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GITS 2.0? I hope not.I have no idea why, filmmusicreporter wrote about it...Seriously? Why they make this decision? They want to sound like Interstellar or what?LOL, Lorne is co-composing "Ad Astra" with Max Richter, that guy is everywhereI think we can call Ian Brown McCarthy the Anti-MacArthur....lol.... Where MacArthur set out to prove everything was by Zimmer, Ian proves everything is by Lorne. ;)<br><br>Kidding, mostly. Lorne's contributions, especially where he has "producer" credits like on this score, are undeniably underrepresented. I've always considered Lorne a co-composer here, just like on Inception, Sherlock Holmes, and Kung Fu Panda 2-3.
Not to nitpick, but even "near co-composer" is downplaying Lorne's role IMO; I've had him listed as co-composer in my personal library for a solid year now.<br><br>On a relate note: man, Hans and Lorne make damn good music together.What I want to know is if the album version of Nixon Defeated is the solo Hans alt or notFeels like there are more Balfe credits on this version than on the album (e.g. Status Suite, solo Hans on the album, Hans/LB here). In fact I'd go so far as to label him a near co-composer here, just like Inception and Sherlock Holmes.Any word on where this can be found, or if it actually exists? H-Z (here) is the only place any of these tracks (let alone mention of a complete version of this score) can be found.Why you haven't update about David Buckley with Angel Has Fallen score yet?
Yep, fun (if slight) score to a very fun movie. "Get it On" is a great action cue.It was also one of the first HG-W's scores I ever listened to (way back when!), so maybe it's just nostalgia talking. <br>But it's worth a listen at least.It's a shame no one talks about this score. <br><br>It's a great listen if you love heavily percussive music! <br><br>Not a highlight in HG-W's carreer by any means, but it's a fun ride, and has some neat unique sounding stuff courtesy of Heitor Pereira, as well as plenty of goold ol' MV style synth/orchestra pounding!He returns to the hitman's bodyguard part 2I was honored, back in 2006, to meet both Nick Glennie-Smith and Harry Gregson-Williams.<br><br>I talked with both about The Rock, and here's what they told.<br><br>Nick & Hans worked very closely on most of their cues. That's why it's so hard to notice any difference between their own styles (and why they share most of the credits).<br>Harry worked separately from Nick & Hans. He remembered working on the San Francisco Chase (though we know Don Harper helped at some point in the process), and on "a lot of the action material from the second half of the movie, once the heroes reach Alcatraz".<br>The credits here tend to prove they were right.<br><br>All the Opening Titles / SEAL Attack is a bit complicated. Hans might have written the theme, but it also might be arranged for pictures by Nick Glennie-Smith (plus there's a lot more going on in these tracks than the man theme alone). So, well, I guess the final result still is a collaborative effort.
A brilliant score, no matter what some people might say. Some of the darkest and most beautiful themes by Hans Zimmer were born here, as well as a lot of very exciting and propulsive electronic techniques. <br>Heck, I even like the movie! The score fits like a glove.<br>It helps that I'm a huge Tony Scott fan though.<br><br>Zimmer would even 'steal' from this score quite a bit in some of his later films. The 'Wayne Manor Suite' from TDKR comes to mind, as well as one of the Blade Runner 2049 themes being strangely similar to The Fan's 'Opening Titles' theme, and I'm sure there are other examples.<br><br>I would love for a complete version to be officially released sometime. It's very unlikely, but one can dream...Listen to the first demo at NGS demos album of "The Rock". The opening and SEAL Attack have a few notes from original NGS theme. That's why NGS is credited to it.I remember hearing something about NGS not wanting his name in the opening credits since it was a Hans cue playing. So yeah. I think the opening is really just Zimmer and the NGS credit is a formality since it was supposed to be Nickís score.I'm sorry, disregard EVERYTHING I just wrote...The credit on "SEAL Attack" is HZ/NGS/Stern, not HZ/HGW/Stern. Not sure how I missed that. *facepalm*OK, so a thought...<br><br>"Opening" and "SEAL Attack" are functionally identical; Hybrid says that Hans originally wrote it for the latter scene and it was then placed over the main titles of the film. However, the former is credited to Hans and NGS, the latter to Hans, HGW and Steven Stern. Presumably, since HGW/Stern aren't credited on "Opening", their contribution to "SEAL Attack" is limited to that first minute, which does indeed have a lot of HGW-ish percussion work to my ears. That leaves the rest of "SEAL Attack" as Hans' work alone, which begs the question: why the heck is NGS credited for "Opening", then, since it's basically identical? Screw it, I'm labeling that a solo Hans cue. Always bugged me that there wasn't at least one on this score. :p
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Benjamin Wallfisch
Composer
The Darkest Minds
Label: Milan Records
Length: 47'25
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 (823 votes)
  1. The Darkest Minds (7:04)
  2. Ruby's Theme (2:18)
  3. Lady Jane (2:30)
  4. Escape (3:35)
  5. Cate (1:26)
  6. Runaway (1:06)
  7. Picnic (1:21)
  8. Zu's Dream (1:46)
  9. E.D.O. (1:34)
  10. Home (4:39)
  11. The Slip Kid (1:44)
  12. Mind Control (3:37)
  13. Memories (3:48)
  14. Red (5:44)
  15. Liam (3:37)
  16. The Children's League (1:36)
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Knight reply Replies: 2 || 2019-02-09 11:49:06
Thank you for posting all these booklets. Do you get the info from CD booklets?

  Your name :   

Please enter number: 1649 


Michael Fields2019-02-09 12:35:19
No, Knight. Usually i watch movies till the credits and find all information in end titles.


Michael Fields2019-02-09 12:36:50
But sometimes i find in Internet booklets of soundtracks. It's really helps!

Michael Fields reply Replies: 0 || 2019-02-09 10:32:13
MOVIE CREDITS:

Music By
BENJAMIN WALLFISCH

Music Supervisor
DEVA ANDERSON

Music Editor
AMANDA GOODPASTER

Orchestrated By
DAVID J. KRYSTAL
PETER BATEMAN
CHRIS RYAN

Orchestra Conducted By
TIM WILLIAMS
BENJAMIN WALLFISCH

Music Preparation By
BOOKER WHITE

Orchestra Contracted By
PETER ROTTER

Score Recorded & Mixed By
JOEL IWATAKI

Additional Programming By
ALEX LU
OWEN GURRY

Guitars
OWEN GURRY

Solo Vocals
HOLLY SEDILLOS

Vocal Contractor
JASPER RANDALL

Score Technical Assistants
MAX SANDLER
MICHAEL DEAN PARSONS
NATE UNDERKUFFLER

Digital Score Recordists
VINCENT CIRILLI
LARRY MAH
ALICE WOOD

Score Recorded At
THE NEWMAN STAGE, 20th CENTURY FOX POST PRODUCTION SERVICES

Newman Stage Engineer
DENIS ST. AMAND

Newman Recordist
TIM LAUBER

Newman Stage Managers
PETER NELSON
DAMON TEDESCO

Score Mixed At
REMOTE CONTROL PRODUCTIONS

Score Mix Assistant
ALFREDO PASQUEL

Music Coordinator
RACHEL LAUTZENHEISER

MrBammbody reply Replies: 2 || 2018-10-06 08:46:34
What's the song in the beginning when they're transporting the black girl to the camp?


MrBammbody2018-10-20 15:10:48
Hello?


Adele2018-10-20 17:15:48
It's me

Ro reply Replies: 0 || 2018-09-05 17:15:45
That pounding sound of cellos and violins that kick in about 90 seconds into "Escape" is absolutely fantastic. I like it even more once the violins start to overtake the cue a little while later. Had this minute-long passage on repeat like crazy since I discovered it. Sure do hope to hear stuff like this in scores more often.

mpolonest123 reply Replies: 6 || 2018-08-03 13:28:17
Meh. It really isnít a bad score, but it is probably one of the most cliche things Iíve heard in a while. You have the female vocals for the lead (havenít heard that before) with the same stock action music from every other YA score. Even the main theme sounds vaguely similar to RGWís Wonder Woman theme.

Itís funny that they apparently use music from Divergent in the film, because much of this sounds like a lesser version. And considering how talented Wallfisch is, I honestly donít understand why they would hire him to write something like this. #confused


superultramegaa2018-08-03 16:08:02
Yeah, it's probably just the problem with these cookie cutter YA films that all have the same tone and the same theme of "adults just don't understand our struggle, man." To be honest I didn't even like James Newton Howard's Hunger Games scores. I think the blandness of the films just translates over to the music. E

ven something like Ender's Game where you'd think sci fi would give Jablonsky plenty of opportunities, ended up being a combo of bland ambiance and stock Game of Thrones-esque cello music. Wallfisch's score sounds cliched and stock because this movie is probably cliched and stock (judging from the trailers).


Hybrid Soldier2018-08-03 16:12:15
The irony is probably that the score to Divergent, itself, was absolutely butchered & half rejected in the film ! lol


mpolonest1232018-08-03 16:29:02
Lol that really was a crime, JXLís score for that was probably one of his best.

And wasnít this directed by the same lady who did KFP2 and 3? Which could explain the temp issues, going by what happened on KFP2...


MrZimmerFan2018-08-03 21:01:34
Actually, I like Ender's Game, even if the main theme is something like Game of Thrones (altough, I think has more in common with the main theme from A Nightmare on Elm Street).

As for The Darkest Minds, if is not of the best works by Wallfisch, i like it, a lot, his more emotional tracks are the best (the action tracks are the expected, but more engaging than the actual kind of stuff of this YA movies), and i have to say, i don't consider Divergent Junkie's best, is kinda enyojable, as for my taste (i prefer The Dark Tower or the recent Tomb Raider, even Black Mass more)


Mephariel2018-08-04 06:02:04
If Tomb Raider is your best work, you are in trouble as a composer.

IMO, Mad Max is by far his best work.


MrZimmerFan2018-08-04 10:02:12
As for my taste, Mephariel, I have more enjoyement with Tomb Raider than Mad Max, IMO.

Gotham Rogue reply Replies: 1 || 2018-08-03 07:05:46
2 cues from Junkie XLís Divergent Score are used towards the end of this film. Does stuff like that bother anyone else? It was supposed to be an emotional scene but all I could do was think about how the music was being reused.


...2018-08-03 08:02:00
Iím disappointed that Wallfish wrote a score like this that sounds like Junkie XL

Jack Afrogarrix 2018 reply Replies: 3 || 2018-07-19 18:23:36
Another great score from Benjamin Wallfisch can't wait to hear the score & see the movie

Music By Benjamin Wallfisch
Additional Music By John Paesano & Adam Hochstatter
Orchestra Conducted By Tim Williams
Orchestrations By Peter Bateman & David J. Krystal


Hybrid Soldier2018-07-19 18:58:17
So you can't wait to hear the score but you already say it's a great score ?


#inception


Jack Afrogarrix 20182018-07-19 22:32:20
I Know, Hybrid, just sayin' that i a fan of Benjamin Wallfisch's music Scores since lights Out to Blade Runner 2049 and i say this is another excelent Work from Wallfisch


Evenstar2018-08-01 11:40:22
but you didn't even know how it sounds

MrZimmerFan reply Replies: 1 || 2018-07-31 19:58:32
Lady Jane track

https: / /m.soundcloud.com/milanrecords/benjamin-wallfisch-lady-jane- from-the-darkest-minds-ost


...2018-07-31 22:04:34
This sounds so disappointing. I didnít think weíd hear this kind of stuff from Wallfosh who seemed to be such a great writer. This sounds like everything else and not like Wallfish.

Ro reply Replies: 0 || 2018-07-19 19:58:49
One-worded track titles! Reminds me of early days of Media Ventures!

They sure tried real hard to keep spoilers out of these, didn't they? I suppose I'd take this approach over Latin or irrelevant names, though a little bit of pun and flavor wouldn't have hurt.

MrZimmerFan reply Replies: 0 || 2018-07-18 19:09:37
Yeah

BTW, John Paesano is credited as additional music

 HANS-ZIMMER.com© 2001-2018 OST 
The Darkest Minds soundtrack - Benjamin Wallfisch 2018