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Not as simply as that.... Training is Ramin's arrangement of a Hans theme, and the core of Mr. Charles when the Fischer theme isn't playing is a Hans idea, too, as far as I know. Take the Zimmer out and those moments wouldn't be the same.I think Balfe working with Nolan would have done a great jobBob,The Training is basically Ramin Djawadi and Mr.Charles is BalfeI hope these two team up again. Zimmer's score is the main driving force for some memorable scenes. Just a few<br>Batman Begins-The Training<br>TDK- Joker crash the party, Gordon's speech and ending<br>Inception - Time, Mr.Charles, <br>TKDR - the climb, imagine the fire and orphan<br>Interstellar-Stay, Docking, coward, mountain<br>Dunkirk - well the entire movieJustin Hurwitz I can see. I enjoyed La La Land and First Man. But Both Hurwitz and Göransson are several notches above Lorne Balfe. <br><br>I think 80/100 directors would rather work with Göransson than Balfe.
I really believe that Nolan has made a mistake as a composer.I think Lorne Balfe, David Julyan or Justin Hurwitz would be much better options than Ludwig Goransson.Interesting news. <br><br>Geoff Zanelli is one of those composers who I’ve loved his additional music over his solo efforts, Pirates 5 excluded. I hope he gets a chance to write some great fantasy music for this, regardless if he reuses JNH’s themes or not.I think I am the only one, who would be glad about David Julyan return.<br><br>I really like his music for early Nolan's films, especially Insomnia, and it's what i can call an "atmospheric experience".<br><br>Don't know how his music fits for espionage timetraveling movie, but, for me, i'st would be something interesting to hear.@mpolonest123: those Pemberton scores are indeed pure gold, very cool on album but insanely good in the movie. My favorite is still his King Arthur, that was a beast of a score that stuck with the movie like glue and really enhanced Guy Ritchie's dark, twisted, trippy vision.*3 things
Sure, but there's two things to consider. <br>1). Pirates has such an iconic sound that it'd be really stupid for them to suddenly abandon it at #5. Especially when we hired the guy who has worked on the previous 4. 2). Maleficent, as successful as it was to warrant a sequel, isn't quite as well known in the score department, despite being well received by those who have heard it. 3). Because Zanelli worked on all Pirates, he had enough familiarity with the sounds and motifs that he knew where to go once he led the ship. In Maleficent's case, he's taking over from a previous composer, and is working with a director who likely only knows his work on POTC5. As such, there's no knowing yet if he might be compelled to continue on from JNH, or if it's decided he just does his own thing.<br><br>I'm happy that Geoff at the very least has a safe career at Disney, considering two of their recent live action successes has had him involved. However, considering I hear his recently work hasn't been his best, JNH likely would've benefited from returning to a world that had some of his best material after he wasn't given the opportunity to do so with Glass. As such, it really is a severely missed opportunity, even if newer blood is getting more opportunities.Just listening to this again. It really is a best of both score. What I think is so great, is that you can hear both of the brothers' own voice but they blend so well together!! Really really great score!<br><br>It's a really remarkable score, the swifts in tone between dramatic and jazz is top-notch. It's higher on favorite list from 2019 already, than I thought it would ever be.<br><br>Give me more Gregson-Williams brothers scores!!!!!!I was hoping for JNH, but we'll see what he does. JNH's themes were amazing zo it would be stupod not to use them. But he used the Pirates themes, so I'm feeling actually quite ok about itTrue, but he didn’t really get credit for The Lone Ranger or any of the Pirates films other than #5... those are billed strictly as HZ scores. I would say Christopher Robin likely was a result of the success of his Pirates score, and Timothy Green wasn’t really a Disney tentpole release. Maleficent isn’t a Marvel or Star Wars level tentpole, but it is still a blockbuster film that I think he’ll do an awesome job with.@Mephariel - you’re right. However Interstellar and Inception, musically speaking, are simple scores. They are moving, beautiful, and masterpieces, but still simple. Which is great! <br><br>But if we are wanting Zimmer to return to a type of music, I’d much rather prefer something along the lines of Pirates, The Rock, The Last Samurai, Crimson Tide, etc. Tonally, of course it would be more modern and new, but melodically a return to those forms would be a dream come true.
Geoff has done several other Disney projects besides Pirates 5.  (All Pirates movies since the first, Lone Ranger, Christopher Robin, Odd Life of Timothy Green). And I have to say that I would rather JNH return for the sequel, as that would allow him to expand on his fantastic score for the first film.@George<br><br>To be fair, Interstellar is a genuine masterpiece score and maybe one my favorite score of all time, but I am not sure when Nolan will allow Zimmer to return to that type of scoring. <br><br>Hell, Time is my favorite cue ever, but again, I am not sure if Nolan is interested in that kind of music anymore.  <br><br>I guess we will see with Tenet. And yes, I absolutely think Göransson can be a future star in the making and if anyone is allow write his or her own "Time" cultural moment, it may as well be him.@mephariel @mpolonest123 - glad I’m not the only one who’s more excited for those compared to cold and dark Nolan/Zimmer scores. I’m kinda over those to be honest.And if I’m completely honest, I’m more excited by WW84, Spongebob, Top Gun, and Dark Phoenix than another potential Nolan collab.@mephariel <br>I can definitely see that, especially with King Arthur and Spiderverse. I do think his music adds a lot to the films he scores (Steve Jobs and Man From Uncle being two great examples) where he consistently switches up styles and tones to keep things fresh. Maybe not the strongest theme writer but I do love his approaches.
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Henry JackmanMatthew MargesonGavin GreenawayStephen Coleman
ComposerAdditional ArrangementsConductorOrchestrator
Kick-Ass (Complete Score)
Label: Unofficial Release
Length: 100'34
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 (2600 votes)
  1. Also Sprach Kick-Ass (1:31)
    Henry Jackman
  2. Stand Up (3:27)
    The Prodigy, Marius De Vries
  3. Leaving The Comic Store (0:46)
    Marius De Vries
  4. Watching (1:08)
    Henry Jackman
  5. Man In The Mirror (1:09)
    Henry Jackman
  6. Shooting Mindy (0:46)
    Marius De Vries
  7. Roof Jump (1:50)
    Marius De Vries, Ilan Eshkeri
  8. Time To Engage (0:31)
    Henry Jackman
  9. Stabbing, Morphine (2:05)
    The Prodigy, Marius De Vries
  10. I'm Kick-Ass (1:18)
    Henry Jackman
  11. Famous (2:25)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  12. Coffee With Katie (0:44)
    Marius De Vries
  13. Walk To Rasul's (1:06)
    Danny Elfman
  14. Rasul's Confrontation (2:46)
    Marius De Vries, Ilan Eshkeri
  15. Big Daddy Shoots (0:12)
    Marius De Vries
  16. Leaving Rasul's (0:50)
    John Murphy
  17. I'm Hit Girl, That's Big Daddy - Kick-Ass Cries - Sal's Phone (2:34)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  18. Giant Cock (0:51)
    John Murphy
  19. Big Daddy Leaves (0:17)
    John Murphy
  20. Marcus Enters (1:09)
    Henry Jackman, John Murphy
  21. A Graphic History (1:38)
    Henry Jackman, John Murphy
  22. Miss You Both (1:52)
    John Murphy, Ilan Eshkeri
  23. Hunting Kick-Ass (1:12)
    Henry Jackman
  24. Killing Kick-Ass (0:51)
    Henry Jackman
  25. Mistmobile (1:42)
    Henry Jackman
  26. Frank & Joe In Car (1:01)
    John Murphy
  27. Frank's Warehouse (2:34)
    John Murphy
  28. In The Warehouse (2:59)
    John Murphy
  29. Pull His Guts Out (0:30)
    Henry Jackman
  30. Warning Big Daddy - Cemetery (1:48)
    Henry Jackman, Marius De Vries
  31. Bedroom Love Theme (2:05)
    Marius De Vries
  32. To Brooklyn Bridge (1:46)
    Marius De Vries
  33. Drive To The Safehouse (2:26)
    Henry Jackman
  34. Safehouse Ambush (1:15)
    John Murphy
  35. Big Daddy Kidnapped (0:59)
    John Murphy
  36. Countdown (1:18)
    John Murphy
  37. Showtime (1:19)
    John Murphy
  38. Interrupted Broadcast (0:23)
    John Murphy
  39. Lights Out (2:12)
    John Murphy
  40. Nightvision (0:52)
    John Murphy
  41. Strobe (1:54)
    John Murphy
  42. Show's Over Motherfuckers (0:34)
    Henry Jackman, John Murphy
  43. Big Daddy Dies (1:37)
    Henry Jackman, John Murphy
  44. Back To Headquarters (1:10)
    John Murphy
  45. Marshmallows (2:51)
    John Murphy, Ilan Eshkeri
  46. Five Minutes (0:41)
    Marius De Vries
  47. Kick-Ass Picks Up Jetpack - Elevator (1:19)
    Henry Jackman
  48. Empty Corridor (0:54)
    John Murphy
  49. Kitchen Stand Off (2:38)
    John Murphy, Ilan Eshkeri
  50. Frank Fight (3:14)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri, Matthew Margeson
  51. Flying (1:51)
    Henry Jackman, John Murphy
  52. Conversation On Roof (1:00)
    Henry Jackman
  53. Leaving The Comic Store (Alternate) (1:05)
    Marius De Vries
  54. Leaving Rasul's (Alternate) (1:18)
    John Murphy
  55. I'm Hit Girl, That's Big Daddy - Kick-Ass Cries - Sal's Phone (Alternate) (2:42)
    Henry Jackman, John Murphy, Marius De Vries, Ilan Eshkeri
  56. In The Warehouse (Alternate) (2:52)
    John Murphy
  57. Drive To The Safehouse - Safehouse Ambush (Alternate) (2:47)
    Henry Jackman, John Murphy
  58. Lights Out (Alternate) (2:25)
    John Murphy
  59. Nightvision (Alternate) (1:25)
    John Murphy
  60. Strobe (Alternate) (2:04)
    John Murphy
  61. Back To Headquarters (Alternate) (1:42)
    John Murphy
  62. Marshmallows (Alternate) (1:14)
    John Murphy
  63. Empty Corridor (Alternate) (1:17)
    John Murphy
  64. Kitchen Stand Off (Alternate) (1:21)
    John Murphy, Ilan Eshkeri
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Anonymous reply Replies: 1 || 2017-02-25 08:44:52
Why 4 composer for one score?


Edmund Meinerts2017-02-25 19:12:59
I don't remember the exact circumstances, Hybrid explained it once...basically there was a revolving door of composers on this one, with Jackman I think being the final guy wrapping everything up. But instead of rejecting the previous scores they decided to work what had already been written into the final score. And apparently a lot of previous John Murphy music was on the temp track (28 Days Later etc), and they decided to get Murphy to come in and rework those pieces himself. It was all a bit of a mess and I'm sure Hybrid knows the story better than me.

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Kick-Ass (Complete Score) soundtrack - Henry Jackman 2010