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Its Imagine the Fire insertThe Japanese version can be ordered here: http: //www.cdjapan.co.jp/ product/WPCR-18185<br><br>The "Swan Song" is also included on the CD. So it has 3 additional tracks.Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.
So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
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Steve JablonskyJon Aschalew
ComposerAmbient Music Design
Deepwater Horizon
Label: Warner Bros. Records (Digital Download Only)
Length: 62'33 (Score: 57'45)
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 (4966 votes)
  1. Taming The Dinosaurs (4:12)
  2. The Rig (4:49)
  3. The Monster (3:01)
  4. Hope Is Not A Tactic (3:54)
  5. Negative Pressure Test (4:57)
  6. Well From Hell (4:35)
  7. Cut The Pipe (5:34)
  8. Mud (5:19)
  9. Stop The Crane (2:03)
  10. Fire On The Rig (3:16)
  11. Burn Or Jump (5:09)
  12. Roll Call (7:44)
  13. Home (3:12)
  14. Take Me Down - Gary Clark, Jr. (4:48)
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Bayhem reply Replies: 4 || 2018-09-29 08:01:54
So Steve's IMDb page has been updated. He will work again with Peter Berg and Mark Wahlberg on 'Wonderland' and he will score the comicbook movie 'Bloodshot' with Vin Diesel. 'Bloodshot' will be an interesting project for Steve. Can't wait for the score. As for the Berg movie, I already know what to expect.....Berg's taste in music is well known. I don't expect much surprises.


Brent2018-09-29 10:26:31
Warning: don’t always trust IMDb. But, nonetheless, if any of it is true, I’ll be excited.


superultramegaa2018-09-29 14:44:30
I agree the Peter Berg project will be very underwhelming as usual, but there might be a lot of potential in that Bloodshot movie. The writers' track records aren't the best, and the director has so far only worked on visual effects for video games and such, but a superhero movie should give Steve a great opportunity for his TMNT 2 style of writing. That is, if he doesn't just resort to guitars and electronics... just because the comic is over-the-top violence...


MrZimmerFan2018-09-29 18:48:18
If all Berg's filmography was just like... Mile 22, ugh

Is a good director, three of his movies are amongst my all time favorites.


Bayhem2018-09-29 21:11:24
the director has so far only worked on visual effects for video games and such
=====================


I consider that good news actually. He's not an established name yet, it's his first movie and I'm certain he would make sure that everything is as good as possible. And I'm sure he would gladly listen and take advice from someone like Steve who has more than enough experience with big movies.

Anonymous reply Replies: 0 || 2018-02-03 23:32:37
full BMI cuesheet

TLN BOP
TLN ANDREA
TLN DRIVE PT1
TLN DRIVE PT2
TLN HELICOPTER TAKEOFF
TLN HELICOPTER BIRD HIT
TLN BANKSTON
TLN WALK TO DRILL SHACK
TLN COIN TOSS
TLN DINOSAUR TOOTH
TLN RUN A PRESSURE TEST
TLN PRE NEG TEST
TLN NEGATIVE TEST
TLN 50 DAYS LATE
TLN KILL LINE TEST
TLN GOOD TEST
TLN MOVING MUD
TLN LITTLE MUD
TLN BLOWOUT
TLN GET OFF THE FLOOR
TLN METHANE
TLN MAYDAY
TLN CALLING COAST GUARD
TLN CAN T HOLD STEADY
TLN GET TO THE BRIDGE
TLN LOST POWER PT1
TLN LOST POWER PT2
TLN LOST POWER PT3
TLN CRANE
TLN CUT THE PIPE PT1
TLN FELICIA PHONECALL
TLN GENERATOR ROOM
TLN BOATS LEAVE RESCUE
TLN HELIPAD JUMPOFF
TLN CALL OUT PT1
TLN CALL OUT PT2
OPTIMISTIC TENSION SUITE
TLN COIN TOSS
6M33 ETV10

jjluffy reply Replies: 17 || 2016-09-27 00:10:20
ggggrrrrrrrrrr, tictictictic, ccrrrrrrrrrssssshhhhhhh ... that's all I heard listening to the Deepwater Horizon. The movie makes me want but compsition Steve Jablonsky is unbearable listen-only. Gone is the time of the first Transformers. Jablonsky disappoints me more and more to serve us sound design. to believe that he knows more compose MUSIC ...


Bondo2016-09-27 05:12:28
...or more likely the director/producers wanted something more akin to sound design than melody.


Morgan Joylighter2016-09-27 09:11:49
I realize there are some harsh tracks akin to Battleship but if you just skip to the end you will find the final cue is one of the most gorgeous and emotional of Jablonsky's career :)


Brent2016-09-27 09:12:18
Don't always blame the composer. More often than not, it's a combination of director, producer(s) and studio.


Evenstar2016-09-27 11:15:55
Steve said in an interview that they didn't want a orchestral score, so he made it completely on his computer. Check interview here: youtube.com/watch?v=Glr-dgumGgo


MrZimmerFan2016-09-27 11:30:58
The movie is about a disaster with real people, don't fit a orchestral epic dramatic score, more a electronic, dark, gritty score.

Everyone expect orchestral when don't fit in every movie...


Edmund Meinerts2016-09-27 17:32:14
I don't really see how the movie's subject dictates that the score be dark and electronic either. I think both approaches have possible merits and possible disadvantages. You might say that an orchestral, thematic score is tasteless because it would play tragic deaths for "cheap" drama...but if that's your case, then isn't the entire movie also guilty of the same thing? You might just as easily say that by going the electronic route, Jablonsky is neglecting the human cost of the disaster and focusing too much on its mechanics.

I don't agree with either line of thinking, though. A good score is a good score no matter what it's made of. I *personally* don't much like listening to sound-design scores, and I wish Jablonsky had gone for something a bit more expansive for purely selfish reasons. But that doesn't mean I think his approach was an invalid one, and I don't think you should say that an orchestral approach would have been invalid either. It's all about the execution.


Anonymous2016-09-27 18:21:40
Well said, Edmund. And ultimately, the final decision really does come down to the director and his preferences. It must be hard being a film composer right now. Write a score that sounds great on its own but doesn't fit with the tone of the film, it gets bashed. Write a minimalist, more sound-design oriented score, it gets bashed.


Anonymous2016-09-27 18:32:32
And on that note, this is actually one of the more emotionally-driven sound design scores I've heard.


Joshua2016-09-27 19:07:26
I think Steve just seemingly confirmed he's scoring Transformers 5 on his Instagram. Not that i was worried. :))))


Ben 2016-09-27 23:56:04
13 Hours is much better


MOMO2016-09-28 08:31:11
Lorne Balfe 13 Hours Score is only 8/15
a really untalend composer... no passion for music!
this score is so hypnotic and heart pushed


Edmund Meinerts2016-09-28 09:13:09
Not the anti-Balfe clown again...


rockhound2016-09-28 09:29:03
an orchestral or very melodic bombastic score shows the audience always, that they are just watching movie. for a story based on a real tragic event is no score or this kind of score here more realistic. it puts you more in the "reality", because this kind of music sounds more "natural" without giving the audience the feeling, that they are just watching an entertaining movie.


Ben2016-09-28 11:58:58
"a really untalend composer" !!!! You must be deaf !


trent easton navarro2016-09-28 19:03:53
@MrZimmerFan and rockhound

So what you are saying is that Horner scored Titanic in wrong way? And Williams also got it wrong with Schindler's List?


rockhound2016-09-28 22:53:22
Titanic is a love story in a setting of a tragic event. i havent seen Deepwater Horizon yet, but im 99% sure that there is no love story on that oil platform. Schindler's List is a bit too sentimental for my taste. btw: comparing 2 movies with the setting in 1912 and WW II with a movie and its setting in 2010 is absolutely sensless.


Bayhem2017-06-26 10:44:14
Steve provides what the director wants. Simple as that. It's not a surprise that the most beloved Jablonsky scores are for Michael Bay films. Because Bay wants it epic, Bay wants it orchestral, Bay wants it dramatic and emotional. He pushes all buttons and Steve delivers. On the other hand, Peter Berg - the Deepwater director who did a few other movies with Jablonsky - usually goes for sound design scores. In short, he's not as epic and melodic as Bay is. So if you want to blame someone for the fact that you didn't like the Deepwater score, blame Peter Berg.

Everan reply Replies: 3 || 2017-04-26 17:57:08
No Transformers Last Knight thread yet so posting here. The official site got updated with a new piece of music, and holy hell, it's amazing!
www.transformers movie.com

Also pretty sure the last trailer's music was from him too, Age of Extinction had his scores on almost every trailer.


David2017-04-27 01:39:38
Sounds like a suite

And wasn't it only the final trailer that used material from the actual score? It was Lockdown's theme. But what was used in the trailer was exactly what ended up being used in the film.


David2017-04-27 01:40:53
Woops! Made a typo.

What was used in the final trailer *wasn't* exactly what ended up being used in the film ;)


Everan2017-04-27 04:36:01
The first trailer had a bit of Tessa's music at the start, the second a bit of Lockdown's theme, the big kinda orchestral bit, instead of the electronic braaaaams.

Jack Afrogarrix 2017 reply Replies: 1 || 2017-04-15 04:23:20
Steve Jablonsky Makes A Great Job From The Score Of Deepwater Horizon And The Score And The Movie Are Worthy To See It just Like Patriots Day Too.

By The Way Mpolonest123 don't judge My Comment beacuse Is My opinion


Randy Watson2017-04-15 10:07:07
It's not really your opinion that's the problem more that nobody even knows what the heck you are saying.

Jack Afrogarrix 2017 reply Replies: 1 || 2017-04-02 19:03:36
Steve Jablonsky Make An Awsome Score For Deepwater Horizon. The Full Electronic Music & Drums From Jon Jablonsky For This True Events Movie With Director Peter Berg, I Like This Movie & The Score.

Like Trent Reznor & Atticus Ross In Patriots Day Score With Ambient,
Electronic & Post Rock For The True Story Of The Boston Marathon Bombings With Director Peter Berg,Like I Said

I Like Both Movie From Peter Berg, Because Those Are True Heroes Who Save People's Life And We Can Remenber The Bravely Of These People.


mpolonest123 2017-04-02 19:36:34
God will you please shut the fuck up?

I mean, what's wrong with you? Either you are a troll or just fucking mentally disabled. Jesus!!!

Joshua reply Replies: 7 || 2016-10-01 08:07:27
Ah man, the trailer for Patriots Day says Trent Reznor and Atticus Ross are scoring it and not Steve. What the hell?!


Ds2016-10-01 08:59:15
I was not aware of this film... so this year Peter Berg has not one but TWO films released in the awards season. Seems quite tight, I guess the schedule wasn't working for Steve, who also has the big TF5 coming :-)


trent easton navarro2016-10-01 11:38:30
wait, there's a new Reznor/Ross coming out and I'm not aware of it?!


Edmund Meinerts2016-10-01 20:14:31
Not those two clowns again. :(


trent easton navarro2016-10-02 01:00:17
@edmund be greatful they are selective in the films they score and don't pop up all the time like Junkie XL


Frank2016-10-02 01:23:26
Trent Reznor & Atticus Ross seems to be a perfect fit for Peter Berg. He always likes to use ambient music and post-rock for his films and Trent Reznor & Atticus Ross is a very talented dual.


oha2016-10-02 09:37:26
Yesterday, patriots day update Trent Reznor and Atticus Ross composed the Score. Today Steve Jablonsky.... I hope Steve Jablonsky!



Joshua2017-01-17 00:05:12
Saw Patriots Day, really liked it. But the score was lacking. Really wish Jablonsky had done this one.

MrZimmerFan reply Replies: 1 || 2016-10-07 12:37:58
@Hybrid: Do you know about this?

https://play.google.com/store /music/album/Steve_Jablonsky_%EC%9D%B4%EB%8D%B0%EC%95%84_OST ?id= B2x4737ocjnyoc7h2vyhvqygqja&hl=es


rockhound2016-10-07 18:55:42
sounds like steve and it sounds amazing. wonderful themes and choir parts. thanx for finding this.

Mk reply Replies: 0 || 2016-09-27 19:15:55
I LOVE this score, it's like Nine Inch Nails, a mix of industrial/rock ambient sounds. This and the dark-ambient music of Blair Witch (2016) by Adam Wingard, two of my favorite scores of this month.

Dimitris Krommidas reply Replies: 2 || 2016-09-26 15:58:05
It's a cd release or digital?


Evenstar2016-09-27 11:16:54
Looks like it's digital only :(


Dimitris Krommidas2016-09-27 16:30:01
Thanks.

Waymann reply Replies: 0 || 2016-09-27 11:16:26
People here seem to forget that scores and soundtracks are made for a movie. They are not made as a music album in the first place. Some composers make like more than 2 or 3 scores a year. That's not the same like an artist or band who makes an new album once in 2 or 3 years).

Scores are a really nice extra thing you get from a movie and yes some albums are great to listen to, others with more like an ambient and underscore type of sound can be seen as disappointing and boring. I think it's wrong to give Jablonsky a hard time here because he made a score that will fit this movie, but when listening to it without the movie it can be kind of boring... Composers don't make this music just to bring out a new album for us! They make music for movies and afterwards they can share it with us.

About the movie, I don't think this movie needed some kind of memorable heroic themes. It's a serious thriller and giving this some theme's like Transformers would look and sound ridiculous. I was expecting a score like this.

MOMO reply Replies: 0 || 2016-09-27 09:55:46
Love this Score Great Work!!!!

Jack Afrogarrix reply Replies: 0 || 2016-09-26 12:39:08
Interesting Music & Awsome Electronic Ambient Music From Steve Jablonsky I Can't wait To See The Movie Deepwater Horizon

Bar reply Replies: 2 || 2016-09-24 11:54:37
even your highness is better then this, the use of electronics adding to the beauty of the tune but too much of it clouds the main orchestra.


Edamund Meinerts2016-09-24 13:35:20
*Even* Your Highness? I love that score! :p


T-Mann0362016-09-25 08:25:19
"Your Highness" was one of the best film scores Steve has ever composed!

Brent reply Replies: 0 || 2016-09-24 01:22:31
For being mostly electronic underscore, I actually enjoy this album (with some notable exceptions). Pain & Gain definitely had a bit more character, but I enjoy this just as much.

Dimitris Krommidas reply Replies: 0 || 2016-09-23 15:59:35
Nice album.

bar reply Replies: 1 || 2016-09-23 14:26:50
More of transformers come on!!!!


Edmund Meinerts2016-09-23 15:26:03
How about more of Steamboy?

Paul reply Replies: 6 || 2016-09-22 19:14:41
Not Jablonsky's best, but there are some tracks that i enjoyed to listen


Everan2016-09-22 20:06:29
Yeah, was hoping a bit more Battleship at least, too much electronic underscore or something. But the first and the last 4 tracks are worth it.


Edmund Meinerts2016-09-22 20:25:13
If someone "hoping for more Battleship" is disappointed then that's surely a good sign for me. The further away from Battleship, the better. :p


Everan2016-09-22 20:42:34
Well it's my favorite of Jablonsky-Perg working together so. This is more of a thriller suspense score really.


D2016-09-22 21:04:39
Edmund, this score is Jablonsky's closest to Battleship. And I dont mean the bombastic parts of Battleship, I mean the sound design based action cues, with repeated motifs and screeching effects. I like it and I think it's gonna make a terrific theatrical experience... but believe me, you won't like it :-D


Edmund Meinerts2016-09-22 21:54:20
Aw, shit. And just after Jablonsky had won back some of my faith with TMNT2 as well. :/


Everan2016-09-22 22:22:13
Tracks 1, 11 , 12 and 13 are the least Battleship ones. TMNT2 sounds better IMO, more fun too, but those last tracks are cool.

Brent reply Replies: 0 || 2016-09-03 21:17:41
Can't wait!

Felix reply Replies: 0 || 2016-09-03 19:37:56
Oh yes :)

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Deepwater Horizon soundtrack - Steve Jablonsky 2016