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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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Tom Holkenborg (Junkie XL)Christian VorlanderStephen PeroneBob Badami
ComposerAdditional MusicAdditional ArrangementsMusic Supervisor
Mad Max - Fury Road (Complete Score)
Label: Unofficial Release
Length: 152'35
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 (209 votes)
  1. Logo - Opening (1:40)
    Tom Holkenborg
  2. Attempted Escape (3:29)
    Tom Holkenborg
  3. Preparations (3:03)
    Tom Holkenborg
  4. Citadel Left Turn (6:13)
    Tom Holkenborg
  5. Blood Bag (3:40)
    Tom Holkenborg, Christian Vorländer
  6. Buzzards Arrive (1:26)
    Tom Holkenborg
  7. Spikey Car Attack (4:08)
    Tom Holkenborg
  8. Into The Storm (6:16)
    Tom Holkenborg
  9. Water (7:13)
    Tom Holkenborg
  10. This Rig Goes Nowhere Without Me (6:32)
    Tom Holkenborg
  11. Into The Canyon (2:49)
    Tom Holkenborg
  12. Rock Riders (6:24)
    Tom Holkenborg
  13. Immortan Gives Chase (3:17)
    Tom Holkenborg
  14. Immortan Suite (2:18)
    Tom Holkenborg
  15. Keep Moving (3:18)
    Tom Holkenborg (Eleni Karaindrou)
  16. On The Go Vault (12:32)
    Tom Holkenborg, Christian Vorländer
  17. Redemption - Many Mothers - No Green Place (8:58)
    Tom Holkenborg (Eleni Karaindrou)
  18. Hallucinations - We Return (5:18)
    Tom Holkenborg
  19. War Party Gives Chase (1:25)
    Tom Holkenborg
  20. Action (Part 1) (6:03)
    Tom Holkenborg, Christian Vorländer
  21. Action (Part 2) (1:06)
    Tom Holkenborg
  22. Action (Part 3) (6:49)
    Tom Holkenborg, Christian Vorländer
  23. Action (Part 4) (2:40)
    Tom Holkenborg
  24. Blood Transfusion (2:23)
    Tom Holkenborg
  25. Return To The Canyon (2:37)
    Tom Holkenborg
  26. Rock Riders Theme Suite (4:28)
    Tom Holkenborg
  27. Immortan Theme Suite (11:11)
    Tom Holkenborg
  28. Valkyrie Theme Suite (2:26)
    Tom Holkenborg
  29. Five Wives Theme Suite (1:43)
    Tom Holkenborg
  30. Many Mothers Theme Suite (4:43)
    Tom Holkenborg
  31. Music Box Source (0:16)
    Tom Holkenborg
  32. Preparations - Citadel Left Turn (Alternate) (8:58)
    Tom Holkenborg
  33. Redemption (Alternate) (1:46)
    Tom Holkenborg
  34. Action (Part 1) (Alternate) (5:44)
    Tom Holkenborg, Christian Vorländer
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Bondo reply Replies: 4 || 2019-08-02 01:03:14
Are the suites on the OST?


mpolonest123 2019-08-02 01:42:17
Yep.

“Valkyrie” = “Mary Jo Bossa”
“Immortan” = “Immortan”
“Five Wives” = “We Are Not Things”
“Many Mothers” = “Coda”

Not sure about “Rock Riders”.


David2019-08-02 01:54:30
Rock Rider is the film version of Brothers In Arms!


Bondo2019-08-02 20:02:08
Thanks for the clarification!


BC2019-09-13 06:05:55
Is "Preparations - Citadel Left Turn (Alternate)" the extended version of Many Mothers on the OST? Noticed I'm missing a track and the times on both match up perfectly.

Hans Zimmer reply Replies: 1 || 2019-08-15 00:18:20
@Hybrid, Junkie is with Kraft-Engel Agency. Is this a good or bad thing in terms of working with RCP?


Knight2019-08-15 00:39:49
Irrelevant, there are quite a few RCP composers represented by them, for instance Geoff Zanelli, John Powell, Henry Jackman and Heitor Pereira.

DT-2017 reply Replies: 0 || 2019-08-02 17:50:45
Funny, when I mentioned the IT Chapter 1 unofficial expanded score it got removed and the implication from what I was told was that bootlegs were no longer being talked about here.

tilibro reply Replies: 0 || 2019-07-15 07:35:45
Didn't think there was more unreleased tracks from this score, aside from some suites, considering how much there was on the Deluxe Edition.

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Mad Max - Fury Road (Complete Score) soundtrack - Tom Holkenborg (Junkie XL) 2015