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Taking in the movie now after having seen it. The cinematography is brilliant, and there are some interesting concepts that really will have you thinking long after walking out of the theater. Still, I couldnít help but feel like the film dragged throughout. Coupled with the voiceover the movie has a very ĎTerence Malick-yí, ďThin Red LineĒ feel throughout.<br><br>Iím definitely not familiar with Max Richter so I canít comment on what he might have written, but Balfeís broad-chord style is pretty recognizable throughout. There are also some interesting electronic pieces used throughout, possibly might be Balfe but hard to say as of now. The rest of the music is pretty contemplative, ranging from slow/emotional string pieces to more ambient droning.Well, I heard only Balfe's "Prayer" and Richter's "To the stars"... All I can say is we need to wait for the full release, hear both composers and only then talk about who better coped with this. (and watch the movie of course)<br>I don't think Balfe is a bad composer. He does pretty good as an additional composer but not as a leading (mostly). The only soundtrack that I consider the best to date in his solo career is "M:I-Fallout" and "Assassin's Creed III". (imo)<br>Who knows what will be this time. But for now I like Richter's track more.Maybe you have a download link?Download link?I'm just waiting for Gemini Man, that (i hope) would be fun
I love that cue.So I created a page for it, move away from Ghost In The Shell !! :PI wonder if this track is the one causing consternation: Nils Frahm: 'Says' https://www.youtube.com/watch?v=dIwwjy4slI8<br><br>It sounds a bit like what Richter and Balfe could produce, but it is much more artistic than Balfe and much more synth-based than Richter. Frahm is credited for additional music.Not writing negative comments about Balfe for the purpose of writing negative comments - ie. trolling - but for the fact that Balfe does not seem to take film composition seriously. Goldsmith had a similar pace in the 1990s that equates to contemporary Balfe, but he managed to produce fantastic scores like Air Force One in a few weeks (yes, with some help from McNeeely). Balfe simply does not seem to have those skills so he resorts to cliches and drony nonsense. I await to be proven wrong. That Balfe track is not half-bad so I do maintain a general sense of expectation for this.Not any more lame than the Balfe cue
Lorne says it will be released and insists itís not a GITS situation.That's been standard in certain cases, though considerably less nowadays with how complicated these situations have become.<br><br>Having heard both tracks posted, both give me little on their own. I'm sure they work better in the context of the film, and we might see better tracks unveiled eventually.He deserve better.Hans and Lorne like twins. Lorne has a very good personality. I still don't understand why some people are still writing bad comments to Lorne?Probably... lolSo is this how itís gonna be? Official release for Richter and leaks by Balfe :(
Lorne posted a track from Ad Astra on his YouTube channelThank you. And i suppose "Need You Busting My Balls - End Credits" title would correspond to ASCAP "Need You Busting My Balls" + "RUSH END CREDITS", while "Just Married" to "RUSH MAIN ON END"?Thatís literally the best part of the score though. But itís typical Richter (Miss Sloane, Black Mirror: Nosedive).Hunt Drunken Weirdness is barely a cue actually, it's just a patch up of sound designs by Mel...<br><br>Italian Party is a name I made up for a cue that's not used in the movie ! :)In ASCAP there is a cue "HUNT DRUNKEN WEIRDNESS" - is this by a chance an alias to "Italian Party", which is absent in ASCAP. Though there are different credits Zimmer/Wesson vs Zimmer/Klebe.
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Additional MusicMusic Scoring MixerMusic Editor
Harry Gregson-WilliamsStephen BartonMalcolm LukerMeri Gavin
ComposerAdditional MusicMusic Scoring MixerMusic Editor
Seraphim Falls (Complete Score)
Label: Unofficial Release
Length: 75'31
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 (2289 votes)
  1. Ruby Moutains, 1868 (1:42)
  2. Gunshots (1:03)
  3. Hunted (1:50)
  4. Find Him (0:39)
  5. Setting Up A Fire (0:50)
  6. Gideon's Dream (1:32)
    Harry Gregson-Williams, Stephen Barton
  7. Searching For Tracks (1:01)
  8. Deadly Knife (3:19)
  9. Who The Hell Is That Man? (1:57)
  10. Gideon Leaves (1:28)
  11. Tell Me About The Man (1:43)
  12. Fooled (1:28)
  13. A Diversion (2:51)
  14. Seraphim Falls (2:18)
  15. A Bear Trap At Dawn (2:01)
    Harry Gregson-Williams, Stephen Barton
  16. Across The Prairie (1:18)
    Harry Gregson-Williams, Stephen Barton
  17. He Killed Over A Hundred Men (1:56)
  18. Another Victim (1:30)
  19. He Sees Your Sin (1:39)
  20. Knocked Out (0:32)
  21. Gideon Escapes (3:01)
  22. Let's Move (1:30)
  23. Far From Over (1:17)
  24. Dreams (1:22)
  25. One Bullet Left (1:09)
  26. Horse Down (2:38)
  27. War & Orders (2:26)
  28. Torch The House (1:53)
  29. The Burning House (3:03)
    Harry Gregson-Williams, Stephen Barton
  30. Not Giving Up (1:31)
  31. How To Value A Man's Life? (2:18)
  32. Mme Louise's Cure All (3:33)
  33. Desert Journey (6:07)
  34. Finish It (1:23)
  35. Forgive Me (5:03)
    Harry Gregson-Williams, Stephen Barton
  36. Forgive Me (Alternate) (5:00)
    Harry Gregson-Williams, Stephen Barton
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Seraphim Falls (Complete Score) soundtrack - Harry Gregson-Williams 2006