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As always with unused pieces of music. There are always be more interesting. Like with Dark Phoenix.I think what Lorne wrote for the last 30 min of the movie is way better than what ended in the movie... Lorne tried to elevate what was going on on screen, but it was probably too "bold" for the taste of production... They wanted to keep as "kow key" as possible but to me it made the ending of the film fall super flat...
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<br>In the end there isn't that much Lorne in the film (most of the "Moon" reel is Lorne though, that big 4 notes motif appearing during the moon landing and then takeoff). Ironically most of the droning you're all complaining about is not that much Lorne... lol
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<br>I really hope Lorne will put out as much music as possible, even all the unused parts, which are the more interesting ones !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.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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Harry Gregson-WilliamsStephanie Economou
ComposerAdditional Music
Penguins (Documentary)
Label: Walt Disney Records
Length: 40'51
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 (532 votes)
  1. Antarctica (0:47)
  2. The Penguin March (2:04)
  3. Bare Rock (1:31)
  4. Stealing Stones (2:29)
  5. Adeline's Waltz (2:23)
  6. Love Nest (1:41)
  7. Precious Arrivals (3:40)
  8. Spring Break (2:05)
  9. Killer Whales (1:59)
  10. Hungry Chick Chase (1:56)
  11. Katabatic Blizzard (3:42)
  12. Antarctic Summer (2:10)
  13. New Haircuts (1:12)
  14. First Snowfall (2:58)
  15. Down The Wrong Alley (0:55)
  16. Exodus To The Sea (1:09)
  17. The Seals Arrive (2:15)
  18. Journey Across The Ice (3:42)
  19. Together Again! (2:13)
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Knight reply Replies: 0 || 2019-08-29 18:24:48
Additional credits:

Harry Gregson-Williams, Stephanie Economou

ADELINE'S WALTZ
KILLER WHALES
KATABATIC BLIZZARD
ANTARTIC SUMMER
DOWN THE WRONG ALLEY

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Please enter number: 1695 

Michael Fields reply Replies: 0 || 2019-04-23 12:36:45
MOVIE CREDITS:

Music Composed And Conducted By
HARRY GREGSON - WILLIAMS

Additional Music By
STEPHANIE ECONOMOU

Music Edited By
BYFAR MUSIC, INC.

Orchestrated By
ALISTAIR KING

Score Recorded At
ABBEY ROAD STUDIOS

Score Recorded & Mixed By
PETER COBBIN

Record & Mix Editorial
KIRSTY WHALLEY

Score Mixed At
SWEET THUNDER STUDIO

Assistant Engineers
JOHN BARRETT
STEFANO CIVETTA

Assistant Music Editor
PAUL THOMASON

Digital Score Recordist
PAUL THOMASON

Score Production Supervisor
MONICA ZIERHUT

Music Preparation By
JILL STREATER

Orchestra Contractor
JENNY NENDICK
For
ISOBEL GRIFFITHS, LTD.

Choir & Whistlers
APOLLO VOICES

Acoustic Guitar & Ukulele
VIVIAN MILANOVA

Ethnic Flutes
CHARLES ADELPHIA

Bass
FRANCISCO OJEDA

Drum Programmer
SATNAM RAMGOTRA

Felix reply Replies: 0 || 2019-04-22 02:03:10
I love it!
The Penguin March is perfect for Penguin based music!

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Penguins (Documentary) soundtrack - Harry Gregson-Williams 2019