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Feels 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 Nick’s 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. :pHi dear hans , i'm farzin a film composer from iran , i composed many films & tv series in my country also winning some awards and some of them are in IMDB , but music comunity is verry small here and i think i'm wasting my time & music here , its pleasure to be your assistant or working with you or anything you think i can be useful (sorry my english language is not good). please please just listen to one track of my music (i will send some for you if you reply me with email) and if it was qualified email me and let me know , also i have to travel to california this December cause my family lives there. i'm always thankful hans for your help & attention. Email : farzingharahgozloo@yahoo.comHi dear hans , i'm farzin a film composer from iran , i composed many films & tv series in my country also winning some awards and some of them are in IMDB , but music comunity is verry small here and i think i'm wasting my time & music here , its pleasure to be your assistant or working with you or anything you think i can be useful (sorry my english language is not good). please please just listen to one track of my music (i will send some for you if you reply me with email) and if it was qualified email me and let me know , also i have to travel to california this December cause my family lives there. i'm always thankful hans for your help & attention. Email : farzingharahgozloo@yahoo.com
That's the 'Album Version' of Time To Suit UpI'm "missing" three of the tracks for the complete score - CA Suite, WS Suite, and the alternate version of Time to Suit Up. <br><br>It looks like the CA and WS suites are pretty much the same ones on the official release as the lengths match up perfectly, but where can I find the alternate of Suit Up?Cheers mateI agree. Great score. This is "Hans Zimmer Dark Minimalism" done absolutely right. And the Oscorp stuff has to be temp. It goes up and down in just the right places.Forgot Macrotus, so the numbering messed up on 5-8 lol... Macrotus = Father to the Rescue + Hide in the Dark + Courthouse Pt. 1... Also, Myotis actually = Initiation into the League + Temple Fight. <br><br>If you have the End Credits too, that's a Batman Arrives/Backup mashup + Training + Father to the Rescue + Bruce Left for Dead + Batman Theme.<br>
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Harry Gregson-WilliamsAlan MeyersonMarc StreitenfeldJustin Burnett
ComposerMusic Scoring MixerMusic EditorMusic Programmer
Phone Booth
Label: Trauma
Length: 41'16
HZimmer.com rating:        3/5
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 (4296 votes)
  1. First Call (1:25)
  2. Trapped (3:40)
  3. NYPD (4:28)
  4. The Rifle (2:04)
  5. Confession (2:45)
  6. Times Square (2:04)
  7. Stu's Secret (2:42)
  8. Publicist Talk (0:51)
  9. Last Booth In NYC (3:35)
  10. It's Me You Want (1:38)
  11. Center Of Attention (5:28)
  12. Telephone Users (1:20)
  13. Is He Coming Out? (2:15)
  14. Phone Vs. Gun (2:38)
  15. Just Say The Word (1:30)
  16. It Could Be Anyone (2:53)
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Bayhem reply Replies: 0 || 2018-06-28 12:25:42
Well, the two guys below me said what I wanted to say on this subject. I will just add that this score was definitely an inspiration for Henry Jackman when he was working on Man on a Ledge : )

Minimalistic, stripped out of any fanfare and bombast (no Inception-style "Vrooooom", "Broooooooom") and to the point. Both scores work perfectly and they're the type of scores that (sadly) we almost don't hear these days.

Rgravity reply Replies: 0 || 2008-05-06 00:00:00
This score is the reason why I enjoy listening to Harry, the undertone drum loops mixed with the electric cello makes this score worthwhile. Even though its not a fast paced score like Spy Game, its still worth a check.

Anonymous reply Replies: 0 || 2004-12-01 00:00:00
A very good minimalistic score with distorted piano, dark synthesized underscore, electronic sound effects, drum loops and percussion. A decent enough effort althouth i prefer his sensitive writing for strings and interesting electronics, the trademarked sound of the composer as presented in SPY GAME and MAN ON FIRE instead of this. Composers like Cliff Martinez can do this anytime, a 1000 times better.

Demetris Christodoulides

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Phone Booth soundtrack - Harry Gregson-Williams 2002