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<br>"Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty."<br><br>Blackwood might want to have a word with you.Too many songs! But at least there is 15 tracks of score.<br><br>BTW, I don't think Djawadi is able just to do themes. His score in GoT Season 7 shows that he is able to do action tracks very well. Also, in GoT Season 6, he shows that he is able to have many themes and develop them in many different ways.Meta your comment is based on smoke...<br><br><br>Do you have any idea of what Hans & Elfman's relation is ? How many scores Danny mixed at Remote Control ? That when Hans was writing Batman Begins, Danny was in the next room and Hans invited him to check what he was doing ? How many people from RCP Elfman recruited to help him ?lol it's too funny the guy even spent the time of typing all this...<br><br>Some people apparently have very boring lives on this planet !These comments by “Balfe” are comical.god knows where such venom comes from . Maybe an ex employee probably.he was correct on one point .He is indeed a trailer composer.He just did the mission impossible trailer!!!
LOL. I guess this "Balfe" guy is one of those trolls from Stop RCP group.Many benevolent saviours explaining the error of our music tastes have surfaced recently, haven't they?Eh, Mr. Ellipsis, I have to take issue with your appeal to popularity. Justin Bieber sells millions of records. That doesn't make his music good. Last year's piece of crap pointless Beauty and the Beast remake made a frankly terrifying amount of money at the box office. Doesn't stop it being a piece of crap.Guys, I know a lot of you probably think I'm an overly critical snob, but next time you do, just remember this guy and realize how much worse I could be. :pBalfe is not a composer, but still he gets to compose dozens of films and shows every single year, wow. He must be doing something good if he is on of the most busiest composers out there, don´t you think? Or you want to tell me that every producer, director or whoever hires him is deaf? Do you know how many films had to be re-scored by Balfe in the past few years? <br><br>
Why you feed the troll?<br><br>Wrong.<br><br>1. Wallfish is a very fine composer, period. Hans is a synth guy.<br><br>2. If Hans wasn't concern about BR he wouldn't do it.<br><br>3. Slavery was abolished 150 years ago. Hans choose to did it and agreed to involve Wallfish.<br><br>4. Maybe true, but it wasn't the thought of Villeneuve.here we go again:<br>Why Hans Zimmer Got The Job You Wanted (And You Didn’t)<br>https://behindtheaudio.com/2013/07/hans-zimmer/Hey you guys.<br><br>Balfe is a trailer composer not someone who composes real scores. He helps Hans out on his projects and occasionally may have a good idea. He is not an artist, simple as that.<br><br>Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty. The epitome of that is Terminator Genisys that even fans of the franchise found embarassing (and that is for a series based on synth scores). The samples are especially abhorrent<br><br>How he climbed to compose music for real films is a mystery. Go back to one of his earliest scores, the 2009 'score' for Ironclad, to find how utterly disappointing his work has been all the way throughout his career.<br><br>Balfe is a hack. He will never be considered a real composer. The industry knows Hans is pushing him and once that attention goes somewhere else, as it does with Hans frequently, Balfe will be immediately forgotten. Tell me - who actually wants a Lorne Balfe score for their film!!<br><br>You rapid fans supporting his work will be laughed at as being idiotic symbiotic followers. Get a fragging grip.<br><br>Balfe is not a composer. <br><br><br>This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here?<br><br>1. Wallfisch, a very fine composer is not a synth guy.<br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure.
This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here? <br><br>1. Wallfisch, a very fine composer is not a synth guy. <br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure. <br><br><br>Dunkirk is a sound experiment and not a score. It is rather sad to see a fine composer like Benjamin Wallfisch deal with this nationalistic nonsense.It would be very interesting to get a better sense of what exactly Zanelli's role in the franchise is. He is a very capable composer but his work on 5 was utter scheisse. But that may just be what the franchise calls for. How does the supposedly precarious Hans put his name on all this shit.I would not be surprised if this was done by Balfe finally trying out his real compositional skills outside of him just acting as Hans' copy assistant. Everything that Balfe has done on his own to date is abysmal (okay The Lego Batman movie had some flair but that was probably done by the next generation of assistants). <br><br>Please go back to Ironclad and listen to Balfe before he was HBalfe, to hear his skills. Not very good, right? The man is an arranger not a composer.<br><br>This score will be utterly crap or it will sound like Tron and Transformers. <br><br>Shame as Del Toro and Steven Knight work with real composers like Max Richter who would have excelled here.Instead of concerning ourselves with Sia, we have to be worried about Djawadi. The man has a knick for a simple tv tune. But anything outside of that sounds like a youtube fanvideo. The incidental score for Game of Thrones, especially the wall scenes, is terrible and amateurish. <br><br>All I can think is that the producers must have been pressed with time and had to go with the casio synth nonsense Djawadi presented them with. It is the worst example of scoring for a major franchise. <br><br>Again, Dwajadi does well with his choral bits but he is not a composer, more a theme tune man. Who Wants to be a Millionare would serve him better than a complex franchise. <br><br>Simultaneously, the Paint it Black material from Westworld is outstanding. But was this done by Djawadi or a much more talented orchestrator - can we look into this as it sounds nothing like his work
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Henry JackmanHans ZimmerLorne BalfeJasha Klebe
ComposerAdditional MusicAdditional MusicAdditional Music
Captain Phillips (Complete Score)
Label: Promotional Release
Length: 78'56
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 (4387 votes)
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  1. Muse Assembles His Crew (1:47)
    Henry Jackman
  2. Alabama Leaves Port (2:49)
    Henry Jackman
  3. First Attack (8:43)
    Henry Jackman
  4. Second Attack (8:50)
    Henry Jackman
  5. Standoff In The Bridge (5:13)
    Henry Jackman
  6. Touring The Ship (6:15)
    Henry Jackman
  7. Phillips Enters The Lifeboat (6:28)
    Henry Jackman
  8. USS Bainbridge (1:30)
    Henry Jackman, Hans Zimmer, Jack Dolman, Al Clay
  9. Ship Not Broke (1:16)
    Henry Jackman
  10. Order From The White House (2:08)
    Henry Jackman, Hans Zimmer, Jack Dolman, Al Clay
  11. Summon The Seals (0:47)
    Henry Jackman, Hans Zimmer, Jack Dolman, Al Clay
  12. Bainbridge Arrives (3:19)
    Henry Jackman
  13. Unleash The Ribs (4:42)
    Henry Jackman
  14. I Can't Give Up (1:10)
    Henry Jackman
  15. Skydiving Seals (0:32)
    Henry Jackman
  16. Phillips Jumps In The Water (7:24)
    Henry Jackman, Hans Zimmer
  17. Seals Take Command (Part 1 & Part 2) (2:36)
    Henry Jackman, Hans Zimmer, Jack Dolman, Al Clay
  18. T-Shirt Delivery (2:30)
    Henry Jackman
  19. Commence The Tow (5:58)
    Henry Jackman, Hans Zimmer
  20. Captain Phillips Finale (5:08)
    Henry Jackman, Hans Zimmer
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T-Mann036 reply Replies: 4 || 2014-11-24 03:50:27
Henry and Hans' best complete film score.


Adam2014-11-24 05:52:58
Do they have another "complete film score" together that people are not aware of?


Edmund Meinerts2014-11-24 09:26:51
Henry IV?

(which is a much better score than this one)


Hybrid Soldier2014-11-24 09:36:11
Well doesn't count much since Hans didn't really write anything on that score... lol


Edmund Meinerts2014-11-24 10:16:07
Yeah I know...it was the only thing I could think of. Well, Jackman did work on stuff like Dark Knight and Pirates 3 (which if you're counting those, makes T-Mann036's comment very ridiculous indeed).

Felix reply Replies: 0 || 2014-10-22 22:31:58
Hey Hybrid what's with a Front Cover? :D

badbu reply Replies: 2 || 2014-07-08 14:57:26
i want it, i want it! :D


Edmund Meinerts2014-07-08 18:18:34
That kind of enthusiasm for a generic percussive mess of a score?


RealFfingMusic2014-07-09 13:43:46
He gets erections from "generic percussive mess"-ed scores. What can anyone do about it? (Rhetoric, btw.)

JamesT reply Replies: 0 || 2014-03-12 02:15:08
Interesting to see the cue sheet info. I love reading all these thoughts and comments. I'm going to start comparing these involved score compositions to a classic car car that been locked away in a garage from public view and comes rolling out "all shiny again" one day.......you never know what's been going on under the hood :)

Hybrid Soldier reply Replies: 13 || 2014-03-11 17:15:02
And here is what the cuesheet says...


Edmund Meinerts2014-03-11 17:30:08
This probably isn't even 100% accurate either...it doesn't include e.g. Jasha Klebe, Lorne Balfe, Matthew Margeson and others who are credited with additionals.


Hybrid Soldier2014-03-11 17:34:15
Of course it's not accurate... It is only interesting for Hans' involvement which is right, but it surely misses all the rest lol...


Lambegue2014-03-11 20:54:27
Yes, very interesting indeed ! Thanks a lot Hybrid


LBF2014-03-11 21:01:46
This all really confusing, Jackman said in an interview with Classic FM that Zimmer didn't write any music for the film.


Lambegue2014-03-11 21:09:48
They wanted to keep it "secret" for some time...Even on this site, the participation of Zimmer wasn't official before several weeks (I think) after the release. So maybe you just heard quite an old interview ?


Edmund Meinerts2014-03-11 21:10:02
I'm sure it's in his contract that he has to say that, LBF... :p


Hybrid Soldier2014-03-11 21:15:09
Interviews are made to tell lies, or why would any composer need them ? lol


Mike2014-03-11 21:29:35
So Zimmer did the Time ripoff? :D Interesting! Didn't you say it was Lorne though, Hybrid?


Hybrid Soldier2014-03-11 21:31:01
Oh I still think it's Lorne, but his name will never appear anyway...

I heard even Lorne dropped in the end and Hans finished alone... LOL


LBF2014-03-11 21:34:01
The interview was conducted just a few weeks ago around the BAFTAs, can't put the link on here, but easy to google it. Just seems a little weird as he flat out denies Zimmer being involved at all.


Hybrid Soldier2014-03-11 21:47:59
Simply because he never admitted publicly what a mess (and a true nightmare) this film & score was !

And when you get nominated for stuff, you shut the hell up...


In private, on the contrary... lol


Lambegue2014-03-11 21:54:29
Was it the director who asks Zimmer to come and write some stuff, or was it Jackman who asked for help ?


isildur2014-03-11 22:36:19
Scene when the BAFTA announced their nominations:

BAFTA : Captain Philiphs nominated for Original Score

Me and Everyone: Haw Haw! :D

Mike reply Replies: 14 || 2014-01-28 04:08:25
I just saw the film. I swear that those last 20 seconds before the credits, as it showed the ships and got all loud and Journey to the Line-esque, were directly from Time. I couldn't tell whether the OST track "Safe Now" cut the cue short or if the mix was slightly different within the film, but if I didn't see a complete and total resemblance to Time before (and Journey to the Line, too), I do now.

And I find it funny that Hybrid says the score was such a mess and the director was such a pain when the score really wasn't even that good. It was serviceable enough in context, but the only music I remember was a bunch of loud WAAAAAAAAAHs for suspense, a Bourne ripoff as the pirates first boarded the Alabama, and of course, the near-carbon copy of Time. It seems like if the director was gonna be such a pain, he wouldn't have settled for the score he got.


MacArthur2014-01-28 16:54:48
I thought the score was great.


Mike2014-01-28 17:47:27
I'll admit I was moved at the end there, but that was primarily because of Tom Hanks' awesome acting, not the music primarily.


Edmund Meinerts2014-01-28 20:51:00
What is so great about this score, MacArthur? Seriously. A bunch of limp action cues that are like Green Zone/Bourne with 10% the energy, and then a Time ripoff with about 10% the emotion. I fail to see what even a hardened Zimmer fanboy such as yourself could find to like in that score. It is, at BEST, serviceable, and nothing more.


MacArthur2014-01-28 21:34:12
Agreed Tom hanks was fantastic. and the score was actually entertaining for the film. the pulsing drum cues for the pirates. the theme for the navy. it was very good and moved the story well. that's all one can ask for. and it was (If you can get past Safe Now) a good action score.


NM2014-01-29 01:46:22
Generic city.

The score was the only bad thing about the film and actively distracted me at at least two points (one of which was the end). A lot of scenes were made to feel more like generic action scenes because of the music, and some of the ethnic sounds haven't been fresh since the 90's. A pity such a great film got a temp-track nightmare.


Mike2014-01-29 03:08:08
Well said, NM.


MacArthur2014-01-29 03:43:59
Ok. I still like the film & the music, to each his own I guess.


Mike2014-01-30 03:29:16
Didn't this film also use part of John Powell's United 93 score?


Russel2014-01-30 03:46:27
You like every film score it seems, MacArthur. Haha.


MacArthur2014-01-30 05:12:05
Not all Social Network sucks. Not a huge fan of the Lion King.


AG2014-01-30 09:30:33
Honestly I don't see what all the fuss is about this "Safe Now" track. I just watched the film and it worked beautifully in the scene and I was very moved. Isn't that what the score is meant to do - enhance what's on the screen? So shouldn't we be less concerned about its resemblance to other of Hans' tracks and focus on how it worked in the film? I don't know, just my opinion.


Edmund Meinerts2014-01-30 12:51:07
By that logic, AG, we wouldn't have to write film scores anymore...just create a huge library of cues labeled "action" "drama" "tragedy" "romance" or whatever and cut and paste them into every single movie. Sure, it would work on a basic level. But then the films wouldn't have an individual sound to them. And that's why "Safe Now" is such a weak cue. Because instead of supporting the visuals it makes me wonder where Captain Phillips' totem is and whether he's in a dream or not.


MacArthur2014-01-30 16:11:49
I don't have a problem with it at all. The logic there wasn't bad AG because there were different cues in the film which were good. just Safe now was the only thing that was really close to Time. I don't mind it, but apparently everyone else does.


Rob2014-02-25 00:09:08
I noticed too that the last shots were scored to music that nearly exactly mimicked Time from Inception. Then I saw Hans Zimmer in the "Thank You's" at the end of the credits. I wonder how that came about. Perhaps he asked Hans's permission? It took me out of the movie a bit, but it was the end and I suspect only film music buffs would notice.

Russel reply Replies: 8 || 2014-01-26 02:02:49
This one's great. :)


badbu2014-01-26 10:55:58
oh, very nice! :)


Edmund Meinerts2014-01-26 12:43:34
Hm. This score was boring enough on the original release, can't see how a complete score will change things...


Mortifer V.2014-01-26 14:36:47
exactly what I was thinking, Edmund.


MacArthur2014-01-26 17:35:07
I like it.


MrZimmerFan2014-01-26 17:57:59
I have mixed feelings about this, i like certain tracks like Second Attack (i know, there is temp samples of Bourne action-strings, but is so adrenalitic), in the other side, isn't much


Scorefan2014-01-26 20:03:55
So, this version only has jackman cues or zimmer and balfe additional cues?


Hybrid Soldier2014-01-26 21:10:27
It's the finale score...

Obviously the Finale is arranged here by Lorne Balfe, actually...


Anonymous2014-01-28 18:23:12
What was that in response to, hybrid soldier?

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Captain Phillips (Complete Score) soundtrack - Henry Jackman 2013