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Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)
Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Thanks MIKE, Any ideas of how can I Google it?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>
I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?
These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.Does anyone know where you can get a digital version of the Japanese versions 2 bonus tracks?
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John PowellPaul MounseyAnthony WillisGermaine Franco
ComposerAdditional MusicAdditional MusicAdditional Arrangements
Rio 2
Label: Sony Classics
Length: 55'10
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 (4302 votes)
  1. 20th Century Fox Fanfare (Rio 2 Samba Version) (0:24)
  2. Batucada Pagode (1:35)
  3. Over The Falls (featuring Milton Nascimento) (3:39)
  4. Breakfast In Rio (3:08)
  5. Fireworks On The Roof (featuring UAKTI) (1:27)
  6. Traveling Family (1:59)
  7. Sideshow Freaks (featuring UAKTI) (3:08)
  8. Stalking The Ferry (2:06)
  9. River Boat To The Loggers (featuring Carlinhos Brown & UAKTI) (2:59)
  10. Escorted To The Clan (featuring UAKTI & Barbatuques) (5:40)
  11. Up Carla's Monkey (featuring UAKTI) (2:15)
  12. Spider Invite (featuring UAKTI & Barbatuques) (2:46)
  13. Humans Are Longer Than They Told Me (featuring UAKTI) (2:23)
  14. Tongue-apult To Blu's Nightmare (2:08)
  15. Red Bullies (featuring UAKTI) (3:19)
  16. Tantrums Lead to Explosions (featuring UAKTI) (3:42)
  17. Lollipops Are Bad For Your Teeth (featuring Milton Nascimento, UAKTI, & Barbatuques) (3:55)
  18. Battle For The Heart Of The Forest (4:45)
  19. Romeo And Juliet’s Unfortunate Demise (featuring UAKTI & Barbatuques) (3:52)
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Brent reply Replies: 3 || 2014-04-23 23:23:56
Interesting development: filmmusicreporter.com/2014/04/23/john-powell-to-take-break-f rom-film-music-to-compose-concert-music/


Hybrid Soldier2014-04-24 00:01:22
Well I don't think he's taking another break...

It's still the continuity of his 2012 decision to step back... Rio 2 & HTTYD 2 being some kind of parenthesis... If he has a project he cares about, he'll score it... But like I said before, don't expect him to go berserk scoring 7 films a year and saying yes to everything, like in the past... Far from it...


Anonymous2014-04-24 05:49:32
Of all the film composers I know, Powell was one of the few I did not want to step aside.


Anonymous2014-04-24 05:57:03
So, he is not returning for Dragon 3 Or Kung fu Panda 3?

Ds reply Replies: 4 || 2014-04-22 15:58:58
Big interview with John Powell about his career here:

empireonline.com/features/john-powell-career


Anonymous2014-04-22 17:51:10
Good read! Thanks for the share!


Ds2014-04-22 21:11:11
Yeah, it's a really interesting and funny interview. Interviews of him aren't that frequent, so I enjoyed it twice more!


isildur2014-04-22 22:07:33
Cheers :)


trent easton navarro2014-04-23 14:04:15
"That’s why film music is getting terribly uninteresting. It’s a snake sucking its own cock. Everything sounds like The Dark Knight if it is big and epic. Everything sounds like Bourne Identity if it is small and spy-y."

Hard to disagree with this one.

The rest of the interview was also very interesting.

aldan reply Replies: 0 || 2014-04-09 08:29:20
Heard this score,.....

One thing to say: a true comeback!

The score in Rio 2 is nothing but inventive, engaging, and fun.

Yes it's animated movie, and you may expect some mickey-mousing here and there, but the Powellness is still there and improving. The orchestration is highly advanced, the previous themes are smartly arranged (in some you might hear a new theme on the fact that is the old theme).

Having said that, this score still doesnt reach the level of HTTYD, Mars, Robots, and other Powell's animated score( blame the movie i guess), but it ranks one of the highest in Powell's sequel score

Standout cue: "battle for the heart of the forest" and perhaps "bola viva" (from song album)

This score makes me even believe what a mighty score HTTYD 2 will turn out to be

Ds reply Replies: 3 || 2014-04-05 17:48:29
I saw it today, it is such a joy to watch a movie scored by John Powell. Big smile on my face!


Lambegue2014-04-05 20:45:18
Is this as good a score as everybody here seems to hope ?


Pablo Reyes2014-04-05 21:08:06
I'm sure the score will be a masterpiece. Is the movie any good, though?


Ds2014-04-05 21:50:52
I'd say that both movie and score are on par with the 1st one. They are funny, sunny and colourful. More particularly, this score is a very enjoyable, light and playful listening experience. Especially if you were missing John Powell :-)

But the real beast everyone's waiting for is, of course, How to train your dragon 2!

J. A. J. reply Replies: 3 || 2014-03-26 04:22:37
Track lengths can now be seen on Soundtrack dot net.

Also, the song album is out now, and having heard it, I can happily say that Powell plays a pretty big part in the arrangements of many of the songs.


Pablo Reyes2014-03-26 23:30:19
Agreed.


Pablo Reyes2014-03-30 18:30:41
The Bola Viva track from the album has Powell written all over it.


J. A. J.2014-03-31 02:49:45
The songs are pretty much necessary if one wants a complete presentation of Powell's work. Hopefully, the song album will eventually get shown on this site.

Hybrid Soldier reply Replies: 18 || 2014-03-21 00:10:37
He has finally returned... lol


Edmund Meinerts2014-03-21 00:25:50
This is mostly an appetizer to the main course of HTTYD2, but hopefully it will be a very nice one. I can't even begin to say how much I've missed John Powell over the last nearly-two years.


Paul2014-03-21 01:08:12
Loving what I'm hearing on those samples! Glad to have our boy back!


Pablo Reyes2014-03-21 01:57:26
What samples? I'm dying to hear the score! I absolutely adore Powell's music and it's incredible how happy I am to have him back.


Paul2014-03-21 02:30:50
Here:

filmmusicreporter.com/2014/03/20/rio-2-score-album-preview/


Pablo Reyes2014-03-21 02:59:29
Many thanks! The samples are a masterpiece! Can't wait to hear the full score!


Brent2014-03-21 07:31:47
Yes! He's finally back. I'm so glad that I get to enjoy an old fashioned Powell score. I've missed that the past couple of years.

Now, when Gregson-Williams returns, I'll be one happy guy.


Hybrid Soldier2014-03-21 08:35:02
Harry is doing Antoine Fuqua's next movie...


And well, as for live action for JP, I don't think it's gonna happen anytime soon... He carefully choose to score what he wants now... And he loves animation...


Leo2014-03-21 08:42:38
Don't forget the new video game, Metal Gear Solid 5: The Phantom Pain. Hopefully it gets a release. :P


Saurabh2014-03-21 08:47:02
As much as I love JP's animation stuff, which no doubt is awesome, it's his live action stuff that I'm missing the most. He adds this unique propulsion to the action with the Middle eastern and Indian(sometimes almost Bollywood-esque) drums like in Bourne, Mr and Mrs. Smith, Jumper,etc which seems to be somewhat missing in the current action scene. It's JP's this signature style that I miss sorely in live action.


Hybrid Soldier2014-03-21 09:09:04
Well what came out of Green Zone is probably not encouraging him to return to that... lol


Saurabh2014-03-21 09:24:02
I think anyone who works with Greengrass won't have anything encouraging to tell. Like Cillian said in Inception, " We didn't have many 'meaningful' experiences together." lol

Here's hoping JP crushes it with HTTYD2.


Lambegue2014-03-21 10:09:56
At last !
On this one I won't listen to samples, I'll just wait until I can hear the full album...


Pablo Reyes2014-03-21 18:17:07
What's wrong with Green Zone? The Attack And Chase cue is really good and exciting! As Saurabh said, anything by the man is as precious as gold. But that's just my opinion.


Lambegue2014-03-21 18:27:01
I think that Hybrid's commentary isn't refering to the quality of the score itself, but to the working process between Powell and Greengrass.


Pablo Reyes2014-03-21 20:15:34
Oh yeah, I see how that could be misinterpreted. What happened between Powell and Greengrass?


Ds2014-03-21 20:18:15
It's funny that you guys are speaking about John Powell, I just re-listened to "Bim Bam Smash" from The Bourne Supremacy, what an awesome action cue!!


Hybrid Soldier2014-03-21 20:25:20
Well he had to re-write Green Zone several times ?

When he understood the mess he was in on Captain Phillips, HZ called John Powell who probably had a good laugh telling him "don't do it"... I guess it says it all...


Jon2014-03-22 15:09:26
Samples sound great! Can't wait!

Saurabh reply Replies: 2 || 2014-03-21 04:54:01
I won't say he finally returned unless it's something live action. But anything by the man is as precious as gold.


Edmund Meinerts2014-03-21 13:04:18
Powell does some of his best work in animated movies, and they give him scope to write expansive, stylish music that often doesn't exist in a live-action movie. I never understand why some people feel the need to look down on animated flicks when, really, they probably offer a much better canvas to composers than most action movies. Just look at the wildly varying difference in quality in Henry Jackman's works...


Paul2014-03-21 18:00:06
Exactly. And didn't Hybrid just say Powell isn't really interested in live action at this point? I'm sure he'll do some for his friends, but it would be interesting if he took an animated picture outside of the US industry.

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Rio 2 soundtrack - John Powell 2014