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<br>"Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty."<br><br>Blackwood might want to have a word with you.Too many songs! But at least there is 15 tracks of score.<br><br>BTW, I don't think Djawadi is able just to do themes. His score in GoT Season 7 shows that he is able to do action tracks very well. Also, in GoT Season 6, he shows that he is able to have many themes and develop them in many different ways.Meta your comment is based on smoke...<br><br><br>Do you have any idea of what Hans & Elfman's relation is ? How many scores Danny mixed at Remote Control ? That when Hans was writing Batman Begins, Danny was in the next room and Hans invited him to check what he was doing ? How many people from RCP Elfman recruited to help him ?lol it's too funny the guy even spent the time of typing all this...<br><br>Some people apparently have very boring lives on this planet !These comments by “Balfe” are comical.god knows where such venom comes from . Maybe an ex employee probably.he was correct on one point .He is indeed a trailer composer.He just did the mission impossible trailer!!!
LOL. I guess this "Balfe" guy is one of those trolls from Stop RCP group.Many benevolent saviours explaining the error of our music tastes have surfaced recently, haven't they?Eh, Mr. Ellipsis, I have to take issue with your appeal to popularity. Justin Bieber sells millions of records. That doesn't make his music good. Last year's piece of crap pointless Beauty and the Beast remake made a frankly terrifying amount of money at the box office. Doesn't stop it being a piece of crap.Guys, I know a lot of you probably think I'm an overly critical snob, but next time you do, just remember this guy and realize how much worse I could be. :pBalfe is not a composer, but still he gets to compose dozens of films and shows every single year, wow. He must be doing something good if he is on of the most busiest composers out there, don´t you think? Or you want to tell me that every producer, director or whoever hires him is deaf? Do you know how many films had to be re-scored by Balfe in the past few years? <br><br>
Why you feed the troll?<br><br>Wrong.<br><br>1. Wallfish is a very fine composer, period. Hans is a synth guy.<br><br>2. If Hans wasn't concern about BR he wouldn't do it.<br><br>3. Slavery was abolished 150 years ago. Hans choose to did it and agreed to involve Wallfish.<br><br>4. Maybe true, but it wasn't the thought of Villeneuve.here we go again:<br>Why Hans Zimmer Got The Job You Wanted (And You Didn’t)<br>https://behindtheaudio.com/2013/07/hans-zimmer/Hey you guys.<br><br>Balfe is a trailer composer not someone who composes real scores. He helps Hans out on his projects and occasionally may have a good idea. He is not an artist, simple as that.<br><br>Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty. The epitome of that is Terminator Genisys that even fans of the franchise found embarassing (and that is for a series based on synth scores). The samples are especially abhorrent<br><br>How he climbed to compose music for real films is a mystery. Go back to one of his earliest scores, the 2009 'score' for Ironclad, to find how utterly disappointing his work has been all the way throughout his career.<br><br>Balfe is a hack. He will never be considered a real composer. The industry knows Hans is pushing him and once that attention goes somewhere else, as it does with Hans frequently, Balfe will be immediately forgotten. Tell me - who actually wants a Lorne Balfe score for their film!!<br><br>You rapid fans supporting his work will be laughed at as being idiotic symbiotic followers. Get a fragging grip.<br><br>Balfe is not a composer. <br><br><br>This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here?<br><br>1. Wallfisch, a very fine composer is not a synth guy.<br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure.
This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here? <br><br>1. Wallfisch, a very fine composer is not a synth guy. <br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure. <br><br><br>Dunkirk is a sound experiment and not a score. It is rather sad to see a fine composer like Benjamin Wallfisch deal with this nationalistic nonsense.It would be very interesting to get a better sense of what exactly Zanelli's role in the franchise is. He is a very capable composer but his work on 5 was utter scheisse. But that may just be what the franchise calls for. How does the supposedly precarious Hans put his name on all this shit.I would not be surprised if this was done by Balfe finally trying out his real compositional skills outside of him just acting as Hans' copy assistant. Everything that Balfe has done on his own to date is abysmal (okay The Lego Batman movie had some flair but that was probably done by the next generation of assistants). <br><br>Please go back to Ironclad and listen to Balfe before he was HBalfe, to hear his skills. Not very good, right? The man is an arranger not a composer.<br><br>This score will be utterly crap or it will sound like Tron and Transformers. <br><br>Shame as Del Toro and Steven Knight work with real composers like Max Richter who would have excelled here.Instead of concerning ourselves with Sia, we have to be worried about Djawadi. The man has a knick for a simple tv tune. But anything outside of that sounds like a youtube fanvideo. The incidental score for Game of Thrones, especially the wall scenes, is terrible and amateurish. <br><br>All I can think is that the producers must have been pressed with time and had to go with the casio synth nonsense Djawadi presented them with. It is the worst example of scoring for a major franchise. <br><br>Again, Dwajadi does well with his choral bits but he is not a composer, more a theme tune man. Who Wants to be a Millionare would serve him better than a complex franchise. <br><br>Simultaneously, the Paint it Black material from Westworld is outstanding. But was this done by Djawadi or a much more talented orchestrator - can we look into this as it sounds nothing like his work
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Hans ZimmerKlaus BadeltHeitor PereiraMartin Tillman
ComposerCo-ComposerAdditional MusicAdditional Music
The Pledge
Label: Milan Records
Length: 40'18
HZimmer.com rating:        4/5
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 (4481 votes)
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  1. The Angler (5:24)
  2. Boogie Man (1:28)
  3. Jerry & Lori (1:01)
  4. Church Nightmare (2:19)
  5. Revisit Crime Scene (1:16)
  6. My Coat (2:47)
  7. The Wizard (4:05)
  8. Ex Cop (1:50)
  9. He'd Rather Not (2:00)
  10. Land Of Christmas (1:22)
  11. Reading Stories (3:03)
  12. Turkeys (1:36)
  13. The Pledge (1:19)
  14. The Swing (2:20)
  15. Ginny's Picture (2:31)
  16. You're Crazy (5:57)
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Barbara reply Replies: 0 || 2012-03-10 10:17:44
This is a superb DVD! For a ivnlioist, Frank Peter Zimmermann represents the highest level of musicianship. The Documentary is not just about Bach, in fact it has lots of other footage, including his son and his own performance of the Sibelius Violin Concerto with the Danish Radio Symphony (this is excellent). He plays like Kogan, not surprisingly and his technique is as flawless as any ivnlioist I have seen or heard.

Anonymous reply Replies: 0 || 2004-12-01 00:00:00
Hans Zimmer and Klaus Badelt also worked together on various works including the GLADIATOR and INVINCIBLE soundtracks, but don't expect to listen to anything similar, in the score for THE PLEDGE.

Unlike the last few Zimmer scores, which were vast, dramatic, intense and epic, THE PLEDGE, is built on a more down-beat atmosphere (and that’s of course due to the nature of the movie) The score opens with a beautiful and haunting melody sang by a woman and repeated by a violin.
Track02 contains several percussion beats and creates a scary atmosphere. Parts like this can be found a lot in the score -- where percussion, electronic sounds and effects, scary voices, piano, violin, the female voice and mandolin create a creepy atmosphere, like track04, track05, track09, track12, track13, track15.
In track03, the main theme makes its first appearance. It consists of guitar, mandolin, violin and piano and can be heard several times in the film, sometimes in different versions - the main instrument could be piano in one, violin or guitar in other (track07, track08 (more upbeat and fast, played by beautiful guitar), track11, track15).
The score also has a piano theme that can be firstly heard in track06 and repeats itself several times during the film (like in track10). It has a sad and lovely tune, a real treat for the ears!
In track 12 we have the beautiful female voice again in another haunting melody that features great atmosphere, feeling and depth.
Track14 is a combination of all the themes and great parts of the entire score. It consists of the female voice, vastly beautiful and sad piano melodies and the violin for escort-- probably the best track in this album and some of Zimmer's greatest works up-to-date.
Track16, which closes the film, is also a combination of several themes and parts of the film. It starts with the piano theme (heard in track06 and track10) and goes on with haunting and scary electronic effects and sounds created by percussion, guitar, mandolin and creepy violin. Then the piano theme is played by violin this time and makes a great difference. The track, (at about 3 minutes of play), gets loud, creepy and scary-- then calms down and ends with a more intense variation of track 14, played by violin (as the main instrument) piano, mandolin, guitars and loud percussion, providing the score (and film) with a more up-beat ending.

The entire score is a great work, which has lovely melodies and themes for easy listening. All these create a sad and sometimes creepy atmosphere that fits perfect in the theme and subject of the film. THE PLEDGE is not your typical Hans Zimmer or Klaus Badelt score for sure, with the great choir themes, loud brass and dramatic, epic atmosphere and feeling. It's just lovely, sad and hauntingly beautiful - quality music for all the music and movie lovers, and -of course- Zimmer followers.

Demetris Christodoulides

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The Pledge soundtrack - Hans Zimmer 2001