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Don't feel bad. You've just summed up why Hans and Lorne make a good team. Lorne is by all accounts a fantastic arranger and can bring out the best in others' ideas but I sometimes find his own compositions are a bit basic or leave me cold. Hans on the other hand always nails the theme and the concept but his scoring to picture to me feels clunky and a bit amateurish, especially when the music is dense. <br><br>Both super talented in their own ways. :-)Is there anyway o get sheet music for Into the pie machine for orchestra?Just saw Maleficent 2. There is a lot more Newton Howard in the movoe than there is on album.<br>I actually can't really understand why they didn't include the reprise of The Christening (the dinner scene) & the finale in the movie.<br><br>Zanelli's score is wonderful and I love it very much. But would have loved this on albumI can't imagine how someone likes Balfe's part over Richters. As you said Thomas, Richters work sounds more like suites, and Balfes work is written more to picture. BUT, it sounds to me also like a typical RCP-work with Hans. While Hans gives the direction with his suites and melodies, Balfe and co are adapting those suites to the specific scenes and writing some "new" stuff to fill any gap if there is any need of it, so they become additional composers in the credits.<br><br>And here, we have the same. Richter shows the direction and some cues are real intense and beautiful. Balfes parts sounding like a gap-filler. I don't want to talk bad about Balfe, he's a composing machine, but still i can't find anything remarkable on those parts and so i can't understand how Richters work hasn't been used but instead the more colorless cues from Balfes part :/<br><br>Again, don't feel insulted guys, it's just my sensationBalfe’s part is the best I think.<br>It also seems written to picture instead of just long suites.<br>My understanding is the Balfe wrote half of the score but the album doesn’t seem to represent that for some reason.
I really liked Richter’s score over balfesI listened Max Richter for years. He is the kind of select or minority composer who does his solo works and soundtrack for movies not so famous. <br>His solo works are really really good with quintet and piano and voice. "on the nature of daylight" is definitely the best. <br>His sountrack is not good as his solo, to be honest. I think "the Leftovers" (2014-2017, HBO series), "Miss Slaone" (2016) and "Mary Queen of Scots" (2019) are cool.<br>If you need some peaceful music for meditation or good sleep, listen to his work.Richter did his recording in january and june 2019. The Director himself is a fan of Richter, so the deadline and director are not the reason.<br>It seemed that producers were not satisfied with Richter's music and they wanted something new, that's why they got Lorne. It turned out Lorne brought a very limited new...@Cercei<br>Hybrid can definitely answer that best. Richter’s score is used (alongside Balfe’s material) as well as some source pieces. If I remember correctly it’s a mish-mash of the two.I do know that piece, it’s very pretty. I’ll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His “Music For Airports” and “The Lovely Bones” are excellent if you like more introspective music.
btw, you're saying Lorne recomposed and reworked the entire score. as i haven't seen the movie yet, did the producers end up with not using richters score for it at all and just used the score from Lorne?thanks for your information. but i actually don't understand why they have done that. i've heard now Lornes cues and Richters cues. all those cues from Lorne, they sound very similiar to that what Richter composed, but somehow with less melodies. And you really have to work hard to not use fewer melodies then Richter, as he's a minimalist at its best ^^ with that being said, i can't hear any groundbreaking differences from Lornes part, so what was their idea on hiring it and getting the same style of music, but in a more "light" version? :/i really admire Max Richters work, he isn't that new in this scene. his style is that repeating minimalism. maybe you've heard once the cue "on the nature of daylight" which was used a lot by many other movies. his last score which knocked me out was "Hostiles". such an emotional and intense score, you need to hear that, and probably see the movie as well (with Christian Bale). <br><br>Really surprised at this album, I’ve never really heard anything from Max Richter but I really like what he ended up writing for this score. It surprisingly flows well for a stand alone listen. It’s funny that the producers wanted a different approach, I think Richter nailed it.<br><br>Balfe’s contribution is excellent as well, I particularly like that repeating chord progression (which is starting to become one of his trademarks considering how many times he has used it). It’s disappointing that they didn’t include more of his contribution though, since he apparently rewrote the entire score.Lorne said in his Twitter, the first album for His Dark Materials come 3rd November, no date, for the moment, for the second album.
Was the producersi haven't understood the fact, that Lorne was involved in this. Can someone explain it for me? Was the director not satisfied with Richters music? Was the deadline too near? Or what was the reason why they have brought Lorne to this project?"The Wanderer", "Event Horizon", "You Have To Let Me Go" and "Tuesday (Voiceless)" = WOW WOW WOW!!!Zanelli is no James Newton Howard, but he did a fantastic job with writing a large scale fantasy score. I’ll even say that, while I think the first Maleficent is stronger overall, I personally like the action writing better here. Also 2 little things I’ve noticed;<br><br>1. The new theme here sounds fairly similar to the Father/Son tune from KFP3<br>2. 2:20-3:30 sounds like it may have been temped from the finale of Fantastic Beasts. (Or maybe I’m just crazy lol)Great work of Zanelli, if is not as good like JNH's Maleficent, is a tremendous work, with a terrific writing and orchestrations, even the most tender parts are terrific.

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Hans ZimmerSteve MazzaroDavid FlemingAndy Page
ComposerAdditional MusicAdditional MusicMusic Producer
Dark Phoenix
Label: Fox Music
Length: 67'55 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 (932 votes)
  1. Gap (8:07)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
  2. Dark (4:27)
    Hans Zimmer, David Fleming
  3. Frameshift (8:15)
    Hans Zimmer, David Fleming, Andy Page
  4. Amity (5:52)
    Hans Zimmer, Steve Mazzaro (Henry Purcell)
  5. Intimate (10:14)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
  6. Negative (3:58)
    Hans Zimmer, Steve Mazzaro
  7. Deletion (4:51)
    Hans Zimmer, David Fleming, Andy Page
  8. Reckless (9:35)
    Hans Zimmer, Steve Mazzaro
  9. Insertion (7:56)
    Hans Zimmer, Steve Mazzaro, David Fleming
  10. Coda (4:40)
    Hans Zimmer, David Fleming
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John G reply Replies: 0 || 2019-09-09 16:22:22
So I've finished watching the movie for a second time. Here's my input:

Gap, Amity, Intimate, Negative, & Insertion are pretty much untouched. Dark is chopped up to fit the picture, and Frameshift, Reckless, & Coda have alternative, extended takes compared to what we actually hear in the album.

Still one of Zimmer's best. It's no Man Of Steel, but it's still a great listen.

badbu reply Replies: 0 || 2019-09-03 11:09:43
is there a cuesheet from the complete score available?

Mike reply Replies: 1 || 2019-09-02 22:39:29
The last minute and 50 seconds of Coda are beautiful. It would be stupid to try and glean too much about a composer from their music, but I wonder if Hans has a melancholy temperament. Cause he does sad stuff really well, to me.

Mephariel2019-09-03 02:11:15
Yep, I think Coda is best track in the album, rival only by "Gap" and "X-SS" on the Xperiments album.

e reply Replies: 22 || 2019-07-21 10:50:35
He mentions the Dark Phoenix second CD here. 20:33 onwards.

https: // v=mHmKZbUZiIA

"I did a film recently that got away, but we wrote 16 hours of music. We're actually fighting to get another CD released because the film didn't do anything, just to have it out there. Because you can't use again in something else, so it'd be nice to have it out there. So that it doesn't disappear into a rubbish bin".

Hybrid Soldier2019-07-21 10:58:22
And I can tell you Hans brought the matter to the very head of Disney Music... Everyone seems game to release it, just need to work out some technicalities...

badbu2019-07-21 11:44:41
i can't wait!!!!!!!

Ahmad2019-07-21 13:39:25
It's comforting to get a reconfirmation that it's coming.
Now we'll just have to cross our fingers that the process doesn't take months like that one other release ;)

Which one will be out first: End Credits or X-Periments? :P

Max2019-07-21 18:05:58
This is great news.Maybe Balfe’s scores to Ghost in the Shell now can get released.
Over 6000 people have signed the petition for Ghost.

Hybrid Soldier2019-07-21 18:57:53
No GITS cannot be released, it's technically not possible... That's why Lorne leaked his part of the score himself...

Scorefan2019-07-22 05:11:31
16 hours of music?
Can we hear those 16 hours of music one day?

badbu2019-07-22 07:13:27
@Ahmad i think end credits :P

Reckless2019-07-23 21:14:43
This is promising! I'm keeping my fingers crossed and praying to the score gods at Disney that this is going to finally get released, but I'm also preparing for the possibility that I'll have to wait a year or two for the complete score to leak.

badbu2019-07-24 08:57:13
the only cue i want from the complete score is the piano cue (Jean & Charles "school"). But i want to hear the ideas and suites!!! :D i can't wait for it :-)

Nicklas2019-07-25 17:52:14
Halleluja awesome news!!!
Considering the big amount of work Hans put into it, this is awesome!
I really hope it will get a official release on iTunes, Apple Music and Spotify so we can listen to it without problems.

A Fan2019-07-27 08:59:56
>> No GITS cannot be released, it's technically not possible... That's why Lorne leaked his part of the score himself...

What does "technically not possible" mean in this context? Is the harddrive which was used to store the music not working? This would be a technical problem. The music by Mansell would be great to listen to...

Why not leak those 16h of music for Dark Phoenix aswell? ;-)
Or even better, release a signed box set for $400-500, limited to 1000 or 2000 items. I'm sure it will sell out. I certainly would buy one :)

Why can't the unused music used in another movie? HGW once told us in a workshop that he has a lot of unreleased music and that he could use it in other movies if he wants to.

Hybrid Soldier2019-07-27 09:31:26
GITS cannot be released for various legal reasons.

Hybrid Soldier2019-07-27 11:55:38
On the other points, why not leak it ? Because for GITS it was Lorne's choice to do it...

And 16 hours, well it was specifically quite a lot but on all scores there happens to be hours of music left on the side. Hans wrote I'll Do Anything several times, or Matchstick Men, or Rango...

And about reusing it, of course that happens. He's exagerating. If the music belongs to the studio, he can't reuse it (even if it ends up not used in the film it was written for), but if he owns it (and that's the case for all this unused/rejected Dark Phoenix material), he could technically do whatever he wants with it.

Powell is a master at keeping ideas somewhere and use it for the correct project. But Hans does it from time to time too. A famous piece from Gladiator was written for another film a few years before...

Sam2019-07-27 14:27:54
Hybrid, who has the rights for 'Tears of the Sun'? Zimmer or any studio? Who owns the music? If Zimmer owns his music, is there any chance to release that one under the RCP label like Dark Phoenix?

Hybrid Soldier2019-07-27 15:50:50
Big studios own their music...

Hans owns his music for indepedent films mostly like 12 Years A Slave, The Little Prince, Widows, Freeheld, Brave Miss World, Chappie, Rush, The Pacific, Millennium, The Last Face, Mr Morgan's Lat Love, The Power Of One...

Edmund Meinerts2019-07-27 16:42:42
I'd love to learn more about ideas that Zimmer or Powell have been holding on ice, waiting for the right project to come along...I know there was that one old Powell promo/showreel full of demo versions of themes that would end up in lots of his scores, but I've never actually heard that one.

e2019-07-27 19:08:14
That's one reason I might buy this CD. If the CD has cool concepts and is a moderate success it'd be fun to hear some of the other "unfiltered" concepts/demos. In many Hans scores in particular the suites more precisely communicate the intent of the music than the score.

David2019-07-29 02:46:09
what was the Gladiator piece originally from another film??

JK2019-08-27 08:00:12
For people still pondering why The Ghost in the Shell score portions done by Clint Mansell won't be released ever, it's simple: test screeners! Clint and his team composed music for a majority of the philosophical parts which test screeners hated so much especially the original ending of the film where Kuze and Major come together in the mind. As a result of the test screenings, the philosophical elements were cut resulting in huge chunk of the Mansell team's music getting pulled aside, though a portion of the action themes done by Kevin Kiner remained with Lorne taking over the score with a revised third act with a more optimistic ending for potential sequels! So there, thank the test screeners who preferred pew pew movies over philosophical films that explained things! If you don't believe me, go to reddit and others will say the same thing!

Anonymous2019-08-27 13:11:30
ghost in the Shell was problematic from the beginning when they cast a white Woman to play a Japanese character

Knight2019-08-27 13:32:44
> problematic
Ah shit here we go again

meta2019-08-31 15:23:39
Whats sad is that this is the last 20th century Fox movie I will ever see again...At least this one was scored by Hans.

Michael Hayko reply Replies: 9 || 2019-07-29 03:17:11
WTF! So when is a CD of Dark Phoenix going to be released already! And why isn't Hans Zimmer more proactive on how his music is released? How could he settle for a digital download? I feel he's betraying his fans by not insisting that a CD be released immediately! Not so long ago when a film was released the soundtrack would be released as well. I guess those days are gone.

Kekec2019-07-29 15:10:52
I don't blame Zimmer for this, it's more to do with the studios in question. But otherwise I agree; I, too, miss the days when score CDs came with the movies. ItS getting rarer and rarer these days. :(

nvictor2019-07-30 00:23:43
to be honest guys, is CD really better than digital nowadays? maybe you guys can tell... but i can't. i am happy enough with digital (no DRM...)

Ahmad2019-07-30 11:37:18
Well, you can actually purchase Hi-Res 24-bit 44.1/48/96/192 kHz digitally which is "technically" better than what you would get on a CD (16-bit 44.1 kHz). But does that difference matter? Not sure. Though having those versions available is really good in cases like Dark Phoenix.

Now, I really do like to buy physical releases (CD and sometimes vinyl). It's nice to have the artwork and additional information, but it's not the end of the world if one movie doesn't get a release - knowing the circumstances. At least we got it digitally, legally and it's easily obtained.

Randy Watson2019-07-30 14:33:09
"WTF! So when is a CD of Dark Phoenix going to be released already! And why isn't Hans Zimmer more proactive on how his music is released? How could he settle for a digital download? I feel he's betraying his fans by not insisting that a CD be released immediately!"

So! Much! Entitlement!

Hybrid Soldier2019-07-30 14:37:06
Yes, especially for someone who's not trying to understand WHY...

I explained on the other page (for Xperiments) why it's not gonna happen.

Patrick2019-08-07 02:38:59
For me, the CD isn't so much about quality, but the experience. It's something tangible. It's reading the insert while listening to the score for the first time on CD. Just like they did with Vinyls at their peak. It's a collectable item. It's the artwork and the love that goes into the physical copy. I rather have that than a digital album cover and downloaded songs. I am realistic industry is moving forward and change must be embraced. It is just more sad than anything. Could Dunkirk be the last CD I ever bought from Hans? Maybe. But if so, then it's fine. One final thought, to me It is hard to justify paying $10 or so for something I can't feel in my hands. I know that sounds stupid. I paid the ridiculous price for the illuminated star projection edition of Interstellar just because it was special. I am sad to see that special touch go away. Thank you for listening to my TED talk.

Kekec2019-08-07 18:02:28
I'm absolutely with you, Patrick. While I'm glad the score (and other scores) come out at least as downloads, I do not like this trend at all. I only hope that the nostalgia for CDs will come soon just as it came for vinyls...

Daledebil2019-08-25 15:20:52
For me it's easy.
If there is a cd version I buy it. If there is only digital version.....NO
I'll pay for music while there are physical format (only cd really). I'm not interested in pay for downloads,Spotify, etc

tilibro2019-08-26 00:54:38
And streaming practically dominates how the majority listen to music. Physical media is costly and expensive to manufacture and don't sell very well in stores as everyone prefers to to use Spotify and getting the same album for free. Same goes for movies and TV shows as well with Netflix.

nvictor reply Replies: 3 || 2019-08-10 19:48:20
i noticed a few new music incorporating that vocal instrument / rhythm into them. this is really telling! i knew it wasn't going to go unnoticed. just like the drone bass and rhythm from dunkirk inspired many. RCP is always pushing the game forward imo : )

Der Profl2019-08-10 20:07:03
Which new music do you mean in particular? I really like the voice as an rhythmical insturment, so I would like to hear more of it.

nvictor2019-08-10 20:40:28
so youtube lol... :) well in particular what Daniel James put out. he never explicitly said he was trying to achieve these vocal rhythms but that's how i felt. the tune is called "mild cheddar". and then i came across Loire Cotler looking into it and found she worked on DP! so maybe she is perhaps the real inspiration.

Der Profl2019-08-10 22:38:51
Thank you for your answer. Loire Cotler is really impressive though.

John G reply Replies: 0 || 2019-08-08 16:15:18
Wouldn’t it be great if Hans Zimmer, John Powell, Henry Jackman, and Harry Gregson-Williams got together (either live or in the studio) to mix their X-Men scores with each other? That would be a MASTERPIECE.

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Please enter number: 1701 

Watcher reply Replies: 1 || 2019-07-26 20:53:17
In the end credits there is a soundtrack that is not included in those above. It's like a stronger version of GAP. Anyone know its name?

Ahmad2019-07-26 21:20:49
It’s unreleased and I’d assume it’s called End Credits or End Titles in the cuesheet :) There are a lot of interesting variations of the many themes in that track. I think we might hear the same or similar ideas in X-Periments. If not, we’ll have it in lossless surround in about a month.

Edmund Meinerts reply Replies: 5 || 2019-07-25 21:26:27
Xperiments is officially coming, August 2nd! Filmmusicreporter confirmed it. And the track titles are...interesting haha.

1. X-HZT (17:27)
2. X-X (5:59)
3. X-LGDP (8:07)
4. X-SI (6:25)
5. X-HD (3:32)
6. X-MP (3:21)
7. X-MT (5:03)
8. X-TX (8:48)
9. X-MDP (9:06)
10. X-F (3:56)
11. X-CH (4:58)
12. X-SS (2:01)

Any guesses? HZT is probably "Hans Zimmer Theme" but that's about all I can figure out.

badbu 2019-07-25 21:38:46
Yeeeeehhhhh!!!! 1 week!!! Yessss :-)

Knight2019-07-25 21:59:33
Hooray! Another victory for music lovers

Ahmad2019-07-25 23:27:51
@badhu it seems we’re getting CD-2 first afterall :P

I’m beyond happy and I feel very, very hyped right now!

The titles tho - what a riddle XD
3- X-Let’s Go Dark Phoenix!

e2019-07-25 23:28:34
Awesome! Looking forward to hearing the ideas he came up with! The titles are odd.

badbu2019-07-26 13:10:49
hahaha :D oh man me too!!! i'm soooo hyped!!!
can't wait for it :-)

badbu reply Replies: 2 || 2019-07-18 15:09:08
Deleted Scenes:
Edwards Air Force Base
Charles Returns Home
Mission Prep
Beast MIA
Charles Says Goodbye
Rise of the Phoenix: The Making of Dark Phoenix (5-Part Documentary)
Scene Breakdown: The 5th Avenue Sequence88
How to Fly Your Jet to Space with Beast
Audio Commentary by Simon Kinberg and Hutch Parker
*Commentary available on Blu-ray, iTunes Extras and Movies Anywhere only
no Hans (making of) and no isolated score :/ damn...

Ahmad2019-07-18 16:28:51
Wasn't expecting any of that so I'm not disappointed :D

badbu2019-07-18 17:15:40
haha that’s true :D

LS100 Studios reply Replies: 4 || 2019-07-10 22:21:13
Wasn't a fan of this score on my first listen, and I'm not a fan of the film either - but I like the new themes Zimmer wrote and how they're weaved throughout the score. Thought I'd analyze the themes and how they recur in the score.

Zimmer made three major recurring themes - the new X-Men theme, the Phoenix theme, and Magneto's newest theme. "Amity" might contain a motif too, I discuss that more below.

1. "Gap" debuts the new X-Men theme, with various renditions throughout before the Phoenix theme debuts up at the end. Love how the X-Men theme starts off quiet, wish we had more of that in the score.

2. "Dark" is a suite for the Phoenix theme, it has various renditions of it too.

3. "Frameshift" starts off with the Phoenix theme, and then debuts Magneto's motif. The Phoenix theme returns more quietly through the track, then builds up to a violent rendition towards the end.

4. "Amity" is mostly gloomy ambience from the sound of it, but after listening to the whole score it seems like a theme of mourning. It plays after Mystique dies, and again after the loss of Jean. So I guess this counts as a fourth theme?

5. "Intimate" starts off with some uncertain vibes, then transitions to a more ethereal score. Magneto's theme returns, this time in full, with the full theme playing around 6:42. We're welcomed to more renditions of the X-Men theme during the NY skirmish.

6. "Negative" doesn't feature any of the other themes - save for a bit of the X-Men theme towards the end. This track might be a theme for the D'Bari, I think it's when Jessica Chastain takes the Phoenix force.

7. "Deletion" opens with Magneto's theme, and transitions to a violent rendition of the Phoenix theme, which continues through much of the track. The end of the track gave me some Ottman vibes.

8. "Reckless" starts off with a short piano theme - seriously thought Ottman's "Hope" theme was gonna' start at 0:35, haha. It's then followed by the gloomy theme from "Amity", can't remember what scene. Much of this track, similarly to "Gap", contains renditions of the new X-Men theme. An action rendition of Magneto's theme starts around 7:20.

9. "Insertion" starts off with Magneto's theme, its last appearance in the score - followed by a calmer version of the Phoenix theme, which leads to a more violent rendition of it. The theme quiets down to an eerie rendition of the Phoenix theme halfway through the track, and builds up to another violent rendition. The track concludes with a choral arrangement which kind of reminds me of the ending for "Terraforming" from Man of Steel.

10. "Coda" wraps up the score with a reprise of the mourning theme from "Amity". Splices in some bits of the X-Men theme too, and some piano notes towards the middle are derived from the Phoenix theme. Also uses some of the Phoenix chants towards the end. All in all a nice hopeful track to wrap up the film.

Might be some mistakes or things I missed. Hoping for that second score to release, I'd love to see Zimmer's ideas/sketchbook for the film.

nvictor2019-07-11 03:26:02
i identified four themes too. roughly in the order you describe them. two in gap -- although i am not familiar with x-men scores, so i didn't know about the new x-men theme. dark is by far my favorite track. and frameshift -- in my head, without seeing the movie -- is a theme that feels like a transition to evil. now that i read your comment, that phoenix theme is "that" villain theme in my head. and the magneto theme in frameshift is "that" transition. at least to me...

now, amity is where i am hearing the progression from Dido's Lament by Henry Purcell. a few people mentioned it was the inspiration for the score. since i have been paying attention to it, i am finding that other parts and themes blend so well with it or complement it well. the same thing with all the other themes. they blend so well that one could have started as chords or accompaniment for the other. and later turned into its own theme.

i am hoping to figure out how all these themes came from amity or from one another. and pray we get that 2nd CD that will have suites because it will solve everything :)

mpolonest123 2019-07-11 04:05:24
“Negative” is definitely the villain theme for Jessica Chastain, it also opens up the first two minutes of “Intimate”.

Great breakdown, there is still so much with the score to dissect. I love the way the Purcell motif from “Amity” recurs throughout the score, transforming into an action variation in “Reckless”.

Ahmad2019-07-11 13:13:47
I was going to do a similar analysis but got too lazy :P

Dark (or the first section of it) actually plays right after Gap in the film. Starts with Jean waking up and them arriving at the school.

I love how Hans sprinkled the new X-Men theme and Amity all over the score. The piano at the beginning of Reckless is actually part of the new X-men theme "Gap" and the big conclusion at the end of "Insertion" is a variation on the theme as well.

I count at least five unique themes:
1- The new X-Men theme
2- Jean Grey/Dark Phoenix
3- Magneto
4- Tragedy (Amity)
5- Vuk's theme (Chastain's character) - which is incredible

I really love the score and I hope we get to hear the content of the second CD. The end credits suite had very interesting variations not included in the album.

BC2019-07-12 17:25:13
You're forgetting Jean's theme at the beginning of "Frameshift", which in my opinion is one of the prettiest parts of the score. It starts shifting over to the Dark Phoenix theme 44 seconds in.

John G. reply Replies: 4 || 2019-07-02 18:22:21
Is there a source that confirms a 2CD release/existence? I’ve been looking around and I’ve found nothing so far.

George2019-07-02 19:39:22
Facebook group. HZ confirmed himself. Go sign the petition, otherwise this release may not happen at all!

Kevin2019-07-09 09:02:43
I'm really hoping they pull through with that 2 CD edition, it would be great to have not only a physical copy but to know what his bonus material has to offer.

Ahmad2019-07-09 12:16:53
The whole thing is about getting the CONTENT of CD2 out :)
A physical release seems highly unlikely.

BC2019-07-09 18:18:38
Physical release is pretty much a no go at this point. Maybe if the movie hadn't bombed so hard, but the fact that Disney/Fox is going to lose about $150 million on it means that they're definitely not going to throw out money on getting a physical release done. We'll be REALLY, REALLY lucky if we get a digital release with the second disk, and I can live with that, despite wanting a vinyl copy of this very badly.

Nicklas reply Replies: 0 || 2019-07-09 12:18:14
Hybrid Soldier - It seems like you work in the bizz? are you working the same place as Hans?
I have a few questions maybe you can answer?

A few weeks ago Hans Zimmer composed the theme for 13 Minutes to the moon. And last year he did a theme for a car commercial (scoring the drive).
And now the ekstra cd release with Dark Phoenix, which is doubtful will ever be released even though we have signed the petition. A track that is also missing a release is Thunderbirds - Live in Prague...
None of these music tracks were ever released on Apple or Spotify. Why not?

How can a world famous genius composer like Hans still compose great music that don't get I digital release, these days... How can that be?
Who decides if it gets a digital release on iTunes or Spotify if not Hans himself?
Us - the fans have to find it on youtube which is too bad.
You would think that a creative and music lover like Hans would want to get all his music out to the public?

Friendly regards.

Der Profl reply Replies: 1 || 2019-07-02 21:47:59
What does "(Traditional)" mean in the composer credits for "Amity" mean?

Der Profl2019-07-02 21:53:44
Oh, wow. My English is at its best today. XD

HiX reply Replies: 0 || 2019-07-01 01:16:25
Crysis 2 has a track named "Insertion" as well

HiX reply Replies: 0 || 2019-07-01 01:16:21
Crysis 2 has a track named "Insertion" as well

Hybrid Soldier reply Replies: 2 || 2019-06-30 15:34:54
Here is one way to make them realize : se-the-second-part-of-the-dark-phoenix-original-motion-pictu re-score-by-hans-zimmer-87958d0b-fc42-4b8e-bed9-94f3f23ff4be

badbu 2019-06-30 15:50:42
don‘t understand why fox didn‘t release it digitaly...

mpolonest123 2019-06-30 16:59:30
Thanks for the link @Hybrid. With Han’s clout I can’t see why on earth they wouldn’t put out an already finished album. Regardless of the film’s performance.

Fred reply Replies: 2 || 2019-06-30 11:54:04
so...are there more tracks coming?...

nvictor2019-06-30 13:33:26
Hybrid told us not to hold our breath and what he says is often right...

Fred2019-06-30 14:29:37
oh damn...:( and digital? :(

nvictor reply Replies: 2 || 2019-06-28 03:20:51
there is so much to love about this soundtrack. it always brightens my day when i discover something i haven't noticed before. here are a few favorites:

the sharp transition from very quiet to very loud at the beginning of "Gap" gets me every single time.

"Dark" is such an amazing track. i have grown as a score fan and listener and now i gravitate towards tracks that are moving slow, moody, with only a few strong moments. "Dark" delivers all of that. at the moment it's easily my favorite.

the choir in "Dark" (and throughout the album) is said to have been done before but nothing i heard before compares to the "humming" and those tribal sounding voices. it's such a joy to listening to plus when it complements the percussion it is just awesome.

the end of "Reckless" does not seem to have a resolving note and that trick has been used before. but what's new for me is that i seem to hear that final note at the beginning of next track "Insertion". also the end of "Reckless" is pretty much "Amity" but more intense.

when i previewed "Coda" i thought it sounded hopeful like the end of Gladiator. but now it also sounds like Chevaliers de Sangreal. and the voices give me a Circle of Life vibe. it is such a hopeful track and yet feels so incomplete. that's what makes it so beautiful.

nvictor2019-06-29 10:52:49
"Amity" looks like is it in a canon form with the main and accompanying themes circling on different instruments. really simple but effective. i also like that pulse in the low end (a la dunkirk).

Nahuel2019-06-30 08:42:58
Decent movie, way better than crappy endgame.

Nick reply Replies: 1 || 2019-06-28 02:43:28
This score is the very definition of hit-or-miss for me.

On one hand, I admire that this is a lighter and more colorful effort by Zimmer and co. compared to their other superhero scores. The "main theme" introduced in Gap is simple yet uplifting and inspiring enough, and I am really liking the use of female choirs to denote Jean and The Phoenix. It is reminiscent of classic Zimmer bombast from scores such as Crimson Tide and Pirates, and to me (and I'm sure many others) that is a breath of fresh air when compared to his other works in the last decade or so.

On the other hand, I don't think it's quite the return to form for Zimmer some of us were hoping for. The fact of the matter is the reason most of the cues are so long is because half of them are taken up by discordant ambiance and rhythmic pounding (take out the non-melodic/themed content in a cue like Reckless and it could hover around the four minute mark). And the themes themselves aren't anything too special; the aforementioned Gap is more reliant on powerful, overstated chords and piano arpeggio, which doesn't sound bad, sure, but it doesn't elevate it to levels of greatness.

Also correct me if I'm wrong, but in the year prior to the score's release Zimmer was hyping up "trying something [I've] always wanted to do in a film score," and unless I'm mistaken it's adapting "Dido's Lament" for a blockbuster action score? If that's the case then I guess it works out fine (except in a cue like Amity, which irritated me to no end), and the "pounding" remix it sees in a cue like Reckless is entertaining but not really that innovative. Zimmer's toyed with the "adapting classical pieces for the big screen" idea before (Gladiator, Hannibal, Dunkirk, etc.) and this particular treatment doesn't strike me as anything special.

So overall I think Dark Phoenix is one of Zimmer's better efforts in the last ten years but it doesn't reach the heights achieved in a score like Gladiator or Pirates or Angels and Demons (my personal favorite). I'll definitely find myself exploring the soundtrack later on, maybe I'll find another thing to like about it.

Edmund Meinerts2019-06-28 19:12:14
This sums up quite nicely how I feel about the score as well. In a way Dark Phoenix is a perfect microcosm of how the 2010s have been for Zimmer in general - a mixture of genuinely great moments with a lot of frustration and understated droning and ambience that is not nearly as revolutionary or groundbreaking as the composer would like you to think it is. It's an okay score, and I definitely am curious to hear what ideas got left by the wayside, but it's getting more and more clear to me with each new release that what I loved about Hans Zimmer's music and what Hans Zimmer himself currently is interested in pursuing are no longer the same thing.

maybe reply Replies: 10 || 2019-06-27 00:54:31
My Question again?!!!!


badbu 2019-06-27 05:49:48
we don’t have a release day...

Hybrid Soldier2019-06-27 12:02:45
Don't hold your breath...

mpolonest123 2019-06-27 15:17:49
That’s disappointing to hear. Was it the film’s box office failure?

badbu2019-06-27 15:45:37
it will be released. maybe not a cd but digital...widows was not a good movie and there is a vinyl :D

maybe2019-06-27 15:52:01
thanks for the long-awaited answer. It's a shame to hear that there is no cd-release. at a score from Hans Zimmer something completely new.

Nick2019-06-27 16:27:54
@badbu Widows was still a critical and commercial success, and all that combined with the nostalgia, subject matter, and talent both behind and in front of the camera undeniably contributed to a vinyl release, even though I didn't think the score was anything special.

kekec2019-06-27 19:47:01
Do you know something more specific, Hybrid? Not so long ago it seemed the 2CD release was confirmed.

Ahmad2019-06-27 20:57:08
Why are we comparing Dark Phoenix to Widows again?
Widows got a CD and vinyl release. The key here is the record label. Widows was Milan Records while DP is Fox Music and apparently they don't do physical releases.

Wish they had given it to Sony like previous X-Men soundtracks, maybe things would've been handled better.

Gump2019-06-27 21:05:03
Does that mean the 2nd cd is canceled?

badbu2019-06-27 21:12:58
for me a digital release is enough :D

Aere reply Replies: 0 || 2019-06-27 13:48:08
when Jean visits her father there was a subtle humming cue not in the soundtrack. I am not sure is that the school cue that is missing?

Bdange reply Replies: 6 || 2019-06-23 20:15:06
This is not a best soundtrack of Hans, but the theme "Gap" and the first two minutes for me are very good, no good....excellent.

badbu2019-06-25 07:43:04
for me the best cues are:
the unreleased piano cue (school)
Deletion (what a scene!)
Insertion and Coda!

I like the choir so much in this cues! Amazing work!
I can't wait for the second "cd" and i also hope we get a making of the score (video)!!!

ThePhantasm2019-06-26 03:09:20
The song Deletion plays in what scene?!

Mephariel2019-06-26 04:12:37
Insertion and Coda are probably my two favorite cues other than Gap. But the last 3 minutes of Intimate is the best action sequence of the entire album. I just wish there is a cue completely devoted to that sequence.

badbu 2019-06-26 08:29:41
@ThePhantasm the magneto vs jean scene ;)

Ahmad 2019-06-26 10:17:17
Any reason why Negative is put before Deletion other than to piss us off and ruin the chronological order? :P

Intimate > Deletion > Negative > Reckless > Insertion > Coda

badbu2019-06-26 16:10:18
@Ahmad hahah idk :D

JamesT reply Replies: 1 || 2019-06-19 15:12:51
Is there any word or time frame on the second release?

badbu 2019-06-23 15:39:02
no :(

... reply Replies: 13 || 2019-06-20 14:57:53
I saw the movie again and can confirm that most of the music is on this release. There are 3 unreleased cues I would like to hear... The scene where Jean and professor X arrive at the school, romantic cue which ends with the aliens landing on earth and finally end end credits cue.

Ahmad2019-06-20 16:12:56
I'm actually quite pleased and surprised that most of the album if not all of it is comprised of actual cues - not suites, not edits (although some tracks are slightly edited like Reckless - which extends the X-Men theme with brass @ 4:20).

The romantic cue/s (I think there's more than one) is a variation of the Jean Grey/Dark Phoenix theme played with high strings.

The end credits are easy to get when the Blu-ray comes out so I don't give it any thoughts. And I think the first part of the cue is probably taken from CD2 or would be featured on CD2.

The cue at the school is really good though. Wish it was put on the album. And that loud swell that played during the title card is incredible.

One thing, they definitely butchered and buried some cues in the mix. The first part of Intimate, parts of Reckless and Insertion, sound effects took the center stage.

badbu2019-06-20 17:01:29
all i want is the "school" cue :D

Ahmad2019-06-20 17:12:07
Isn't funny how we always focus on the cues we don't have instead of the really cool ones we already got? :D
CD2 and the school cue lol.

mpolonest123 2019-06-20 17:19:46
For me personally it really depends on how well the album is put together/what is missing. If an album is arranged well enough and nothing important is left off I’m usually happy.

The problem with most Zimmer releases (thankfully not this one) is that there are always major/important cues left off for no reason whatsoever. When you are missing “Escape From Ship”, “No Time For Caution”, or most of “Dunkirk” it becomes a burden. Especially when so many composers nowadays are putting out longer albums.

I will say though, I think Zimmer has gotten better in recent years in terms of albums. Dunkirk aside most of his releases have been pretty strong. Compare that with Sherlock Holmes 2 or the Pirates scores.

...2019-06-20 17:37:40
Well the school cue is one of the best in the score.

badbu2019-06-20 17:44:03
@Ahamd haha yes it is :D
No... i'm really happy about this release!

Ahmad2019-06-20 17:48:59

Long post :)

I totally agree with you. I think this release is very satisfying because you really get most of what you hear in the film. But also it does make the cues not included stand out because you can literally count them, plus they're really short so they could've been included as well.

I really enjoy releases like Justin Hurwitz's First Man where we got literally got every single cue (some alts but still). People still complained about "filler tracks" or whatever that means but you can always make your own playlists.

With Dunkirk (I might be wrong) but I feel like the score doesn't exist in a traditional way like other scores - I'm going by what they Zimmer and Nolan said publicly. The idea that the score was constructed as one long track. Although Nolan did mention exporting having to re-export music stems for archival purposes as they were mixed with unwanted sound effects, so audio files exists. So couldn't they have found a way to export the music and give us a proper film version? They probably could have done that. But I feel like they didn't think it would be a good listening experience so they opted with the suites.

Also, I feel like Hans may not want to release cues if they are heavily edited by music editors. That might be the case with the film version of NTFC and Dunkirk.

Interstellar was an interesting one. It seems very satisfying as we eventually got all important cues but it missed some really good ones like Quantifiable Connection and Landing In Tesseract.

One last thing... although I love physical media and love to collect CDs, why are they still concerned with having to cut stuff out to fit stuff on CDs? Although with Hans it seems like it's more about a pleasant listening experience. But they can put out hours of music digitally while putting a short concept album physically. There should be no limits.

mpolonest123 2019-06-20 18:03:36
Dunkirk is one of those rare instances where the only presentation that would have worked would be a complete one, for the reasons you stated.

And I definitely give major props to whoever is handling the Marvel score releases nowadays. Both of the latest Avengers and Black Panther had some
extremely comprehensive album presentation on the digital side of things. Or even Brian Tyler (who I’m not generally crazy about) and Ben Wallfisch, who put out long albums.

In today’s digital age there is no reason to skimp on music. I’m personally satisfied with Dark Phoenix’s release because, while not complete, it does at least contain almost every major cue (pretty much the last 30 minutes is completely intact). Now that doesn’t mean I’m still not waiting eagerly for that bonus disc....

Ahmad2019-06-20 18:16:41
Yes, exactly. It's an experimental film to the core so I wish they walked the extra mile and released the music in an unconventional way by releasing it as one-ish track (there are 2 to 3 pauses actually).

Well... I'm not with you on Marvel lol. They skipped incredible tracks with Captain Marvel and Endgame. There's one cue in CM that's so incredible and I cannot believe they skipped it. Another cue in EG which is literally in one of the biggest and most important moments in the film. They released the cue before it and the cue right after but kept it out of the release.

But I love that they do put out extended versions of the albums digitally and not conforming to the limits of physical media.

iamtommie442019-06-20 21:44:58
I've been wondering something for quite some time now.

Why are there soundtracks albums made? Why aren't the Complete Score/Sessions just released at first hand?

Is there a reason for this?

Anonymous2019-06-20 22:04:30

nvictor2019-06-21 00:23:42

may i compare with mainstream music for a minute here. albums are important because putting one together is an art form on its own. the best albums are often not the ones with only the good tracks. but of course there are also those you buy because of track #2 or #3

in hiphop for example, mixtapes are a big thing. they seem like a freer album form. a way for artists to test new ideas and project directions. based on the response, those ideas would show up in albums. it's a nice way of testing things (or us lol) since our taste, especially in music, changes often. sometimes these artists want to see what works and what doesn't. i wouldn't mind buying experimental stuff from my favorite composers to be honest.

but anyways, dundirk is a very good album if you ask me. it's one of those that i can listen to in a loop and not get tired of. the tracks carry you along the journey. and by the time you reach the end of the last track, it loops right back into the first one...

kekec2019-06-21 09:47:29
Why soundtrack albums are made? Because most of the times a well edited album is a much better listening experience than the music as heard in the film, complete and chronological. At least 9 out of 10 cases I prefer to listen a well edited album. There are very few cases when a complete album is needed, in my opinion. The other thing is: I only have about 40-60 minutes patience for an album listen.
In Hans' case it's different sometimes because I really enjoy his suites and experiments.

levraibond reply Replies: 0 || 2019-06-18 11:18:55
No more superhero film score for me, he said .... :D

Mr.Unbreakable reply Replies: 12 || 2019-06-12 20:02:10
I know it's a lot to ask, but @Hybrid thinks you could put the credits of Mazzaro and Fleming?

Hybrid Soldier2019-06-16 23:55:41
All credits added for the OST, even though since it's long montages from lots of cues, it doesn't make THAT much sense... :)

Anonymous2019-06-17 01:46:18
why does Amity say (traditional)?

Hybrid Soldier2019-06-17 08:58:59
Because it's heavily influenced by Henry Purcell, that's what Hans said :

"Dark Phoenix is all Henry Purcell... I felt the last few bars of “Dido’s Lament” with the endlessly descending line and the “Remember Me” perfect for the characters... less the tune, more the harmonic movement"

Edmund Meinerts2019-06-17 11:03:07
I guess I should know better at this point but I'm still a little disappointed that there are no solo Hans cues. Although I suppose there could be some hidden inside the longer album tracks.

Ahmad2019-06-17 16:53:55
"heavily influenced" indeed :D
I really love Amity and I love how the theme appears in several other cues:
Reckless which features an epic/action rendition
Insertion = a short quote at the beginning
Coda = another call back to the theme

Been listening to the score since I saw the film. Love it. Eagerly waiting for CD2. I wonder if it includes an extended version of the last 2 minutes of Insertion - INCREDIBLE.

mpolonest123 2019-06-17 18:53:45
I wonder if this is one of those situations where the material in film is derived heavily from the suites, with everyone either arranging it or adding elements onto it. Just guessing of course, I’m sure we’ll get a clear picture once the bonus stuff gets released.

And apparently there is about 16 hours of music “lying around”, going off of what Hans mentioned in the Vi-Control forums.

Michael Baker2019-06-17 19:07:37
Yeah... Wait till CD 2 and I'm sure we'll get a much stronger idea of what's solo Hans in here.

George2019-06-17 20:35:18
@Michael Baker - I can’t be the only one who read that as Han Solo right?

Backbiter2019-06-17 21:12:31
The same thing happened to me George

Michael Baker2019-06-17 22:37:30
A surprise reference to be sure, but a welcome one.

Backbiter2019-06-17 23:10:10

maybe2019-06-18 01:07:23

Anonymous reply Replies: 6 || 2019-06-16 12:58:54
Saw the movie. Great score and it really fits the movie.

Missing stuff:
- 25 seconds of a piano version of Gap without the brass and bells
- a 30 second badass version of the main theme during the mageneto/jean helicopter stand off
- 1.5 minute end credits suite. Typical Zimmer to leave the best and most epic track and best main theme version off the album. I hope it will be on CD2, but knowing Zimmer the best tracks always remain unreleased. This is another escape from ship...

badbu 2019-06-16 13:24:48
Yes! That piano part is amazing!
„when charles and jean stand in front of the school“

Zac2019-06-16 20:37:05
There was also a Jean/Scott love theme that was briefly used in the bedroom scene after they return from space. It was included in the end credits suite as well.

...2019-06-16 20:53:09
Which instruments were used to play the love theme? Piano?

Zac 2019-06-16 21:51:41
No piano. I believe it was mostly strings and had a small bit of the choir.

Meta2019-06-17 01:16:11
Just rip it off the biggie

Zac2019-06-17 02:02:33
Right. Hopefully the other missing stuff gets released on the 2nd CD though.

badbu reply Replies: 1 || 2019-06-16 11:15:35
after listening and listening...this score is truly amazing! i love it so much! i want the suites and ideas NOW! :D

nvictor2019-06-16 22:10:01
me too!

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Dark Phoenix soundtrack - Hans Zimmer 2019