NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Tom Holkenborg (Junkie XL)Aljoscha ChristenhußAntonio Di IorioJohn Ashton Thomas
ComposerAdditional MusicAdditional MusicConductor
Tomb Raider
Label: Sony Masterworks
Length: 72'06
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 (1724 votes)
  1. Return To Croft Manor (8:13)
  2. Seeking Endurance (1:09)
  3. The Bag (1:49)
  4. Path Of Paternal Secrets (3:39)
  5. The Devil's Sea (4:11)
  6. Let Yamatai Have Her (13:23)
  7. Figure In The Night (4:15)
  8. Remember This (3:26)
  9. Never Give Up (5:36)
  10. Karakuri Wall (4:38)
  11. What Lies Underneath Yamatai (8:35)
  12. There's No Time (4:01)
  13. Becoming The Tomb Raider (7:15)
  14. The Croft Legacy (2:00)
Create Topic

Jerry reply Replies: 0 || 2020-05-20 06:21:14
Is there score to the End Credits for this and if so what is the end credits?

Jerry reply Replies: 1 || 2020-05-19 05:50:13
Anyone have a chronological order for this one?


MrZimmerFan2020-05-19 08:05:22
Actually, is in chronological order.

Knight reply Replies: 1 || 2019-01-11 10:07:52
Additional credits:
Aljoscha Christenhuß: 2 6 8
Antonio Di Iorio: 1 5 7 10 12 13 14
Track 9 is credited to both Iorio and Christenhuß


Knight2019-01-11 10:09:10
Credits taken from ASCAP and Di Iorio's website

Miralsice reply Replies: 4 || 2018-06-20 19:00:57
According to Film Music Reporter Junkie will score Mortal Engines.

http: //filmmusicreporter.com/2018/06/18/junkie-xl-scoring-mortal- engines-movie-adaptation/


Mephariel2018-06-20 20:11:56
Best chance Junkie XL will ever have to score a masterpiece. Hope he do one this right.


Ds2018-06-20 22:07:40
Do you say "masterpiece" based on Peter Jackson's name, or based on the trailer? Because I'm really afraid for this movie, I love Jackson's films, but it just looks too dumb :-p


Edmund Meinerts2018-06-20 23:45:56
He already did score a masterpiece in Mad Max Fury Road, although his music for that was no masterpiece. ;)


...2018-06-21 09:05:33
Conrad Pope orchestrated and conducted this in New Zealand so i hope this isn’t Junkie’s regular sound design, percussion and synth score.

Michael Fields reply Replies: 0 || 2018-04-20 09:23:36
BOOKLET CREDITS (From The Album):

Score Composed, Produced And Mixed By
TOM HOLKENBORG

Additional Music By
ALJOSCHA CHRISTENHUB
ANTONIO DI IORIO

Orchestra Conducted By
JOHN ASHTON THOMAS

Technical Score Engineer
ALEX RUGER

Additional Programming By
EMILY RICE
JACOPO TRIFONE

Music Editor
SIMON CHANGER

Assistant Music Editors
BEN SMITHERS
ARABELLA WINTER

Music Consultant
BOB BADAMI

Score Orchestrated And Copied By
JONATHAN BEARD
EDWARD TRYBEK
HENRI WILKINSON
TOM HOLKENBORG

Librarian
JILL STREATER

Orchestra Contractors
ISOBEL GRIFFITHS
SUSSIE GILLIS

Orchestral Recording Engineer And Mixer
NICK WOLLAGE

Orchestra Recorded At
AIR STUDIO

Air Studios Managers
ALISON BURTON
CHARLOTTE MATTHEWS
LUCY MATTHEWS

Music Production Services
MICHIEL GROENEVELD

Agent
AMOS NEWMAN

Legal Representation
DAVID ALTSCHUL

Music Recorded
6-7 January 2018
At
AIR STUDIOS, London

Score Published By
UNITED LION MUSIC, INC. (BMI)

Booklet Editing & Design
WLP LTD

Soundtrack Acquisitions
MARK CAVELL

Sony Classical Product Development
KLARA KORYTOWSKA

Special Thanks To:
ROAR UTHAUG, GRAHAM KING, SASKIA, JULIAN and DARREN, ANNE COBB, SHANE GLASS

George reply Replies: 1 || 2018-03-28 19:32:21
"MGM as a studio was very clear as like 'we want this to be a modern score, we want this not to feel classical, we don't want it to feel thematic, we don't want it be overly orchestral...'"
-Junkie XL on his latest "ask me anything" video on youtube.

So there's your answer. MGM literally did not want a good memorable score. I like how relatively open and honest he is about it. Almost like he knows some of us might not like how this score sounds haha.


Ian2018-03-28 21:25:17
In short: "We want a shit score."

Ds reply Replies: 1 || 2018-03-22 20:03:55
I think one of the things that plague this score (and many others) is that nowadays everyone feels the need to not only have a opinion, but share it as quick as possible on social media or message boards. But music isn't always likable at first listen. Usually (and I speak for myself here, but I'm pretty sure any people feel the same) the quicker I love a song, the quicker I'll get bored by it and forget it. On the other hand, scores or songs that took me a few listens to fully appreciate tend to have a much better longevity in my playlists.

At first I wasn't impressed by this new JXL effort and, if I had listened to it only once or twice, I would have quickly labelled it as "typical JXL drummy stuff but not as cool as Mad Max". But after seeing the movie and giving the album a few more spins, I'm now ranking this among his best scores. It's packed with crazy ideas popping up everywhere, neat sound effects, an epic main theme and a few very touching light moments.

I'll admit it's a tough listening experience, mainly because of the very long tracks which sometimes tend to 'hide' the great stuff. But it's so damn worth it. In the context of the film it's simply awesome and in perfect sync with the pictures, it enhances the emotion, the action and the epicness in a way not many scores do. Junkie XL definitely improved over the past few years. Of course this score bears his mark and his sound, it's certainly not a classical score, but it's incredibly rich and detailed. It's just not obvious, and requires a bit of patience and perseverance. I'm happy I didn't judge it immediately, and I can only invite you to spend a little more time with it before dismissing it (and its composer) publicly.

Just my 2 cents :-)


MrZimmerFan2018-03-22 20:09:02
The score enchances the more emotional and physcical side of the character, and i love that.

I believe this movie don't benefit a more classical adventure score, reminds (outiside, the movie is an adaptation for the 2013 reboot) the vision of Jason Graves for that game, saving distances.

And yeah, there is a ideas everywhere the score.

Ahmad reply Replies: 10 || 2018-03-21 19:31:16
Go to JXL's Youtube channel and watch his latest video. He talks about the process of scoring the film. If you have a problem with the score, direct your criticism and complains at the director/producers/studio because JXL delivered the score they wanted. They wanted to stay away from themes and wanted an a very alternative score. If Tom didn't deliver that, they would've found someone else who would've done the job and you'll still complain that it doesn't sound how you wanted lol.

I've heard a couple of tracks which I liked a lot.



Edmund Meinerts2018-03-21 20:03:13
The fact that the directors insisted on a shitty score doesn't absolve the score from being shitty.


rockhound2018-03-21 20:34:41
and that means, tom did the perfect job. they wanted a shitty score and tom delivered. i am sure they would have fired desplat, williams or whoever, just because they would have failed. the task was to compose a shitty score and tom did that. their problem, if nobody buys the soundtrack album or avoid to see the film, just because of a bad filmscore. for us it is great, because we save money.


Ahmad2018-03-21 20:56:59
You guys are hilarious.


META2018-03-22 00:10:48
LOL so they wanted a score with no themes...Just random stuff against action music....Makes sense.


Everan2018-03-22 04:30:20
It's 2018, everything is shitty


MrZimmerFan2018-03-22 09:43:10
Yeah, everything is shitty like Red Sparrow ;)


Edmund Meinerts2018-03-22 09:49:25
Red Sparrow is pretty shitty except for two cues (okay, admittedly two very long cues :p )

Black Panther wasn't shitty though, nor was Cloverfield Paradox!


MrZimmerFan2018-03-22 09:58:40
Red Sparrow is one of the best by JNH, no kidding now


JBSO992018-03-22 17:11:44
I don't think it's one of JNH's bests, but it's really one of the best scores of this year, until now.

I think it will probably be surpassed by his other scores coming this year, especially Fantastic Beasts 2


MrZimmerFan2018-03-22 18:03:51
I think have a lot of depth in there, the orchestrations, the tension (reminds a lot of Herrmann) and his main theme.

And yes, is one of the best of this year, for the moment.

mpolonest123 reply Replies: 30 || 2018-03-08 18:46:29
Just got through my first listen on this one and am fairly disappointed. Most of the action/sound design/string writing sounds like leftovers from The Dark Tower (even down to some of the exact same samples) while the brass has a heavy Mad Max feel to it. The orchestral portions are pleasant enough, but even then there is nothing really distinctive that we haven't heard from him before.

One thing that does somewhat work are the jungle sound design elements paired with the drums. Again, nothing original but it definitely is more fresh than the rest of the music on album.


Rigby2018-03-15 15:27:42
As much as I hate Deadpool, even I have to admit that there was something distinctive and memorable about that score. Tomb Raider is so generic and bland, even the main theme is forgettable.


Meta2018-03-16 13:21:42
There was this tiny section towards the end of the track The Devils Sea, which I thought was pretty daring, symphonywise. But I just didn't have the care in me to even cut that little 10 second part out to add to my collection.


mpolonest123 2018-03-16 13:54:17
It’s funny you say that, in The Dark Tower there is an amazing string section at the opening of “Death Always Wins” (which was cut out of the film of course) that lasts maybe 10 seconds and is probably the highlight of the score for me.

As for Tomb Raider, I’ve tried revisiting it in the past few days to see if I would like it better.
No.
Almost everything about this score is functional at best, undeveloped at worst. It’s almost as if long sections go by with only sound design, just to have a burst of drums or orchestra, then back to sound design. And yes, I know Mad Max was the same case, but it’s frustrating to hear a lesser version of that sound years later from the same composer.


Edmund Meinerts2018-03-16 16:02:07
I wasn't a huge fan of Mad Max in the first place, but I'm increasingly convinced that it was the peak of Mr. XL's powers as a film composer.


mpolonest123 2018-03-16 16:40:21
@Edmund
I think one of the key problems is that he seems to pick the shittiest films to work on. Point Break, Dark Tower, Tomb Raider, etc.
But then we get Black Mass, Brimstone, and Mad Max, all excellent scores/films. And I know the quality of the film doesn’t need impact the quality of the score but JXL obviously is pigeonholed as an action/electronics composer. I would love to hear him expand his range and work on scores outside of the action genre. Much like how Hans does a number of different scores.

Imagine a Junkie XL comedy or romantic drama!


MrZimmerFan2018-03-16 17:48:26
I don't Mad Max as score was great, i enjoyed few tracks, but not much neither. Also that too for Deadpool, the main theme is kinda good, the rest is forgettable.


MrZimmerFan2018-03-16 17:53:56
Also, i saw Tomb Raider... it was OK


meta2018-03-17 07:02:43
@mpolonest123

I agree...And, after the promise with Man of Steel and Mad Max (Technically it's OK and serviceable, but I hold this one personally dear, so I give it a pass) I have to say that after Bat v Sup Junkie has gone by the wayside...I dunno if it has anything to do with his influence with Zimmer or what, but...Apart from Point Break and Max, I don't really care for his other stuff...at all.


This guy seems to be waning worse than most all the RCP composers...Hell, I'm even finding Rupert Gregson Williams to be surpassing him, these days....and I don't give a crap about Rupert's work at all, save Tarzan when he woke me.


Ds2018-03-17 11:14:37
I'm not sure JXL is picking the projects. In the case of Tomb Raider it seems like WB handed it to him when Joss Whedon asked them to replace him on Justice League. I guess they were annoyed because he had been a frequent collaborator, so giving him another blockbuster straightaway was a soft way of dealing with that.

Also yes poor JXL really seems pigeonholed. Even though, to be honest, the only style he's proven excellent so far is the rythmic stuff (see the highlights of Fury Road). His rare excursions to other styles have been quite bland to me, so the fact that he's always asked to do the same style isn't really a surprise. Directors/producters who want this specific sound will call JXL, and people who're making a comedy or romance won't even bother and will call another composer.


MrZimmerFan2018-03-17 11:25:44
@Meta: Really Point Break was interesting?, it's only 10 minutes of music released, and i din't care about it, honestly, and the movie was really, really bad.

As for Tomb Raider, the music was serviciable in the movie, but i more comfortable with it than Point Break.


mpolonest123 2018-03-17 13:21:27
I still remember when Divergent was released, I was almost immediately dismissive of Junkie XL. Having only heard his remixes and his drum stuff for MoS/300 the first thing I expected was to hear an electronica album with percussion and sound design. So imagine my surprise when I heard several different themes, beautiful string adagios, vocals, and a pretty big variety of styles. And then Run All Night came out and blew me away. Ever since then I’ve been pretty supportive of his work, but I have to agree with everything you guys are saying.

The past two years have been pretty bad in terms of his ratio of good scores to bad. Black Mass and Brimstone, as I’ve mentioned, are solid scores that veer away from the usual JXL sound. But then we have Deadpool (abrasive), Distance Between Dreams (ok for a stand-alone album), Dark Tower (pretty fun in parts and just bland in others), and Tomb Raider (one of the most generic scores I’ve heard in recent memory). It’s frustrating to see a composer who obviously has talent and a diversity of skills write almost the same thing over and over.
And the weirdest thing is, his earlier scores are far more distinctive than his current ones. How did that happen?


mpolonest123 2018-03-17 13:22:53
I genuinely wish we could hear Justice League, I would have loved to see what he brought to that under Zack Snyder, a director who actually understands music.


MrZimmerFan2018-03-17 13:59:08
For the themes mostly, this Batman and this Superman fit with the themes written by Zimmer. But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)



mpolonest123 2018-03-17 14:28:27
@mrzimmerfan
I disagree with you there. I love Man of Steel, I think the themes and the overall bombastic nature of the score work perfectly. As for BVS, I’m not a huge fan honestly. There are some amazing highlights, but the tone of the score is so downbeat. It lacks the soaring elements of “Flight” or “What Are You Gonna Do...” and the action highlights of “Terraforming” or “Escape From Ship”.

To each their own though :-)


Edmund Meinerts2018-03-17 14:48:21
"Zack Snyder, a director who actually understands music"

A matter of opinion, and not an opinion I share.


mpolonest123 2018-03-17 15:03:38
@Edmund
He’s definitely not my favorite director, but I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct. One of my biggest pet peeves is when directors/composers just use music as a sonic wallpaper, instead of letting it improve and add to the scene. John Ottman is a great example. He can write great themes, but he tends to write underscore which adds nothing to the film. That’s why Zimmer, Williams, James Newton Howard, etc. are so good. They treat each moment with care.


Meta2018-03-17 15:25:39
@MrZimmerFan

Point Break is a lousy movie, but the score and guitar main theme isn't all that bad. Those 10 minutes on the soundtrack don't do it enough justice at all.

But again - this is Junkie doing action scoring....Miles better than any of his slow stuff. For me, anyway.


MrZimmerFan2018-03-17 15:35:11
@mpolonest: But that moments are simply moments, not the entire score, i prefer BvS, because there is a variety in it: Batman, Wonder Woman, Luthor, and is more complex than MoS (also i prefer the movie over MoS).

And yes, the theme for Superman is cool, but that dosen't make the entire score cool too.


mpolonest123 2018-03-17 15:44:43
@mrzimmerfan
Oh no, I mean I love the score as a whole. I was just saying my personal highlights. Man of Steel emotionally resonated with me. But that’s cool that you like BVS, I personally just think Man of Steel is more engaging.


Edmund Meinerts2018-03-17 18:09:01
"I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct."

I agree with you, except that Snyder and I have very different ideas about what makes good (film) music, and how to emphasize it. Ridley Scott is a somewhat similar case. Somehow he has gotten a ton of great music written for his movies over the years despite the fact that his musical instincts are really strange and misguided sometimes. At least Snyder doesn't butcher the scores he gets.

You're right that a director like Whedon doesn't seem to pay that much attention to how music can enhance his movie. But as someone who cares about film music 95% of the time as albums, not in film, I often find that a director who gets out of the way and just trusts the composer to do his/her thing is preferable to one who gets overly involved with the scoring process and has lots of ideas about how things should sound. That the subsequent scores end up buried or ineffective in their films is a shame, but the music at least tends to be good on its own terms.


Mephariel2018-03-17 18:53:35
I don't think Junkie XL picks the shittest films to work on. It's just that art film directors won't choose him to score their films. Even in RCP, a lot of his colleagues are more well respected than he is. I would argue Benjamin Wallfisch is already more well regarded. Mad Max is an exception because of its unique setting and story line.


Olive2018-03-18 17:04:34
Wallfisch has shown himself to be a superior composer to XL, let's face it. I do not even see why he's running after Zimmer since he's able to run a career himself.

@TheZimmerFan

<But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)>


The music is less simplistic and may please the purists, but, no, MoS and BvS are better by a small margin than JL by one factor: thematic material and characterization of the movie. Elfman should have had more freedom to work on the themes he and Williams wrote.


MrZimmerFan2018-03-18 17:46:31
@Olive: Is better because there is variety and orchestration, and i'm not a purist (i liked BvS, there is more complexity in it than in MoS), but Danny Elfman has more integrity in that score than in that two scores.


Hybrid Soldier2018-03-18 17:50:20
Elfman's score is like Whedon, horrendous & out of place.


mpolonest123 2018-03-18 17:54:34
@Edmund
I’m in the same boat. When I watch a movie I normally don’t pay attention to the music unless it’s really distinctive. As a stand alone listening experience I usually want to get music that fits a mood and can hold my interest throughout. Take Silvestri’s Avengers score for example. The big statements of the main theme and some of the action cues are excellent. Unfortunately it’s surrounded by generic underscore that slows the album down imo. But then you have TASM2, which constantly has something going on no matter what. I feel like that’s something which does relate to the directors, not so much the talent level of the composers.

@olive
Ben Wallfisch is LEAGUES ahead of JXL as a composer, partly because he’s had years of experience in film composing. Hopefully his recent successes give him more high profile projects.

As for Justice League, I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force in the classic themes. Had he done his own spin on Zimmer’s material there would a better connection to the previous ones.


Hybrid Soldier2018-03-18 17:58:58
Leagues above, and yet I doubt Ben will ever be able to write something like "Brothers In Arms" from Mad Max.

Comparing people is kinda useless...

The only who's right is Hans in the end, he knows when to use one and when to use the other... ;)


Edmund Meinerts2018-03-18 18:23:46
"Elfman's score is like Whedon, horrendous & out of place."

Out of place, yes. Horrendous, no.


Mephariel2018-03-18 18:53:39
@Olive

Wallfisch's career unquestionably benefited from his involvement with Zimmer. He wouldn't have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence. Wallfisch is a very talented composer, but let's be honest here, his music doesn't immediately strikes anyone as a big action guy. Having Zimmer's name pushing you helps.


Olive2018-03-19 00:48:12
@MrZimmerFan

<Is better because there is variety and orchestration>

It is not because a score is orchestrated that it is automatically superior to one half orchestrated and half electronic. My problem with JL is that it's a small score for a composer with as many facets as Elfman. The music is uninspired and (taking one or another track) ends as it begins, nothing catches yours ears beyond of the romantic moments and of the new interpretations of the themes for the heroes.

@mpolonest

<I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force the classic themes.>

Elfman had two paths: Ignore everything and do things his way or respect what Zimmer did and maintain the sound of previous films. What did he do? He made an uninspiring hybrid of both.

@HybridSoldier

<Leagues above, and yet I doubt Ben will be able to write something like "Brothers In Arms" from Mad Max.>

Everyone in RCP knows how to do a power anthem these days.

@Mephariel

<I would not have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence.>

Obviously not. It could be in smaller jobs and present some potential for years to come.


Ds2018-03-19 17:18:53
Olive, if you think Brothers In Arms is nothing more than a RCP power anthem, then you're obviously missing something... To me it's one of the most brilliant action tracks of the last few years.

Junk reply Replies: 1 || 2018-03-18 00:45:15
It is somewhat bizarre that you all are thinking directors actually want to work with Junkie. Surely, the only reason anyone hires him is that they want Zimmer who is not available. Yes, some may have heard Mad Max but it would be silly to think anyone actively wants a Junk score.


Olive2018-03-18 16:50:10
It's a half-truth to everyone who makes up the RCP team, unfortunately.

But I honestly doubt that ANYONE wants to work with XL.

Snyder worked with him 3 times. 300, BvS and Man of Steel. Sometimes I even get the impression that he's always liked Tom's approach more than Zimmer's approach. See all the percussion and synths of all those scores that are far more present in the Xl field than Zimmer's.

Olive reply Replies: 1 || 2018-03-10 18:43:12
So much synthetic noise. I'm disappointed. Lara Croft is a lot rich material for having so uninspired music.


meta2018-03-17 15:28:00
and some nice boob representation, too.

Scorefan reply Replies: 2 || 2018-03-04 01:25:42
@Hybrid, Antonio Di Lorio wrote additional music? Thanks


Iamtommie2018-03-08 18:18:35
I've listened to the score and in a few of the tracks are jungle sounds. I think it's awesome because it makes it kind of creepy


MrZimmerFan2018-03-08 18:42:14
A lot of percussion, but very interesting (also the movie occurs in a island near Japan, and that sounds a lot for taikos, which i love the sound).

Also really nice emocional moments, especially the first and the final tracks. And that action cues, specially The Devil's Sea, The Bag and Let Yamatai Have Her.

Very surprising score.

MrZimmerFan reply Replies: 10 || 2018-03-01 16:50:11
I listened Seeking Endurance.

Not bad, grandiose theme, with certain electronics and percussion.

Now i have better expectations.


George2018-03-01 18:20:25
Where did you listen to it?


FaresTdkr2018-03-01 18:24:51
Me too...


MrZimmerFan2018-03-01 18:29:41
Here

https: //itunes.apple.com/lk/album/tomb-raider-original-motion-pict ure-soundtrack/ 1349241208


Olive2018-03-01 21:52:22
I will find it too!


FaresTdkr2018-03-01 21:59:44
Well 1 min of music that give no filling about this kind of movies!


MrZimmerFan2018-03-02 00:03:31
But much interesting than PRU


...2018-03-02 00:04:58
Agreed MZF, I get some Ferris Wheel vibes from this (divergent)


Ian2018-03-03 03:16:13
LOL, they have well over an hour of music to choose from and they release the very end of a theme and some ambient music?


Olive2018-03-03 21:08:38
Maybe there are no better tracks? This happened with Justice League last year.


MrZimmerFan2018-03-03 21:25:28
There is a couple of clips from the movie and there is a cool music in it.

As for the only track, i'm digging it!

MrZimmerFan reply Replies: 0 || 2018-03-01 16:50:00
I listened Seeking Endurance.

Not bad, grandiose theme, with certain electronics and percussion.

Now i have better expectations.

MrZimmerFan reply Replies: 2 || 2018-02-19 19:45:25
Track times

1. Return to Croft Manor - Junkie XL (8.13)
2. Seeking Endurance - Junkie XL (1.09)
3. The Bag - Junkie XL (1.49)
4. Path of Paternal Secrets - Junkie XL (3.39)
5. The Devil's Sea - Junkie XL (4.11)
6. Let Yamatai Have Her - Junkie XL (13.23)
7. Figure in the Night - Junkie XL (4.15)
8. Remember This - Junkie XL (3.26)
9. Never Give Up - Junkie XL (5.36)
10. Karakuri Wall - Junkie XL (4.38)
11. What Lies Underneath Yamatai - Junkie XL (8.35)
12. There's No Time - Junkie XL (4.01)
13. Becoming the Tomb Raider - Junkie XL (7.15)
14. The Croft Legacy - Junkie XL (2)


JBSO992018-02-19 23:12:19
Great! Many long tracks. I'm especially looking for that 13 minute track. I hope the soundtrack is great.


George2018-02-19 23:29:09
The long tracks are usually fairly promising. Fingers crossed that this turns out well!

MrZimmerFan reply Replies: 12 || 2018-02-14 20:27:14
I'm bit curious about this.


mpolonest123 2018-02-14 20:51:03
There’s no doubt going to be drums. What I’m personally hoping to see is less sound design and more traditional themes.


Olive2018-02-14 21:56:25
I’m personally hoping to see a bunch of fun tracks! We deserve it!


mpolonest123 2018-02-14 22:50:00
@olive If we get anything on the level of “Roland of Eld” or Point Break, that would be awesome!


Olive2018-02-15 01:42:41
I wish so much more! The movie promises to be as good as the last Jumanji! I'm not a big fan of Point Break or Dark Tower, but I think XL has a lot of stuff to explore this time, like in Mad Max.It does not have to be anything extraordinary, just something that gives life to the film.


MrZimmerFan2018-02-15 14:30:32
I like Dark Tower, not a terrific score, but i liked it.

But Point Break... oh, god


Krazkor2018-02-15 23:00:00
Point Break is fantastic!!!!


Anonymous2018-02-16 02:03:04
welp, looks like we're back to the whole "tom holkenborg aka junkie XL" thing again


Ian2018-02-16 19:11:46
Funnily enough, I'm far more critical of Hans than Junkie, given how much the former relies on ghostwriters, but the fact of the matter is that Hans fundamentally understands how to write a film score, and Junkie, from what I've heard, simply doesn't. Mad Max, although a success, is more a function of the film suiting an extremely rhythmic, percussive sound, rather than Junkie being competent, IMHO. So - somewhat joking here, as I know it won't happen - I'd be down for Hans writing a suite for this and Junkie basically copy/pasting it into the film.


Olive2018-02-16 20:43:48
Hans does not have the credit as a producer on this.

XL is limited, I agree, but I hope he does something fun (the film is not even taken seriously).


mpolonest123 2018-02-16 21:22:42
It’s interesting with Junkie. As a composer on a purely scene basis, he’s not that good (this is coming from someone who loves his music). My primary issue with him is that he tends to score scenes with ambience, or stretched out sound design. That was a huge problem I had with Dark Tower.

But like I said elsewhere, he’s still growing as a composer. Watch something like Black Mass where the music in film complements the scenes amazingly.


Hybrid Soldier2018-02-16 23:00:50
The funny thing with Dark Tower, is that the production was so lost they made him write the score 3 times... Who knows what were the other versions like...


mpolonest123 2018-02-16 23:27:29
@Hybrid Really? I guess it’s not a total surprise considering how much of a mess the film turned out to be. Divergent was a similar situation where the score in-film was butchered...

 HANS-ZIMMER.com© 2001-2018 OST 
Tomb Raider soundtrack - Tom Holkenborg (Junkie XL) 2018