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I was honored, back in 2006, to meet both Nick Glennie-Smith and Harry Gregson-Williams.<br><br>I talked with both about The Rock, and here's what they told.<br><br>Nick & Hans worked very closely on most of their cues. That's why it's so hard to notice any difference between their own styles (and why they share most of the credits).<br>Harry worked separately from Nick & Hans. He remembered working on the San Francisco Chase (though we know Don Harper helped at some point in the process), and on "a lot of the action material from the second half of the movie, once the heroes reach Alcatraz".<br>The credits here tend to prove they were right.<br><br>All the Opening Titles / SEAL Attack is a bit complicated. Hans might have written the theme, but it also might be arranged for pictures by Nick Glennie-Smith (plus there's a lot more going on in these tracks than the man theme alone). So, well, I guess the final result still is a collaborative effort.A brilliant score, no matter what some people might say. Some of the darkest and most beautiful themes by Hans Zimmer were born here, as well as a lot of very exciting and propulsive electronic techniques. <br>Heck, I even like the movie! The score fits like a glove.<br>It helps that I'm a huge Tony Scott fan though.<br><br>Zimmer would even 'steal' from this score quite a bit in some of his later films. The 'Wayne Manor Suite' from TDKR comes to mind, as well as one of the Blade Runner 2049 themes being strangely similar to The Fan's 'Opening Titles' theme, and I'm sure there are other examples.<br><br>I would love for a complete version to be officially released sometime. It's very unlikely, but one can dream...Listen to the first demo at NGS demos album of "The Rock". The opening and SEAL Attack have a few notes from original NGS theme. That's why NGS is credited to it.I remember hearing something about NGS not wanting his name in the opening credits since it was a Hans cue playing. So yeah. I think the opening is really just Zimmer and the NGS credit is a formality since it was supposed to be Nick’s score.I'm sorry, disregard EVERYTHING I just wrote...The credit on "SEAL Attack" is HZ/NGS/Stern, not HZ/HGW/Stern. Not sure how I missed that. *facepalm*
OK, so a thought...<br><br>"Opening" and "SEAL Attack" are functionally identical; Hybrid says that Hans originally wrote it for the latter scene and it was then placed over the main titles of the film. However, the former is credited to Hans and NGS, the latter to Hans, HGW and Steven Stern. Presumably, since HGW/Stern aren't credited on "Opening", their contribution to "SEAL Attack" is limited to that first minute, which does indeed have a lot of HGW-ish percussion work to my ears. That leaves the rest of "SEAL Attack" as Hans' work alone, which begs the question: why the heck is NGS credited for "Opening", then, since it's basically identical? Screw it, I'm labeling that a solo Hans cue. Always bugged me that there wasn't at least one on this score. :pHi dear hans , i'm farzin a film composer from iran , i composed many films & tv series in my country also winning some awards and some of them are in IMDB , but music comunity is verry small here and i think i'm wasting my time & music here , its pleasure to be your assistant or working with you or anything you think i can be useful (sorry my english language is not good). please please just listen to one track of my music (i will send some for you if you reply me with email) and if it was qualified email me and let me know , also i have to travel to california this December cause my family lives there. i'm always thankful hans for your help & attention. Email : farzingharahgozloo@yahoo.comHi dear hans , i'm farzin a film composer from iran , i composed many films & tv series in my country also winning some awards and some of them are in IMDB , but music comunity is verry small here and i think i'm wasting my time & music here , its pleasure to be your assistant or working with you or anything you think i can be useful (sorry my english language is not good). please please just listen to one track of my music (i will send some for you if you reply me with email) and if it was qualified email me and let me know , also i have to travel to california this December cause my family lives there. i'm always thankful hans for your help & attention. Email : farzingharahgozloo@yahoo.comThat's the 'Album Version' of Time To Suit UpI'm "missing" three of the tracks for the complete score - CA Suite, WS Suite, and the alternate version of Time to Suit Up. <br><br>It looks like the CA and WS suites are pretty much the same ones on the official release as the lengths match up perfectly, but where can I find the alternate of Suit Up?
Cheers mateI agree. Great score. This is "Hans Zimmer Dark Minimalism" done absolutely right. And the Oscorp stuff has to be temp. It goes up and down in just the right places.Forgot Macrotus, so the numbering messed up on 5-8 lol... Macrotus = Father to the Rescue + Hide in the Dark + Courthouse Pt. 1... Also, Myotis actually = Initiation into the League + Temple Fight. <br><br>If you have the End Credits too, that's a Batman Arrives/Backup mashup + Training + Father to the Rescue + Bruce Left for Dead + Batman Theme.<br>Gotcha covered. <br><br>1. Vespertilio = Batman Titles + The Long Walk<br>2. Eptesicus = Bruce Goes Home + Training <br>3. Myotis = Temple Fight<br>4. Barbastella = Mugging Pt. 2 + Bat Cave <br>6. Artibeus = Dockyard Ambush Pt. 1 + Meeting Ducard<br>7. Tadarida = Rachel in the Bat Cave + Fight in Crane's Lab Pt. 1 + Batman on Fire + Microwave Stolen<br>8. Antrozus = Facing the League + Gordon at Home <br>9. Nycteris = Prototypes + Why Bats? + Finders Keepers Pt. 1<br>10. Molossus = Batmobile Chase<br>11. Corynorhinus = Surveying the Ruins + Gordon Says Thanks <br>12. Lasiurus = Ra's al Ghul theme suite<br>Any chance you could do a what makes up the tracks for the BB album Hybrid?
Just want to give this score (and film) some major props. It seems like Ron Howard is one of those great directors who brings the best out of the composers he works with. It’s also interesting hearing just how much Lorne Balfe’s voice really comes through here.<br><br>Also, I wonder if it’s a coincidence just how much the OSCORP tune from TASM2 sounds like “Watergate Montage” (or did Marc Webb like a temp lol)Yeah, that theme starting at 1:35 is totally Black Rain! I love it though.So is nobody going to point out that Hans just casually slipped a theme from Black Rain into the middle of "Millennium Theme"...like, note for note? :pI hope there will be an album for Angel Has Fallen by 	David Buckley.PM me on YouTube for further questions.
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Ramin DjawadiBrandon CampbellStephen ColemanWilliam Marriott
ComposerAdditional MusicOrchestratorTechnical Score Engineer
Game Of Thrones (TV Series - Season 5)
Label: WaterTower Music
Length: 58'40
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 (4581 votes)
  1. Main Titles (1:45)
  2. Blood Of The Dragon (1:33)
  3. House Of Black And White (5:08)
  4. Jaws Of The Viper (2:31)
  5. Hardhome, Pt. 1 (5:06)
  6. Hardhome, Pt. 2 (4:31)
  7. Mother's Mercy (2:14)
  8. Kill The Boy (2:07)
  9. Dance Of Dragons (3:08)
  10. Kneel For No Man (4:45)
  11. High Sparrow (3:23)
  12. Before The Old Gods (2:37)
  13. Atonement (2:54)
  14. I Dreamt I Was Old (2:16)
  15. The Wars To Come (4:48)
  16. Forgive Me (3:17)
  17. Son Of The Harpy (5:17)
  18. Throne For The Game (1:20)
Create Topic

iamtommie reply Replies: 7 || 2019-03-11 20:25:59
Episode 1
Atonement
Kneel For No Man

Episode 2
Blood Of The Dragon

Episode 3
Kill The Boy

Episode 4
High Sparrow

Episode 5
-

Episode 6
House Of Black And White
Before The Old Gods

Episode 7
I Dreamt I Was Old

Episode 8
Hardhome, Pt. 1
Hardhome, Pt. 2

Episode 9
Forgive Me
Son Of The Harpy
Dance Of Dragons
Blood Of The Dragon

Episode 10
The Wars To Come
Jaws Of The Viper
Mother's Mercy

Not in Episode
Throne For The Game


Medigo2019-03-12 10:35:27
Me again
Son Of The Harpy also played in episode 4 I think


Iamtommie2019-03-12 13:00:30
Yeah, I know, but in Episode 4 there are a lot of different varations in the cue especially when Barristan fight.

In the dragon pit scene almost the entire cue is heard apart from the last minute or so.

That's why I put them this way


Medigo2019-03-12 14:32:34
I guess I didnt pay a lot of attention to the arena scene.
I think its more likely that the album track is a suite anyway.


Bondo 2019-04-04 06:28:26
FYI Atonement appears in episode 10. It’s Cersei’s “atonement”


Medigo2019-04-04 10:15:23
You'd think so. But the atonement scene is perfectly quiet for most of it.


Iamtommie442019-04-04 10:39:57
Atonement is from the first episode when Cersei & Jaimie are standing next to Tywin's body in the Sept of Baelor


Backbiter2019-04-04 12:31:12
Not exactly, is an unused track. The conversation between Cersei and Jaime is accompanied by a more quiet version of Rains of Castamere.

Jerry reply Replies: 0 || 2019-03-10 23:46:45
Any idea of a Chronological Order? Including Episode numbers?

kingfannypack is the MILFcommander reply Replies: 0 || 2018-04-20 08:25:19
The Stark theme always left a big impression on me, but the way it plays when Jon Snow dies gives me the chills


... reply Replies: 0 || 2016-05-16 23:12:14
OMG the music was great in episode 4! The ending piece has to be on the OST!

... reply Replies: 1 || 2015-09-06 23:36:27
Wow. Ramin has done it again. I think that the new themes work brilliantly and that the development of old themes blends perfectly. Son of the harpy is such a great track. Too bad we don't have the version that plays in episode 9. It's a bit different.


Alan2015-09-07 14:21:59
the season 3 score is better

Felix reply Replies: 0 || 2015-06-19 23:15:48
Hello Hybrid, do you have a cue from Ramin's The Srain: Season 1 Score?

Phil reply Replies: 2 || 2015-06-16 18:28:04
soo many Cello-Solo parts :) very nice


Edmund Meinerts2015-06-16 20:58:41
That's not such a surprise considering Djawadi plays the cello and thus eliminates the expense and effort of hiring a soloist. :p


Hybrid Soldier2015-06-16 21:07:12
The POTC 1 cello !

Ramin influence everywhere !! :P ;)

Macejko reply Replies: 13 || 2015-06-14 13:51:32
Awesome as always. "High Sparrow", "Son Of The Harpy", "Dance of Dragons" and "Hardhome" are simply astounding. Too bad there's some music missing, like the cue from Brienne's chase sequence, the Stone Men theme and more from Dorne - I expected more than just a little bit of guitar in "Jaws Of The Viper".
P.S.: I really hope that once the series is over we'll get some giant expanded edition of music from all the seasons.
P.P.S.: I've never been more ready for you, Warcraft!


Ds2015-06-14 14:37:00
I'll never understand why you're so crazy about this music, Macejko. Probably you like so much Djawadi that everything he puts out HAS to be great. The whole thing about the Game of Thrones music is that it is ambient music that doesn't take a big place, that remains in the background, providing dark and tense atmosphere, but that's it. I find these albums to be a rather boring listening experience, except for a few great cues of course, and a magnificent main theme. If only the actual score for this series sounded more like its main theme...


Macejko2015-06-14 15:08:35
Not all music needs to be a spectacular one like the main theme. In fact, it mustn't be, for obvious reasons. What can I say, I enjoy both types, be it the spectacle in "Dance of Dragons" or the eerie, mysterious quality of "House Of Black And White".
Of course, everything Ramin comes up with DOESN'T have to be great and there is stuff I consider only serviceable. But he doesn't compose to please ME personally, so who am I to complain if there are few tracks that don't blow me away? I find his albums to be amazing as an OVERALL work of art, with MAJORITY of the cues being great. I never said that I worship every single cue he's ever done. That would be impossible, and not just for me, but for everybody who has a favourite composer of their own, be it Hans, Goldsmith, Mansell or literally whoever else.


Hybrid Soldier2015-06-14 15:10:18
Wow Belgian / Slovakian showdown ! Let me grab my popcorn !!


Macejko2015-06-14 15:17:51
Oh, come on :D
Ds and I actually see eye to eye on most of the topics :)


Ds2015-06-14 20:17:56
Yeah we agree on almost all topics, except when it comes to Ramin. I dont hate his music but I just dont understand why Macejko worships him :-D

I get your point and I agree. I also like ambient scores, but Game of Thrones' music is too simplistic, too sober for my own taste. Scores like Broken City or Pain and Gain I find really pleasant on album, because they are much more layered. GoT, not so much...


Adam2015-06-14 23:28:47
There's a lot more than just ambience in Game of Thrones, Ds! There are actual themes! Like Daenerys' theme (Mhysa) and Jaqen H'ghar's theme (Valar Morghulis)! They're great stuff. So good!


Edmund Meinerts2015-06-15 11:01:17
The thing about Djawadi's themes for Game of Thrones is that (with some exceptions) they're so basic, so unmelodic, that hearing references to them in ambient/underscore cues doesn't do a whole lot to raise the interest level of that cue. Yeah, it's nice that there's recurring motifs and such, but when the motifs themselves are so dull that doesn't do much for me. People say the same about Howard Shore's Hobbit scores but Shore's themes are much more interesting and cleverly manipulated than Djawadi's.


Hybrid Soldier2015-06-15 12:56:05
Unmelodic ? How so ?


Macejko2015-06-15 15:15:27
Not even Shore developed his themes like Ramin did. Rearranged? Sure. Developed? Listen to "King's Arrival" from Season 1, then to "The Throne Is Mine" from Season 2 and finally to "First Of His Name" from Season 4, just to name a few. THAT'S development. A true emotional shift, a brand new context.


Edmund Meinerts2015-06-15 15:44:43
Unmelodic in the sense that a lot of the motifs (eg Stannis' or the White Walkers) are just very short ascending or descending patterns or textures, rather than full melodies with distinct phrases. Yes, it's a recurring theme, which is nice, but the theme itself is so short that it doesn't carry any emotional weight. It doesn't make the music more interesting beyond "oh, there's that theme".

And are you seriously going to suggest, Macejko, that Shore's thematic development in LotR/The Hobbit is in any way inferior to Djawadi's in Game of Thrones? Seriously? Don't make me laugh. What you cited with "The King's Arrival" is smart, admittedly, but there are literally hundreds of similar developments running all through the LotR scores. Look at what he does with the Fellowship theme. It starts out heroic but still subdued when it's just the Hobbits and Aragorn, then gets huge and fanfare-ish once the entire company is assembled in Rivendell, falls apart towards the end of FotR after Gandalf dies and then picks up steam again in TTT and RotK. You never hear that theme played the same way twice. In comparison, all Djawadi ever does with his main theme is play that same damn ostinato over and over again...different speeds, maybe, but always the same feeling (the only exception, and it's a great one, being "Three Blasts" from season 2). The way Shore's different themes have shared melodic fragments that connect the concepts to one another (e.g. the half-step opening of the Ring theme, Sauron's theme and the Ring's seduction theme) is another compositional nuance that's entirely lost on Djawadi.


Hybrid Soldier2015-06-15 16:16:03
In The Hobbit ? Let me think... YES... lol


Macejko2015-06-15 16:38:48
IMHO, all those nuances mean pretty much nothing when they are so buried in the soundscape that you have to be extra attentive to even notice them, or listen to the soundtrack a thousand times to discover them. From my point of view, the basic layout is this: in LoTR, the melody encapsulates the change, however in GoT, it's the change that encapsulates the melody. What this means is that while in LoTR you seek for a emotional differences in theme-variations that sound really similar to one another, in GoT you search for a theme in cues that couldn't be more emotionaly distinct from one another. I consider this to be a huge difference, and also one of those that separates the "old school" (Shore, Williams...) from "new school" (Hans, Ramin...), if you will. I think you rely a little too much on musical theory and missing a bigger picture. The way the things are done nowadays is not bad simply because it differs from the past methods, and you shouldn't say that something "is entirely lost" on Ramin. He and many others from RCP studied music and they are certainly well aware of the "old school" methods the critics are blaming them for not using. They might have simply CHOSEN to not use them.


Ds2015-06-15 19:17:39
Macejko I agree with your last post, about those old and new views on film music. However, while I fully appreciate Hans' method (actually I'm in love with it), I often find Djawadi to be too simplistic. I'm not looking for musical complexity (for instance I didn't enjoy the Hobbit scores at all, and I'm a huge fan of the heavy, brutal sections of Man of Steel), but I want the music to float in my ear, to move me somehow, I want a "full" sound with many layers, some crazy rythms. In my opinion Hans has got an amazing sense of entertaining, crowd-pleasing music (and I mean that as a compliment). Djawadi's music often lacks depth, it's like he's trying so hard to become Hans but stops at the "demo" stage. And the result is often kind of cheap-sounding and hollow.

Macejko reply Replies: 5 || 2015-05-12 11:38:53
It's only half of the season and we've already been introduced to three new themes. I can only imagine what awaits us down the road, and I can't wait for the score to come out :)


Zimson2015-05-12 12:03:21
I can't wait for his Warcraft score to come out. They keep delaying the release, but I'm pretty sure they're going to show the trailer at gamescom and hopefully include some of his music.


Anonymous2015-05-12 14:57:26
Well, I can't wait for POI season 3 & 4 soundtrack. What's going on with these?


Mark2015-05-12 15:02:54
Wow, great news. I think 'July 17' will be for the CD release. So the digital version will come out earlier on June, like the year past.


Medigo2015-06-04 15:11:20
woo samples
woo Kill the Boy


Radik2015-06-09 19:19:22
Son of the Harpy, what a excellent track! that moment when it's start plays in the show freaks me out. Pretty creepy and scary moment of entire season :)

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Game Of Thrones (TV Series - Season 5) soundtrack - Ramin Djawadi 2015