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The FYC score was complete. And it's out since november last yearIs there a complete score out there? If not, don't be surprised there's nothing here yet. Sometimes it takes years before a complete score listing pops on this site.Why no listing here for the complete score?Because they didn't work direcly in this score, but their material from the previous one was reused.Does anyone know why some of the composer names are in brackets? Thanks!
thanks4:05 of "STEALTH" some of the best soulful action music I've heard from a Zimmer score. I wonder who wrote that particular section. This the type of stuff I would play trying to rush a pregnant woman to the hospitalIn case he's visiting this site, I wanna say 'Thank You' to Ashton Gleckman who does the 'Behind the Score' episodes on YouTube. I loved the 1-hour episode for the Transformers scores and I actually learned a lot. Very educational. I found the video by accident and now I plan on watching his other videos as well.<br><br>Job well done, my friend.@Hybrid <br>You don't add anymore Trevor Morris things ?Probably for chronological purposes<br>even though the movie uses a shortened version of Romanian Wind at that time
i saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene.<br>===============================<br><br><br>I agree. <br><br>And I think at the end of the day the movie itself is not the type of movie that could win people over with its score. No matter how successful and popular it is and no matter how good the score is. I Am Number 4 was part of the YA craze that took over Hollywood a few years back (we all know how people feel about those movies), and even the most successful YA movies (like Twilight) are not exactly known for their scores.<br><br>People - even film critics who are supposed to talk about all aspects of the movie - were too busy talking about half-naked characters and Kristen Stewart's acting..... and completely ignoring the good work done by Alexandre Desplat.<br><br>It was pretty much the same with I Am Number Four...<br><br>It's not that Trevor created a "bad" score, it's simply a case of a nice, little score that went under the radar. No one bothered to talk about it..... Just like his score for Torque, which as far as I'm concerned is one of his best scores.I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.<br>===========================<br><br><br>I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks. <br><br>But why most people don't think like us?<br><br>The reason I think is because those "big tracks" are presented - most of the time - during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.<br><br>While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.<br><br>The subtle tracks simply can't win against that. Sadly....<br><br>By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.<br>Why is Romanian Wind not sequenced after Case Re-Opened? Is not the former 7M48 and the latter 7M47?Yeah that is true, canít argue there lol<br><br>And is it me or does ďCalypso Must Be ReleasedĒ sound like Black Hawk Down?To be fair there is a lot of King Arthur in At World's End too. Just the general feeling you get from the action tracks in both scores is virtually identical. Hell, one of the main themes from King Arthur even appears when Bootstrap Bill remembers that Will is his son.
@MrTweedy<br>Thatís totally fine, everyone has their own favorite HZ scores, which is awesome!<br><br>Itís funny though, I feel like DMC is far more schizophrenic than AWE. Now donít get me wrong, I absolutely love DMC. Itís the score that got me into Hans Zimmer. But still, I feel like a major part of that score is note-for-note reprises of cues/themes from COTBP. Not to mention the temp tracking of King Arthur.<br><br>AWE always felt far more original to me, especially considering that the entire tone of the music shifts from the ďrockínírollĒ sound of the first two to a more traditional score (at least by Hans Zimmer standards lol)@MrTweedy<br><br>Just curious, what scores do you considered to be Zimmer's best?The Pinnacle of Hans' career?<br>Although I really like this score, I don't agree. But hey, I know it's just a matter of opinion, okay? ;)<br><br>Of course it shows Hans strengths in almost every area (action, drama, romance, comedy...) but for me it's too much of a medley of previous works, without much personality.<br>It feels a bit like a palette with too many colors. From the action sequences borrowed from Drop Zone, to the Morricone inspirations for Jack's Sequences, to Gladiator's duduk that ended up there with no real reason, to a beautiful Love Theme that brings another new shape to the sonic identity... it's like the score sometimes goes schizophrenic.<br><br>Though each individual idea is really enjoyable to listen to, I think Hans has made scores that are much more cohesive and enjoyable as a whole!i also think it is an underrated score. especially the action music has a couple of nice touches. i saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene. the emotional music is nothing ground breaking, but a lovely listen.Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores. <br><br><br>I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that. <br><br><br>Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme. <br><br><br>Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion. <br><br><br>Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.

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Additional Music
Klaus Badelt
Additional Music
Label: Decca Records
Length: 40'27 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 (3460 votes)
  1. Death Camp (3:05)
  2. Ambush (3:26)
  3. Mutant School (3:48)
  4. Magneto's Lair (5:01)
  5. Cerebro (2:13)
  6. Train (2:35)
  7. Magneto Stand Off (3:01)
  8. The X-Jet (3:47)
  9. Museum Fight (2:21)
  10. The Statue Of Liberty (2:38)
  11. Final Showdown (2:31)
  12. Logan And Rogue (5:57)
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Bayhem reply Replies: 10 || 2018-05-03 17:37:16
Hmmm, is this a mistake or Badelt was really involved here?

Scorefan2018-05-04 00:21:16
Ottman was the obvious choice for Singer. But in that time Ottman was developing Urban Legens 2: Final Cut as a director/music composer/editor. So for a recomendation Singer turned the music to Kamen. Singer was dissatisfied with the music, so Badelt came to added the electronics/synths tones to the music. There's a promo with Badelt's music.

ThePhantasm 2018-05-04 00:31:38
i would love to hear Klaus compose music for a super hero movie. It'd be so amazing

Edmund Meinerts2018-05-04 00:47:21
I mean there's Catwoman, and TMNT is almost a superhero movie.

Scorefan2018-05-04 01:44:49
The same thing was for Constantine. Brian Tyler composed the music. Francis Lawrence, the director of the movie, was not happy with the work of Tyler, it was too orchestral, so Badelt came and composed new music with electronics/synths tones. The result: a hybrid score. The film itself feature music from both composers and the official release both composers are credited. Also there are promos for each composer.

Bayhem2018-05-04 06:42:44

Thanks for the reply. I'm surprised at myself for never knowing about Badelt's involvement with X-Men. He's not credited anywhere. And clearly he should be. At least as an "Additional Composer" on IMDB.

And truth be told, I always thought it was weird to have Kamen as the composer of this movie. I think of him as a more gritty, urban-type of composer (Lethal Weapon, Hudson Hawk, Last Action Hero, etc...) and I always wondered why Singer went to him instead of, say, James N. Howard or Jerry Goldsmith. Personally, I would LOVE to see an X-Men movie with a James N. Howard score. *drooling*

Bayhem2018-05-04 06:57:33
Scorefan, yes you're right about the Constantine situation. Speaking for myself - and as much as I love the movie - I think the hybrid score that ended up in the movie did not deliver entirely. I honestly can't even remember a standout track......I really have to listen to the whole thing again.

By the way, Badelt has a history of coming in and re-scoring or adding elements to a score. After Constantine, he was brought in by Michael Mann to do additional work on Miami Vice. John Murphy was the original composer, but as it often happens on Mann movies things change constantly. Both Badelt and Murphy are credited, but I remember reading comments from Murphy regarding this project, and he was clearly not happy with the whole situation. Kinda like Harry Gregson-Williams and Mann's Blackhat....

rockhound2018-05-04 08:48:26
badelt has a credit in the booklet of the X-Men soundtrack album for synth programming or something like that.

Michael Fields2018-05-04 12:25:22
It's right. Badelt has a credit "additional electronic percussion"

Michael Fields2018-05-04 12:47:00
Here's the full booket credits, if you're interested.

Music Composed And Conducted By

Music Produced By

Orchestrations By

Sampling And Programming By

Additional Electronic Percussion By

Music Contracted By

Music Preparations By

Music Recorded And Mixed By

Music Editor

Additional Recording By

Music Performed By


Concert Master

Score Recorded At



Stage Crew

Score Mixed At

Assistant Engineers

Music Supervisors For Twentieth Century Fox

Business Affairs

Original Score Publishing By

Chairman, Universal Classics Group

Soundtrack Coordinators

Art Director

And So On!

Scorefan2018-05-05 00:47:53
Bayhem, that0s right. John Murphy was the official composer for Miami Vice but, it's a Michal Mann movie, so Badelt came to add music for that movie.
Well It's not a surprise Michael Mann is always like that in music. Let's remember The Last oh the Mohicans with Trevor Jones and Randy Edelman, Public Enemies with Elliot Goldenthal taking cues of his music from Heat and, well, the known history with Harry Gregson-Williams in Blackhat.

Mephariel reply Replies: 2 || 2018-05-04 07:30:24
How awesome would it be if Zimmer ask John Powell to score something for Dark Phoenix just as a nod to X3?

Edmund Meinerts2018-05-04 14:13:42
Sadly I think Dark Phoenix will do all it can to distance itself from X3 and everyone involved in it, and even though Powell is the last person who should be blamed for that film's poor reception, he's tainted by association.

Mephariel2018-05-04 16:28:36
Yeah, too bad. Not only the people, I think based on what I read, they want to distance themselves from the story as well. So I doubt they want the same style of scoring.

bruceV reply Replies: 0 || 2008-06-13 00:00:00
Yes! You are absolutely right! ''The Statue Of Liberty'' along with all the rest tracks was amazing!.... - By the way, YioHaj, you probably mean ''Michael Kamen and his music was great''..., is that right?... ; )

YioHaj reply Replies: 0 || 2008-02-11 00:00:00
the statue of liberty is the best track ih heard since James Horner Braveheart ost. Michael Kane was a great man as is his music© 2001-2017 OST 
X-Men soundtrack 2000