really bad thing for a movie depicting the epic reunion of 4 of the biggest superheros.
I think Jackman will better Silvestri for the sequel; don't forget it's a modern day story!
Nothing against using multiple composers at all, I just wished they kept musical thematic continuity. i mean, common, these are super heroes, they need fanfares that continue so the audience and musically connect as well. By throwing away themes it shows how little hollywood cares for the art of music in film. Using multiple composers for the films isn't the issue, nor is replacing scoring geniuses/vetrans with RCP guys, because both have their talents that enhance the films, but they really need to keep the continuity going unless the themes absolutely suck (like iron man 1, 2, and thor 1).
Also, Macejko, the CA theme was amazing. Had the perfect sense of classic fanfare film music fused with new polished sound. Same with The avengers and iron man 3. I'd rather hear these in films than zimmer's batman and superman themes any day (and I loved those themes too).
I'm sorry, but I think Doyle's Thor theme was one of the best, most recognizable in the Marvel universe. Much better than Tyler's new one. I absolutely love Tyler, but Iron Man 3 and Thor 2 sounded so similar at times, that it became a little jarring.
Silvestri did an amazing job on CA but ultimately failed with Avengers. That score was nothing to write home about. If I were to choose TDKR or Avengers, I'd take TDKR any day.
I wonder if Tyler will be asked to score Avengers 2? He's already done two films in the Phase 2 universe...
Thor 1 Was very good Spence. and Zimmer's themes for Batman were very good even superman was nothing short of Amazing. Iron man 3 was very generic. Tyler's stuff is ok but not great. (MW3 & Battle:LA are his best).
Although you are right about Avengers, I mean, what should we have had...in terms of a score. I think it fit the film perfectly, and was even enjoyable to listen to. Jackman's stuff was good but Silvestri's score was great.
IMO Doyle's Thor and Horner's Spider-Man are the best superhero scores of the last few years (since Powell's X-Men score, at any rate)...but I'm sure I won't get much backup of that opinion at this particular site. :p
I enjoyed Doyle's score. I think that the Batman scores were the best.
Oh Batman is friggen fantastic, but it only really works for batman. I felt that superman was trying to be the major key equavelant to Batman. (in fact I experimented once on the piano and morphed the two scores and it's ridiculous how easy they can go on top of each other... in a "one size fits all" kind of way.)
Thor 1 theme was cool, but didn't feel like Thor. Brian Tyler's thor theme also didn't feel like thor, but at last had that fanfare element that 1 was missing. (it also, as Brent pointed out, it sounded exactly like Iron man 3.) While, I agree Tyler's action music and cues are pretty generic (which can be said for a lot of RCP guys too...), this themes are amazing (Iron man 3, Battle LA, AC: Black flag, standing still, now you see me).
Remember, I'm mainly talking themes here and the continuity between them in marvel movies, so if I had my pick of which ones to keep throughout, I'd say: Iron man 3, Captain america 1, avengers, agents of shield (fuck ya, bear mccreary!), amazing spider man, and hulk (2003). Thor still needs a better, more nordic, theme.
Veering off topic slightly, I can't wait until the art of orchestration comes back in drama and action musics. Because for some reason, the only great orchestrated scores i've heard coming out of RCP are the animated movies (and I'm talking like, John williams-esque, lush orchestra, great use of woodwinds, pitched percussion, brass that doesn't try to resenble guitars or synth pads, and strings that aren't just ostinatos.) Action films and drama's seem to have lost that.
I guess I'm one of the people who likes how the music has evolved. I personally love the Zimmer type music in the films today. (Granted Williams is ok). but his style doesn't fit the modern day film. Can anyone hear picture a Williams score for Inception or X-Men his style just doesn't work for those type of films.
Now Star Wars and Indiana Jones type films with humor and action work make sense.
You sir, have not listened to enough Williams and way too much Zimmer haha
I've listened to plenty Williams and I like Zimmer better.
A friend of mine made the comparison between the two very genuinely:
"Williams is a well balanced meal of all major food groups. Zimmer is candy."
I couldn't agree more haha
I used to think like you MacArthur, but then I started really studying orchestration and composition. Sat down with Williams scores and soundtracks an spent hours upon days analysing them. Then doing the same with Zimmer. And while Zimmer has conceptionally and texturally interesting scores, Williams is the king. In every single aspect of film scoring. Williams is king. There's a reason he's been Oscar nominated so many times haha (and it's not because of his name)
Honestly, who cares about orchestration ?
This is film music, any genre can fit in... It's not the safe guarded ground of classical music...
I'll listen "Arcade" from MOS, even if it's the simpliest stuff ever, over any big Williams theme, EVERY time !
I think that in terms of music if you want straight up classical music for film score, do 2001 space odyssey for crying out loud.
Zimmer IMO is Better in terms of Power themes. Williams is more of a softer touch composer. Both of them are good. but I think that Zimmer is better. Williams newer stuff is a little unusual. (War of the Worlds, Harry Potter...etc) Now I do like how he has kinda gone back to his old style in War Horse. But still his stuff for action films fits the Spielberg style better than any.
Crimson tide is the score that turned my into a Zimmer fan and you are telling me that that is not one of the best themes ever written. Williams Star Wars scores are some of the best music ever written. (and Indiana Jones). But I would still Rather listen to Crimson Tide over Star Wars.
Have to agree with Hybrid here. I'll love a film music if it moves me, if it amazes me, if it gives me goosebumps. Hans' music does that to me very often. Williams' doesn't. And i absolutely don't care if the latter's music is more theoretically complex than the former's, all that counts is the result and the impact on me while i'm watching the movie/listening to the music.
The problem, MacArthur, is that Zimmer, by his own admission, doesn't do the whole "power theme" thing much now; if he does, its use is seriously restrained. But then, I guess John Williams doesn't, either. War Horse, Lincoln, and Tintin—none of them had a big, in-your-face theme.
The only ones of Williams That gave me goose bumps were Star Wars, Home Alone & Indiana Jones and Superman.
Whereas POTC 2,3 did Crimson Tide did all of the Batman films did Superman, Rush, Prince of Egypt, Inception, Da Vinci code, and on and on.
I agree with both sides of the argument, really: Zimmer makes for an instantly-pleasing listen, but John Williams music is, shall we say, more complex and intricate. Williams (like Howard Shore as well, I would say) is an acquired taste. If you haven't acquired that taste, his music won't do much for you.
Must agree with Hybrid. I remember hearing 'Arcade' the first time while watching MOS and for a few seconds I fell into a state of trance because I was so mesmerised by the sheer power that the song commanded in that scene. That's what film music is always supposed to do... take an otherwise generic scene and magnify it into something your imagination couldn't conjure on its own... or if you are lucky,bring it to life. Same thing happened with the funal scene in Cap Phillips although Tom Hanks deserves more of the credit for that brilliant piece of acting.
If the theme from Schindler's List doesn't move you I don't know what will...
trent easton navarro
MacArthur: "Can anyone hear picture a Williams score for Inception or X-Men his style just doesn't work for those type of films."
Actually, I can. But then again, I don't have your lack of imagination. I think Inception would work quite well with a Williams score. Figure it would sound somewhat like Minority Report.
What's extraordinary with Inception is the power of its score, it's massive and moving, minimalist and gigantic at the same time. My love for that movie is linked to my love for what Hans created for it, so I really can't believe I would've liked it as much as I did with a different score. Especially a JW one, of course.
Why do you say ESPECIALLY a JW one, as if he's some kind of worst-case scenario?
trent easton navarro
Cause Zimmer is the only one who can do massive and moving, and minimalist and gigantic.
I've only seen the film once (in the cinema back then), but with the exception of the final scene I remember finding the music doing nothing, except just blasting away in the background. I kept thinking how Elliot Goldenthal would have been perfect for this.
I'd give my left nut to hear an Elliot Goldenthal or Don Davis Inception score. Seriously.
Williams style is more humorous than Zimmer. for Inception you needed a serious score. Hans brought that to the table. whereas Williams probably could have, it just...Wouldn't have been the same.
Because Schindler's List is such a humorous score.
trent easton navarro
"Williams style is more humorous than Zimmer"
Yeah, nothing cracks me up like listening to Schindler's List! And I can't believe nobody mentioned to Zimmer that Jack Sparrow is supposed to be a fun character after the dark and brooding theme he came up with.
Seriously, the stuff you say MacArthur...
Saving Private Ryan is one of the most serious scores I've ever heard, and who did that? Oh yeah, John Williams. ;)
I think the point that it doesn't matter how 'complex' something is, as long as it moves you is very true.
But on the other hand, I see Spence's point. I'd like to see more mainstream films with a lush, flowing, intricate palette of orchestral sounds and more obvious melodic structures. Outside Zimmer and a handful of others, who know how to inject power, or have a good core concept, the 'modern' pop/rock-orchestra sound is really quite dull a lot of the time in my opinion. But these things go in cycles, it's what producers want at the moment.
"I used to think like you MacArthur, but then I started really studying orchestration and composition"
Unfortunately as you've probably found, a lot of amateur/semi-pro musicians seem to be attempting the 'modern' style, obviously because it seems like it's a lot less work than learning your theory. Well they've missed the point, it's not about theory, or complexity, it's about **understanding** music, and more particularly its relationship with a picture. And that is incredibly difficult and takes a lot of time and very few people do it well.
"And while Zimmer has conceptionally and texturally interesting scores"
And that in a nutshell, is why Zimmer's music is interesting and enjoyable and his lame copycats' aren't.
"Williams style is more humorous than Zimmer."
This is a frightfully misguided analysis.
Those two scores are exceptions. but for the most part what do you get. Raiders is serious, but has a playful tone to it. Same with star wars. and Midway. etc. and so forth.
Heck even Jaws has some playful and humorous tones to it.
Zimmer has exception scores too. Winter's tale is different.Driving miss Daisy. Rain Man. each has an exception score but for the most part Zimmer, I think would do a serious score better.
NM what I meant by that is that you don't see Zimmer go off on little flute patterns that really end nowhere. That happened a couple of times in Star Wars, War Horse, War of the Worlds among others. That also might have to do with Spielberg & some of the other Directors he works with. some of his stuff is a little over the top. and that might have something to do with it. but I still stand by what I said.
I see peopole arguing that Zimmer is better than Williams... I won't say my opinion, but the Star Wars scores, especially the Revenge of the Sith's one, are the best muscial scores ever written. There's no one on Earth that will make me change my mind. After that, I admitt The Dark Knight (The album release, not the complete score) is my second favorite score.
MacArthur, you said Star Wars is playful.....actually, I wouldn't say Revenge of the Sith was. The others, sure, fine, but Revenge of the Sith was very serious.
I was naming more episode 1@2. 3 was very good. (Very Serious) but the other ones I mention you have to take those into account.
trent easton navarro
"Those two scores are exceptions."
Munich? Nixon? JFK? Memoirs of a Geisha? Seven Years in Tibet? Lincoln? Rosewood? Sleepers? Born on the 4th of July? Black Sunday? The Fury? Exceptions, really?
"but for the most part what do you get. Raiders is serious, but has a playful tone to it. Same with star wars. and Midway. etc. and so forth."
Of course Raiders has a playful tone to it, cause it's a fun film. Just like Broken Arrow is a playful score, cause it's a fun film to. The original Star Wars trilogy are also fun adventure films, so the scores reflect that. Same goes for Zimmer's Pirates flicks.
"Heck even Jaws has some playful and humorous tones to it."
While for the most part Jaws and Hannibal are serious scores a few scenes are lighter, so the music reflects that.
MacArthur, someone should dedicate a page to you. Make a list of all the stupid shit you've said here. Of course it wouldn't as humorous as Williams' scores, but it sure could brighten up someone's day
trent easton navarro
"for the most part Zimmer, I think would do a serious score better."
I think Zimmer would have a good laugh if you ever suggested that to him
Says who...you! right!!!
I'M NOT SAYING I DON'T LIKE WILLIAMS. GET THAT INTO YOUR HEAD. I love Jurassic Park score. One of my favorites. I just like Zimmer's style better. and I think it works better for the films of this day and age. (Inception, Batman, Rush, etc.)
This isn't about you liking or not liking Williams. Feel free to like or dislike whoever you want to whatever degree you wish. This is about you making ridiculous and unsubstantiated claims about his ability as a composer. Saying that Williams is incapable of writing serious, dark or modern music is 100% patently false. Saying that everything Williams writes is humorous is 100% patently false. That's what this debate is about.
This is like Tom n Jerry :D
trent easton navarro
Do you even know what this discussion is about, MacArthur? Cause it's not if you like Williams or not. I couldn't care less about that.
What I find amusing is that after I countered all your claims that Williams is equally capable of writing a serious score, you all of a sudden claim we are talking about something completely different. If you can't have an adult discussion, don't start one
I never said he wasn't capable. don't put words in my mouth. What I'm saying is that I think that Zimmer can do it better. GOT IT.
I see MacArthur's point here. And I agree with him on the fact that HZ's style is more suited to modern filmmaking. Look at the latest John Williams scores, they are all for period movies, and there's a reason for that. The Thief Book Lincoln War Horse Tintin Indiana Jones Munich Earlier I can't remember, i don't know how War of the Worlds sounded but frankly i don't even want to think of this movie :p
But I'm not judging his abilities as a composer, i'm sure he's very competent and musically educated. But that surely doesn't make me any more moved by his music.
trent easton navarro
There is indeed a reason for that, but not the one you are sugesting. Williams is semi-retired and basically only scores films for Spielberg. Spielberg's last couple of films were period set. If he hadn't passed on Interstellar, that film would have been scored by Williams instead of Zimmer.
Williams was never set on Interstellar anyway it was just a possibility of him scoring it.
"Williams was never set on Interstellar anyway it was just a possibility of him scoring it."
No one said he WAS set on the movie, but the argument they WERE using is highly reasonable: if Spielberg had directed Interstellar (and he said in 2006 that he would like to direct the movie which later became Interstellar), Williams would have ended up scoring it.
Agreed! but not the case it fell to Nolan. and I'm very happy cause With Nolan it's probably Zimmer. Yeah! :D
I didn't know Spielberg was supposed to direct Interstellar! But anyway Nolan is on board and I doubt he would ever hire John Williams to score one of his movies, they don't have anything in common. Nolan's conception of music is bombastic, modern, catchy, simple yet moving, and above all extremely well-produced. Williams' is completely opposite. I think the two of them would never be able to work together :p
I wouldn't say Nolan's conception of music is bombastic, exactly (I'm sorry if this changes the subject entirely). Zimmer wrote an arguably "bombastic" theme in The Dark Knight (Like a Dog Chasing Cars) and it barely got used, and then he wrote PLENTY of bombastic material in the Wayne Mano and Transfiguration suites of TDKR, yet almost none of that was used in the final product. The most bombastic thing about Inception was the BRAAAAAAAHMs, but the rest of the score, as you indirectly point out, is relatively simple, melancholy, and (besides Time) doesn't attempt to blow you away.
A lot of the Zimmer/Nolan music is definitely bombastic, but it's in a very different way to, say, the Williams/Star Wars bombast of brass fanfares and such. The Zimmer/Nolan stuff is essentially just very basic minimalistic structures, but played extremely loudly and aggressively. I think maybe that's part of why that music doesn't work all that well for me, because there's not a lot of expressive feeling behind all that noise. It's introverted music at an extroverted volume. "Like a Dog Chasing Cars" is the most outwardly expressive cue in the series; small wonder it's also my favorite.
My favorite too, the other stuff I really like though.
"I see MacArthur's point here. And I agree with him on the fact that HZ's style is more suited to modern filmmaking."
Until someone else re-writes the paradigm.
I don't actually agree with this, there are so many modern films I've seen and games I've played that could've benefited from something deviating from the safe, comfortable, and often ironically dated-sounding 'modern' sound. This is no slight on the people who write the music, it's what producers (and some directors, it seems) want. They want safe music. They don't want to take a risk. Hence Captain Phillips getting an absolute abortion of a score.
That said, there is still plenty of other stuff being produced if you're willing to look around outside the mainstream.
The best "modern" score of 2013 by a good long shot was Remember Me by Olivier Deriviere (a video game score). It's fresh, inventive, cutting-edge and sounds nothing like Zimmer. I'd recommend it but for that last point, which I'm sure isn't what the folk here like to hear. :p
Dissappointing score by Henry Jackman, 2013 was a year of decline for this man, G.I Joe: Retailation, Kick-Ass 2, one horrible score behing other. Henry works better in the animated movies, in the action movies he makes disasters like this, his X-Men was just luck. With a year so disastrous behind, I really afraid what Jackman can do with Captain America
I've just seen the movie, loved it. I found the end very emotional but it was more connected to the amazing actor performance of Tom Hanks then it was to the score.
Aside from the re use of Zimmer's "Time", I like how they re introduced "The End" by John Powell. Knowing what happens in "United 93" during that cue, and not knowing how that story would end...,man, I really thought Phillips was gonna die. Felt so relieved at the end lol
I have a feeling Initiate the Tow is Zimmer. It's got a heavy Why So Serious resemblance.
Oops, sorry, that was supposed to be a new post.
so does the next track mike. i imagine zimmer did that whole collection of scenes.
Track 16# - Safe Now. who composed? I watched the movie now and cried :'( Hans Zimmer - Henry Jackman or Lorne Balfe?
It might as well be Zimmer considering it's essentially "Time." That got you to cry? Personally, I found myself rolling my eyes.
Many people would disagree with you Ed. A lot of people even people on this site said it was the most moving moment in the theater this year.
I'm more on Edmund's side here. As for you cue, well, since they wrote 20 or 30 versions of it, I guess every single composer had a shot at it...
On a very different note, I just let you all know that I spent some time hard working on the site, adding all the booklet contents (credits / thanks) of HZ's career (when you click on "See Details..."). I'm done with Jackman, Djawadi, Örvarsson, and still in the middle of the others. So if you search anything you'll have everything here... :)
But this music's father HANS ZIMMER - Journey of The Line(1998) and Time(2010).
I would be quite curious to know what the 20-30 first versions of "Safe know" look like...In order to try to have an idea of how they finished with such a casual thing.
The scene was indeed very moving and powerful (for me). However, the music should be different.
"Safe Now" might be a rip-off but God it's just amazingly emotional in the movie. Tom Hanks acting + a "Time"-like music = most moving closing scene of the year. It's like 3 minutes of rest after 2 hours of storm that leave you as desoriented and shocked as Phillips was. It almost brought me to tears.
I didn't want to first because Hans told me he didn't want to be associated to this project "in anyway", but he is credited in the cue sheet after all, so it's "kinda" public now...
But he really didn't dig working on it (to say the least), reworking cues back in June, almost locked up in his rooms for days to deliver ! Total nightmare project, the score writing took more than 7 months with a LOT of people & rejected stuff, for Hans finally reworking it himself at the last minute... But back then he told me there was still "plenty of Henry" in it ! So I leave you the fun of finding what is HZ in this... ;)
The irony is, Henry Jackman just won a Hollywood Music in Media Award for Best Score, Feature Film... LOL
It's like Curse of the Black Pearl all over again...
Funny Hans told me "I'm starting to really hate pirate movies..." ;) :D
Even Lorne worked on that one -_- ! I'm pretty sure no one knows if their work is in the movie after all !
If "Captain Phillips" scores a few nominations for major awards (best movie, director and/or actor), there's chance its score will be nominated too... and it would be really funny. It'd be, like, the ultimate proof that the Academy doesn't care about the musical awards.
Well so far in the cuesheet I found, only Jackman, Dolman & Clay (the 2 "official" additionals) and Hans are credited. Maybe already too much, might face some disqualifications ! :)
It might very well get disqualified....remember the dark knight issue back in 2008, when five guys were credited on the cue sheets including the music editor......
I was gonna say...I could SWEAR Zimmer's name was attached to this score when it was first announced... xD
Is it "safe" to say that Safe Now is Zimmer, hence the Time resemblance?
Honestly I don't think so... It's too easy and Matt told me they wrote many versions of it prior to HZ...
But the cues just before sound quite HZ to me... ;)
I hear a lot of Black Hawk Down in track 1, personally.
I hear an odd mix of Sychrotone and Mombasa in Two in the Water. The score uses a lot of those eerie "waaaaaAAAAAAAAAHs" from Inception, too.
Sounds like a mess (the issue not the music^^). Why didn't John Powell score the movie. He and director Paul Greengrass seemed to have a good working relationship (Bourne Supremacy, Bourne Ultimatum, United 93, Green Zone)
Powell's taking a break this year, sadly. I'm sure he and Greengrass will reunite on the next film.
It's odd to think that so much work and headache and nightmare went into writing this, which seems like a relatively simple and straightforward score.
Agree with Edmund here. It doesn't look like a complicated score at all. And COME ON JOHN POWELL WE ALL MISS YOU!!! For God sake, i can't wait for him to come back. All i can say is that i miss him so much that i'm going to be VERY disappointed if HTTYD2's score is just a re-hasch of the 1st one... which was so excellent i can't even imagine how another one could beat it :-(
Powell coming back after what happened on Green Zone ?
He probably laughed his ass hard when Hans called him earlier this year... :)
hybrid what happened, can you shed some light, and did john powell and harry gregson williams coordinate their leave of absence
I think I'd honestly believe it if I were told "Safe Now" was an unused, demo version of "Time". :P
Demo? no. Imitation? absolutely. But that's something I'm okay with. I know other people get sick of the typical "this RCP composer copied this other composer's (or his own) work; there's so little creativity here."
But personally, I like hearing different takes on the same...form of music. The Camerlengo Suite from Angels & Demons also sounds like Time but it was out before Inception.
Interesting. I didn't hear Time in the Camerlengo suite.
They wrote more than 30 versions of that cue here... -_-
trent easton navarro
For First Class he copied "Journey to the Line", so it's nothing anything new... And isn't "Time" just another version of "Journey to the Line" anyway
You really think Jackman did that cue ?? :P
I'd ask you whether you know who did, Hybrid, but as usual you'll probably just say nobody has a clue. Either give us something concrete or stop it with the hint dropping, dude. :p
trent easton navarro
we aren't all in the know like you, Hybrid ;) But in all honesty I don't really care whether or not Jackman wrote it or not. Listened to this score this morning and can't say that I really much about it. Found rather boring and lacking the energy Powell usually delivers for a Greengrass flick.
Thank you, Edmund. Hybrid, take heed.
Safe Now = TIME! it's a explicit copy!!!!!!!
Actually I've found an equally shameful rip of Time !
If any of you are following the Dracula TV series scored by Trevor Morris, in the third episode you have a big time ripoff used 3 times...
What the hell is it with that cue all of a sudden 3 years after ! O_O
I saw this film 4 days ago without reading or knowing anything about the score. But I remember leaving the cinema thinking to myself how it sounded like yet another HZ-rip off. It's a frightfully generic-sounding score. The barely-changed Inception music at the end, in particular, was quite jarring.
It's pretty interesting to see why on here, thanks for the background info Hybrid.
is 12 years a slave getting an october 15th release?
I asked Hans what was up with 12 Years (I told you I won't let it go), and all I got as an answer was : "We are doing something a little different..."
Live with that LOL !
Heard something with the leaked features and clips, the music sounds pretty similar to Home of Lone Ranger and Journey to the Line
I wish Hans would stop saying how "different" and "revolutionary" and "crazy" everything he does always is.
yeah... because it is NOT!
He's probably developing some iphone app which allows you to play "12 Years a Game", a groundbreaking immersive new app that makes you feel like you're a slave. By doing so you can unlock 96 kbps tracks from the movie's score.
You are an evil man, Ds :D
Lol Ds, and you probably have to pay for the music tracks as well. 19.99 for songs you have to use the app for.
But all in all excited for the score can't wait to see what Zimmer's going to do next
I agree with both Edmund and Ds here. Stop trying to do "revolutionary stuff" if it does us out of a good and solid album in the process.
Thanks Hybrid!! Can't wait to find out what it is!
Hybrid, what's up with all the RCP dismissal of this score? Sure, it's not the bombastic produced sound of MOS or Batman, but I think that's what gives it it's life and maturity. Not all film music needs to be epic superhero stuff, in fact, I prefer it doesn't. This is a simple production and a solid mix and some nice instrumentation. If the team does hate it, why would they put less effort into a film that was obviously going to be Oscar worthy? Wouldn't you want the opposite to happen to hope for an oscar nod for your composer?
It's not that they hate the score itself or put less effort into it or are dismissing it (I think), it's that Paul Greengrass made the scoring situation a nightmare, rejecting practically every cue that made it to his desk, forcing rewrite upon rewrite on the team. Maybe Jackman didn't manage to set up as good a rapport with him as Powell has in previous years. The reason everyone wants to forget this is the pounding headache it gave them, not because they think the music is bad.
Powell had to rewrite his score for Green Zone several times
"Safe Now" is such a lame "Time" ripoff ! Unbelievable. A mess is a mess after all...
I wrote that, looks like I'm too tired... :(
How does the overal soundtrack sound?
Listening to it right now, this sounds more like Powell's Green Zone than Jackman's usual sound! Not really thematic but it's a fine piece of work, i think it's going to be great with the pictures and Greengrass' directing style.
It sounds like BHD meets Green Zone & United 93, with a few obvious temp used (a Bourne theme at some point, Time...).
Biggest mess of the year in term of production...
Well, that just makes me more interested in hearing it. :P
What do you mean by "mess" Hybrid? Did something happen during production? Is this a replacement score? Were there problems with the director?
Let's say everyone who worked on that film is trying really HARD to forget they worked on it...
But isn't this movie one of those ones people are thinking will get into Oscar territory?
I sure want to see it.
Well it's nothing to do with that, apparently the film is absolutely great. I'm just talking production, not result.
Ok do you music production, or The Film overall.
who caused the problems? Greengrass or the producers?
Ds, where you listened?
My bad I was meaning if the Music production was bad or if it was the Film Production.
But actually the Bournes & Green Zone were quite problematic too. A charming director ! ;)
Cool Thanks ;)
I've read somewhere that Powell had to redo the score to Green Zone several times until the director was satisfied with it. Not sure if true
Hybrid: "a charming director"... but yet John Powell worked with him 4 times!
MrZimmerFan: i got it for reviewing...
And Jablonsky has worked on 8 films (soon 9) with Michael Bay... Doesn't make it less difficult.
The guys did ask advice from Powell actually. His answer simply was "Don't do it" ! :P
I sure Hope that with the new Transformers, That the 3rd one will be released on iTunes as well
Hybrid: this is weird, i remember some interview of Bay saying how amazing Jablonsky was... Doesn't Jablonsky like working with him? Or is it just difficult because of Bay's high level of exigences? I'd like to know more about that :p
There's no problem between Jablonsky & Bay, or you know, they wouldn't work together !
But yeah it always ends up being a mess cause Bay is hard to please... :) Same goes for Ridley Scott actually.
Can't be a GREAT director without being a little bit of an ass with everyone ! :)
Out of those two things, an ass and a great director, Bay is one.
Hint: He's not a great director.
Hans would probably share your opinion Ed (not me), since he has never seen a Bay movie in full, but it didn't prevent him from working on a good share of them !
Thanks for the answer Hybrid.
Edmund: actually i think Bay's a great director with a strong and particular visual style, this guy can make anything look incredibly spectacular. Take a look at the extras of the TF3 blu-ray and check how much he seemed to be involved in his movie, it's awesome. He's got everything in his head and knows precisely what he wants so i can believe he's difficult to satisfy. Bay's a passionate director, and i really hate when people are trashing him for screenplays he didn't write...
You know who I think is probably the best Director of our time is Christopher Nolan. Not hard to please and comes up with great and entertaining stories. (They make you Think)
And Ds....A lot of the Visual Stuff Comes from the Production Designer and the Screenplay people, and the Special effects company's right. Personally Bay I don't Think is the best. To much Effects not enough story or Character Development that's what makes a movie so good. Not just the Visual. But also In-depth stuff behind the movie.
And once again a great conversation goes to shit once MacArthur opens his mouth. FUCK!!! I'm not saying your not entitled to your opinion, because you are, it's just how you say things sometimes. You come off as a subjective, pompous ass who thinks he knows everything about everything. Do everyone a favor and go away.....there's an opinion for you.
I do agree with Joshua.
@Joshua - chill. MacArthur might not have the best diction but there was nothing wrong with what he said there. He's said some stupid shit in his time but this didn't bother me.
Bay's made a few movies I've enjoyed; the only one I'd say is really any good is The Rock (Armageddon and Transformers 1 have their moments). But he certainly is not a great director. Alfred Hitchcock is a great director. Steven Spielberg is a great director. Hell, I won't even complain if people call Chris Nolan a great director (personally I think he's good but overrated). But Bay doesn't seem to have an artistic bone in his body. He CAN make entertaining action blowouts and that's about as far as his talent stretches IMO.
I usually like the scores to his movies though. :p
"Bay is one. Hint: he's not a great director."
Comment of the day award.
I honestly can't say whether I think Chris Nolan is overrated or not. I've seen his Batman movies, Inception, and The Prestige. I thought The Prestige was alright. It made you think and it had good actors, but something about it I found almost...boring. It was the same problem I had with the first Sherlock Holmes. The look of the places within the film was dreary and uninspiring, to me at least, even if that look was a reasonable depiction of the period depicted. I didn't like Batman Begins that much when I first saw it, but since I saw The Dark Knight, which I immediately loved, I grew to appreciate the first one much more. Now I think Begins is one of the finest comic book films and that it is superior to TDK. But I suppose that if I only really like the Batman films and Inception, then I'm part of the crowd that causes Chris Nolan to be overrated. Steven Spielberg is great, I think, and a bonus of Spielberg's is that whenever you watch a movie of his, you simultaneously get a John Williams score.
Saying nothing about which duo has superior quality, I really believe Nolan and Zimmer will be the next Spielberg and Williams.
Agree with MacAthur, Bay's films lack character development but clearly it's not his cup of tea, he doesn't care about that and leaves it to the screenwriters. Sometimes it's bad (TF2-3), sometimes it's really great (Pain & Gain, awesome acting!). But Bay's mostly an action director. His films always LOOK good, better than any other blockbuster.
Nolan, on the other hand, always comes up with great stories, great ideas and does memorable movies with interesting characters. But when it comes to an action scene, i think Bay's way better. And of course, Nolan's movies are overall better than Bay's (except The Rock and The Island which really stad among my favourites all time, but this is a matter of taste :p)
Agreed Edmund. Love the Scores to Bay's Films
Agreed Ds and Mike. The One thing about Spielberg (Btw love his films) But one flaw that usually happens is, Sometimes He tends to ham it up. For instance War Horse scene where the Horse is stuck and the British and German soldiers are talking and then ask for wire cutters. Next thing you see is about 12 wire cutters come over the trench.....Hilarious, but seriously campy. Just one flaw that I find in some of Speilberg's films.
I didn't take it as hammy or whatever--I took is as Spielberg's indirect way of saying, "Look these people are fighting each other, but they're still human beings. It's not like one side in a war is all evil and one side is all good" (similar concept as Letters From Iwo Jima).
Got you. I thought It was cause why would you need 12 wire cutters. but to each his own.
Wow, "Safe Now" IS a "Time" ripoff!
I wonder if "Safe Now" is a track Zimmer helped out on.
@Joshua: probably not, why the hell would HZ help someone doing a rip-off of one of his own tunes? :p
Well we all know Zimmer helped on this score. What if they temped the finale with time and wanted something similar? Who better to ask than the man himself who wrote it.
Joshua What the heck are you talking about. If Hybrid said Hans didn't work on the score then that means he didn't. All of these Guys work off each other. Heck we all thought that Rush sounded like Transformers right. But it's not there are differences so what if he took the Chord progressions and Used them for this theme in a different way. in essence it doesn't matter
I dont know where your getting your information but Zimmer did help on this.
Hybrid would have said so....Where exactly are you getting your info?
This site! Zimmers name was on the additional composers info here for weeks and was removed once Hybrid said Zimmer wouldnt be happy if that was released yet. Not hard to put two and two together...well maybe it is for you.
Um....It never was Cause I'm on Zimmer's stuff all the time. (Filmography) and he was never listed on that.
Oh... well i guess im just making this up then huh? You really are one of the most ignorant people on here. Once again you think you know everything about everything. It was on here trust me, ask anyone else and they well verify.
Mike was it on here?
And Joshua, I don't know everything, but it was not on Zimmer's Filmography. Their are some things I know cause I have listened and read about Zimmer a Whole lot. so I kinda know what I'm Talking about. But I don't know everything.
My point exactly.
I've admitted I don't know everything, what else do you what.
Btw Looking forward to this film.
Wow "Safe" Really is a time Ripoff Still I do spot differences but similar. Just listen on iTunes
MacArthur, for someone who claims they don't know everything, you sure do like to act like you know everything.
Zimmer's name was indeed on here for a while, Joshua is correct.
Ok Thanks Mike.
Sorry I just didn't see it when I looked I guess. My bad.
Yeah "Safe Now" does sound a lot like "Time" bit I LOVE the cellos in it!