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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 MusicAdditional Music - Orchestrator
John PowellJames McKee SmithJohn Ashton ThomasPaul Mounsey
ComposerAdditional MusicAdditional MusicAdditional Music
Dr. Seuss' Horton Hears A Who! (Complete Score)
Label: Unofficial Release
Length: 90'46
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 (1349 votes)
  1. Fate Falls (2:27)
    John Powell
  2. Horton Swims (7:48)
    John Powell
  3. Whoville Breakfast (3:10)
    John Powell
  4. Hall Of Mayors (1:41)
    John Powell
  5. Club Nool (1:44)
    John Powell
  6. Strange Town Council (1:22)
    John Powell
  7. Hello (4:22)
    John Powell, John Ashton Thomas
  8. Dr. Larue (2:47)
    John Powell
  9. Hero Big Band (1:35)
    John Powell, James McKee Smith, John Ashton Thomas
  10. Hero Anime (0:55)
    John Powell
  11. Killjoy (2:03)
    John Powell
  12. Bridge Work (2:31)
    John Powell
  13. Blue Danube (1:07)
    John Powell (Johann Strauss II)
  14. Horton Dances (0:29)
    John Powell
  15. Handle With Care (1:23)
    John Powell
  16. You Know That Feeling (1:27)
    John Powell
  17. Bedtime (3:15)
    John Powell
  18. Vlad's Lair (3:28)
    John Powell, John Ashton Thomas
  19. Snow Day (1:33)
    John Powell
  20. Warnings (3:22)
    John Powell, John Ashton Thomas
  21. Vlad Attack (2:12)
    John Powell
  22. Power Grab (3:07)
    John Powell
  23. Mountain Chase (5:50)
    John Powell
  24. Our Friend Horton (1:30)
    John Powell, James McKee Smith
  25. Memory Game (1:04)
    John Powell
  26. Sermon (3:00)
    John Powell
  27. Angry Mob (2:59)
    John Powell, John Ashton Thomas
  28. We Are Here (5:43)
    John Powell
  29. End (Part 1) (2:28)
    John Powell
  30. End (Part 2) (1:23)
    John Powell
  31. Can't Fight This (2:47)
    John Powell
  32. End Titles (8:42)
    John Powell
  33. Club Nool (Alternate) (1:43)
    John Powell
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musictheorist reply Replies: 0 || 2018-01-01 17:58:44
The film has several orchestrators. And this happens to be one of John Powellís best score in the childrens animation genre.

This was nominated for an Annie Award for Music in an Animated Feature Production.

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Dr. Seuss' Horton Hears A Who! (Complete Score) soundtrack - John Powell 2008