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Anyone know of a proper chronological listing of this score? I tried cross-referencing it with the expanded listed here and made this:<br><br>01 Dublin, 1996<br>02 <br>03 <br>04 <br>05 Second Warning<br>06 Research<br>07 Driving<br>08 The Beating<br>09 Traynor Lies<br>10 Never Show Your Fear<br>11 Preparations<br>12 The Killing<br>13 Bad News<br>14 The Funeral<br>15 One More Day<br><br>But I have no idea where Conversations, First Warning, and Deceit goes, and I'm not sure if Traynor Lies and Driving are placed correctlyif you read my first sentence you can see I dismisded this rumor as crap<br>..................<br><br>Fair enough....But look back on the comment itself. It's kinda confusing. The way you wrote it created the illusion that Lorne not only ghostwrote the score, but he also dismissed it as crap. You didn't say "I dismissed the rumor". You said: "...a rumor stating that Lorne Balfe ghostwrote this score and dismissed it as crap." <br> <br><br>Anyway, moving on.....<br><br>Steve was interviewed a lot about The Last Knight and it's pretty obvious that he worked hard on that score. From the day they started shooting the movie. Was he supported by other composers? Absolutely. You can't score such a huge movie by yourself. Any composer who claims that is lying.<br><br>So there's nothing shocking or surprising about the fact that other composers were involved here. As for them being "Lorne's people"......well, considering how MV/RC-related composers work and how interconnected everything is, the "Lorne guys" could very well be friends with Steve too and perhaps he simply brought them on board. Or they were recommended by Lorne. It certainly doesn't mean that there was this top secret plan of them and Lorne actually ghostwriting the entire score. I still wonder tho......how do these rumors even come up? Who spreads them? And why? I ask because this is not the first time I've heard rumors about Zimmer scores and Jablonsky scores. It's always these two guys. Which happen to be two of the most prominent and popular MV/RC guys. Coincidence? Not to sound like a conspiracy nut, but it kinda makes me think that someone is intentionally trying to undermine the biggest MV/RC names by constantly throwing shade at their work."Deserving" is a word that doesn't exist in Hollywood, so stop thinking that way... lolThe problem I have with Junkie XL scoring Avatar is just that there are so many RCP composers better or more deserving. You have Zimmer, Powell, Gregson-Williams, Mancina, Jackman, Wallfisch...it is just so wrong to think Junkie XL is scoring Avatar and none of those guys are.I think that Tim Miller played a greater role in case of Terminator and Sonic. And I really don't see Junkie as good choice for Avatar 2.
@Edmund <br>I still stand by my opinion that Holkenborg scoring Avatar 2 could be pretty interesting. Pairing him up with a director who is known to be strict with his musical choices and continuing on from James Hornerís classic might produce something really good. And seeing his gradual progress as a composer with Mortal Engines and Alita have personally given me some hope (2 years ago I would have said hell no).<br><br>And Iím not surprised by the choice for T6. Not looking forward to this project at all but we did get a cool score from Balfe for the last one so maybe there is some hope for the music at least.I think Terminator is a decent match for JXL's talents (listen to "The March" from Divergent), but this feels like further evidence that James Cameron is grooming him for Avatar 2, which I really hope ends up not being the case.Yes, Tom will be scoring the new Terminator movieChill out Bayhem, if you read my first sentence you can see I dismisded this rumor as crap.<br>But seeing people from his team ivolved and considering the fast and furious situation, I canít help but wondering if thereís some truth to that rumor.<br>Now for a guy talking about haters, saying that Lorne scores 36million projects and B movies (forgetting mission impossible) I think youíre pushing it a bit.<br>Anyway no hate I donít care who wrote it Iím just curious about the behind the scenes stuff.You're reaching there a bit Bayhem, I see no one in this thread trying to undermine Steve's work or the score. Hell the first poster was just asking if Lorne worked on it and if so, to what extent. And the "rumor comment" is a logical extension of Lorne's whole regular team being credited on the score, therefore it is possible that he did additional work on it.
Again a "rumor" comment that's trying to undermine Steve's work. And in this case, an entire score. Lorne fans, please stop trying to constantly undermine other composers in favor of your guy. It's childish and extremely disrespectful. You've done it multiple times on these boards. What's next? You gonna claim that Lorne secretly scored the entire Transformers franchise? And Lord of the Rings. And Harry Potter. <br><br>Seriously, it's getting really old, really fast. <br><br>Not to mention the fact that Steve, as a composer, is much, much more experienced and established than Lorne. He's got nothing to prove. Steve takes his time when it comes to scoring. He's choosing carefully. He's got more than enough time to focus on his projects. While Lorne's name is attached to 30 million different projects, some of them cheap B-movies like Hurricane Heist. And you think he's scoring them all by himself? The irony of it all is that if anyone is using ghostwriters most of the time, it's Lorne. Not Steve. And I'm saying that as a Lorne fan as well. I'm not just a Jablonsky fan. I appreciate Lorne's work as well. But I'm not undermining other composers in favor of him.Bay has Lorne scoring his films now cause they established a relationship on 13 Hours, and Bay didn't even want Lorne for that; he wanted Hans but he didn't want to go through the exhausting process of another Bay blockbuster so he brought in Lorne instead.<br>And even then, Hans still worked together with Lorne very closely on the project (Hybrid said he was there for all the meetings, helped with synth programming, etc)Of cause Balfe worked on it .That is why Bay now uses Balfeyou can absolutely hear the 13 hours temp track in Battlefield and We Have to GoNot to mention that Steve and Lorne structure their power anthems differently.<br>To me this score sounds like 100% Steve
I wouldn't say so, Lorne stacks his ostinatos and rhythms on top of each other (see Blackwood, Last Man on the Moon) and shotguns piano writing all over his scores in addition to using it for almost any kind of emotional scene (see Manny, Duck Shoot, Brothers Theme from Hurricane Heist)Well, if all we're using to distinguish Lorne is ostinatos and piano writing, then in that case, he's all over this film!The interesting thing is, that if Lorne did work on it, his work is indistinguishable from Steve's cause I hear none of his ostinatos or extensive piano writing.@Hybrid, a while ago I saw a rumor stating that Lorne Balfe ghostwrote this score and dismissed it as crap.<br>But looking at the credits I see some people from his team have been involved( his assistant Queenie Li as music coordinator, and Max Aruj and Steffen Thum did arrangements..)<br>Do you know why and to which extent he was involved or why his team worked on the score?This little gem of a score is one of my favourites of Lorne's smaller projects.<br>Got a great main theme and varying instrumentations of it throughout, plus he's using a real orchestra which is always good. (Check out The Heist, very upbeat jazzy piece)
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Henry JackmanAndrew KawczynskiAlex BelcherVictor Chaga
ComposerAdditional MusicAdditional MusicScore Producer
The 5th Wave
Label: Sony Masterworks
Length: 53'17
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 (8269 votes)
  1. Prologue (1:59)
    Henry Jackman
  2. Tsunami (2:35)
    Henry Jackman, Victor Chaga
  3. Aftermath (2:40)
    Henry Jackman, Alex Belcher
  4. Wright Patterson (1:15)
    Henry Jackman
  5. The Others (1:55)
    Henry Jackman, Andrew Kawczynski
  6. One Degree Of Separation (1:46)
    Henry Jackman, Andrew Kawczynski, Alex Belcher
  7. Reznik (2:32)
    Henry Jackman
  8. Cassie (2:03)
    Henry Jackman, Alex Belcher
  9. In The Sights (2:10)
    Henry Jackman, Victor Chaga
  10. A Call To Arms (2:12)
    Henry Jackman
  11. Evan (2:54)
    Henry Jackman, Alex Belcher
  12. Dayton (2:33)
    Henry Jackman, Victor Chaga
  13. 5th Wave (1:30)
    Henry Jackman
  14. Under Fire (1:28)
    Henry Jackman, Andrew Kawczynski, Victor Chaga
  15. Flashback (2:51)
    Henry Jackman
  16. Extinction (1:41)
    Henry Jackman
  17. Finding Sam (3:04)
    Henry Jackman, Andrew Kawczynski, Alex Belcher
  18. Getaway (2:13)
    Henry Jackman
  19. Epilogue (3:07)
    Henry Jackman
  20. Humanity (3:57)
    Henry Jackman
  21. Vosch (6:09)
    Henry Jackman
  22. Ringer (0:44)
    Henry Jackman, Victor Chaga
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Jack Afrogarrix reply Replies: 2 || 2016-07-21 20:46:47
This MusIc From The 5th Wave Is Better With Orchestral +Electronic Music +Guitar=A Good,Better And Interesting Soundtrack By Henry Jackman

With Andrew Kawczynski & Alex Belcher They Are Good Additional Music


Edmund Meinerts2016-07-22 00:19:46
Seriously, are these comments randomly generated? What's the point of this?

Also, this score was pretty dreadful.


Macejko2016-07-22 11:39:10
Agreed. Probably the worst Jackman yet.

Jack Afrogarrix reply Replies: 0 || 2016-07-21 20:46:46
This MusIc From The 5th Wave Is Better With Orchestral +Electronic Music +Guitar=A Good,Better And Interesting Soundtrack By Henry Jackman

With Andrew Kawczynski & Alex Belcher They Are Good Additional Music

Hybrid Soldier reply Replies: 1 || 2016-05-01 12:05:24
Little "who did what"...


Edmund Meinerts2016-05-01 12:42:33
Well, none of them did anything particularly worthwhile... :p

But thanks. :)

Edmund Meinerts reply Replies: 4 || 2016-01-08 20:34:24
Just got back from a press screening of this film. Score is very bland, sadly - no themes to speak of, a lot of generic string ostinato + synth percussion action stuff that sounds like leftovers from every Jackman action score from X-Men: First Class onwards. The "Tsunami" cue had an appropriately swirling, chaotic energy to it though, that one should be not bad.


0-^-02016-01-08 21:09:10
I suppose nothing else was expected for this concept. But his recent project choices seem somewhat strange. I expected to see him for Goosebumps and Zootopia but instead he took this one here and some video game project which will likely call for nothing different than what he did here. Are these easy pays, fun, or the man simply doesn't like flicks that call for thematic orchestral scores?


Mario2016-01-13 08:04:01
Was the movie boring? Did it have good pacing to it? Did it feel long? Was there an open end to it, or did it feel like a standalone movie?


Edmund Meinerts2016-01-13 11:25:24
The movie is OK. It's well under two hours so it's never boring and paced fairly well. But it definitely doesn't feel like a complete story. Even though it's based on the one book, it has the feeling of one of those "part 1" movies (or a Hobbit movie) where there's absolutely no effort to make the individual films feel like they can stand on their own. That's what I always appreciated about the Harry Potter books and films (except the last two) - they felt like individual stories that still added up to a greater whole. That's become a lost art in franchises (just look at the Marvel movies where each one feels like a full length trailer for the next one).

Other than that it's entertaining enough if you like that sort of thing. To put it next to the other YA apocalyptic stuff, I liked it a bit more than Divergent and Maze Runner, a bit less than Hunger Games.


Tom2016-02-23 19:22:27
Yeah, kind of reminds me of how boring and monotonous Interstellar sounded.

Felix reply Replies: 0 || 2015-12-17 20:57:38
Can't wait to buy & listen to it:)

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The 5th Wave soundtrack - Henry Jackman 2016