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Random thought but this got me thinking about Zanelli's history with fantasy.<br><br>Whatever happened to his score for Delgo? I know it's been accused of being super derivative of his other works anyways but still, it's weird to see a RCP score just drop off the face of the Earth like that.There's just something really charming about seeing a prototype for a famous future theme showing up in an old score.<br><br>Or in PotC's case, SCORES.The only ones I've seen properly confirmed are the cues Badelt had listed on his website. The issue with everything else is that there's certain themes that's been associated with certain people, but aren't credited for every appearance. Not to mention that I've never really seen much official credits elsewhere, so I take any that I've seen with a grain of salt.This comment was made before that was properly confirmed, so he was likely going to do it solo at the time.I thought Hans was collaborating with Faltermayer For Top Gun 2
From both ASCAP and GEMACan these be accessed anywhere?The dream is collapsing... :oHoly f*ck, just listened to "Too Many Notes..." and its containing pirates theme itself from Pirates of the caribbean'No Good About Goodbye' was never the intended song for QOS. It was composed after the film was completed using thematic material from the film for Shirley Bassey to perform on her, David Arnold produced album, 'The Performance'
Those files are just sitting there.<br><br>Undownloadable.<br><br>Taunting me.@Ds<br>Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br><br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br><br>I already discussed 300 and Pacific Rim. Clearly deep scripts aren't what I'm aiming for here when I talk about good blockbusters.<br><br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br><br>300's a great example of this, though unfortunately a lot of Snyder's other work isn't, and Bay is close behind. Their films get bogged with way too much obnoxious bullshit to make the odd sequence worth it.<br><br>The Scorponok sequence from TF1, the warehouse fight from BvS, that's real standout stuff. Stuff that loses a lot of its luster when surrounded by two-and-a-half, or god forbid THREE, hours of self-serious pretense, lazy humor, and/or annoying characters.<br><br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br><br>They just aren't very good filmmakers on the whole, and need to learn to consolidate their efforts into something that brings out their best and subdues their worst. Snyder in particular has SERIOUSLY misjudged where his talent is lately.Well, Steve, about the score, says he still working on it.<br><br>I can't wait.A snippet of the verse (at 0:49) also shows up occasionally in the score, in Somebody Wants to Kill You, the end of Greene and Camille, and Field Trip.Ist there any chance for concert in Poland during this tour?
How do I listen to this ?Hybrid, what about any credits for this score?Looking to travel to Berlin for the kickoff. Reckon the concert is in german instead in english?100% agree.<br><br>“You Know My Name”, “Skyfall”, “Goldfinger”, etc. all stand out because they embrace the grander aspects of 007. Having a calm and reflective Bond song can be just as effective though. I feel like “No Time to Die” is basically trying to do what “Writing on the Wall” tried but succeeding much better.I really like the song. It has, I think, a Bangkok Dangerous vibe at first, before the first lyrics. <br>I read some comments on youtube stating its a bad Bond song because its too calm. I disagree. Sure, its less punchy than You Know My Name, but some previous Bond songs, like Tomorrow Never Dies, had the same "mood". <br>This song, No Time to Die, would also have been a prefect choice for the movie Quantum of Solace, which had this melancholic tone. i espacially picture this music during the train bar scene in Quantum of solace, when Bond is drinking thinking about Vesper and the past.
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Harry Gregson-WilliamsStephanie EconomouLadd McIntosh
ComposerAdditional ArrangementsOrchestrator
Miss You Already
Label: Sony Classical (Digital Download Only)
Length: 49'57 (Score: 3'38)
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 (4100 votes)
  1. Miss You Already - Joan Jett & The Blackhearts (2:48)
  2. The Crazy Ones - Paloma Faith (4:06)
  3. What We Leave Behind - Labrinth (3:12)
  4. Losing My Religion - R.E.M. (4:25)
  5. Leave It Alone - Broken Bells (5:29)
  6. I Know What I Am - Band Of Skulls (3:16)
  7. Almost Home - Moby & Damien Jurado (5:59)
  8. There's A Place - Tyson Ritter (4:47)
  9. Almost There - Opus Orange & Lauren Hillman (2:11)
  10. Hello Halo (Cooper Todd Remix) - David Galafassi (2:39)
  11. When You Dream - Sara Jackson-Holman (3:18)
  12. Better Together - Hentai Superstar (4:04)
  13. Goodbye (3:38)
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MrZimmerFan reply Replies: 0 || 2015-09-30 12:39:33
The Martian is already in Napster

http:/ /gb.napster.com/artist/harry-gregson-williams/album/the-mart ian-original -motion-picture-score

Leo reply Replies: 0 || 2015-09-29 02:43:11
Any word on a score release?

Munchowsky reply Replies: 1 || 2015-09-27 10:57:52
Beautiful track, in any case. Too short. Unfortunatly.

rockhound2015-09-27 11:24:22
Goodbye is such a wonderful instrumental track. lovely melody with a nice adaption of diane warrens melody from the track The Crazy Ones. great ending for an album. harry is fantastic when he composes for smaller films.

Felix reply Replies: 0 || 2015-09-25 10:23:48
HGW released a track on his Soundcloud site, it's called
Race to the Hospital

... reply Replies: 0 || 2015-09-22 15:50:04
a 4 minute track:(
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Miss You Already soundtrack - Harry Gregson-Williams 2015