NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
Is it me or does the main theme sound a lot like Hannibal? No doubt Zanelli’s stamp on the score...Hybrid, did Zimmer composed any of the music in the second trailer? <br><br>Interesting that nobody's mentioned the sessions leak. Pretty sure I posted a cue list but it must have been deleted.@mephariel<br>None of the styles work for me really. Most of the score comes across as a pastiche of ideas from other Zimmer scores where they were better developed (Gladiator, The Rock, Crimson Tide, etc.) and Even the action is kind of hit or miss. I just don’t find it to be an interesting score honestly.@kiki: delete inferno for me aswell...
...and a very good solo Balfe cue, at that. That theme and Hans' Moriarty theme are the most engaging ideas of these movies, to me. <br><br>Hey, while I'm here, any word on Hans doing the third movie?i would delete Dunkirk immediately from that library. That's the WORST score ever written from any composer out there. This isn't even a score or film music. Just pure sound effects.No, "Psychological Recovery" is scored to picture, a bunch of cues put together from the climax of the film. IIRC the first three minutes or so are a solo Balfe cue actually.Nope, not a suite, a mix of about 4/5 cues.M:I2 is definitely a polarizing score. But I have to say, this is the first time I heard the criticism stylistically bland refer to this score. Because for most people who dislike the score, they think the score is too stylish.
love this score. hasn't grown on me. was listening to it on my commute today. do you guys know if the track "psychological recovery" is the "suite" that came first. and then other cues developed from it? thanksEven then, I feel like its still irrelevant to post the titles for it does us no good and it will be posted here eventually. But whatever I guessJust realized I’ve been calling the movie “Windows” instead of “Widows”. <br>Ugh it’s been a long day -_-Just took a look at the trailer and am really impressed with how the film looks, not what I was expecting at all. I honestly don’t know what approach Zimmer will take either, although if I had to guess probably more sound design-ish.<br><br>And outside of “Injection” and “Bare Island” I find MI2 to be bland and all over the place stylistically. Just my opinion though, I know a lot of people love that score ;-)mpolonest123, have you seen the trailer for Widows? Zimmer created the music for that trailer and I assume it came from the movie. If that is the case, it will sound nothing like TTRL.
M:I2 is a blast to listen to. I just have a hard time imagine it to be a MI score. But it is one of the most fun scores from Zimmer.And as far Zimmer scores that I don’t like for the most part, there is a small handful (Madagascar, MI2, etc.)That’s completely fair, and I honestly couldn’t defend this score and be genuine about it. I think it does help that I love this movie (despite being hard to watch) and have come to associate the music with it so much. Still, I can’t lie that I find portions of it to be incredibly effective, even when the music does become solely ambient. In terms of listenability/originality the best cue is, ironically, the 24-second “Washington” cue.<br><br>I would kill to know what Zimmer personally thinks of this score. I’m sure he had a great working relationship with Steve, hence him working on “Windows”, but I’m sure the temptrack must have been murder on his creativity...This is my least favorite Zimmer score, actually. Or else the one that I feel has the least going for it; I guess it doesn't make me mad like On Stranger Tides, but at the same time it lacks anything even remotely compelling. "Boat Trip to New Orleans" is the only halfway interesting cue and even then I don't really like to listen to it much. The experimental parts aren't interesting experiments (ooh...clapping...wow), and the Journey to the Line stuff is just tired and bland (on top of being super derivative). I get that it works in the movie or whatever but if I had a gun to my head with orders to delete one Hans score from my library and never listen to it again, I'm pretty sure this would be the one I'd go for.Even 5 years later, I’m still not sure how I feel about this score. <br><br>On one hand, the music complements the film extremely well. “Boat Trip to New Orleans” and “Soap” are both incredible in context, and even some of the more ambient cues are pretty effective. Alongside Interstellar probably Hans’ most minimilastic score, something which actually suits him well.<br><br>On the other hand, the Time/Journey to the Line temp is extremely blatant, and it definitely doesn’t help that 60% of the music used in film is basically a variation on that one idea (and some cues are purely sound effects). I still admire the score though, regardless of the familiarity issues.<br><br>With Windows coming out I’m very curious to see what approach will be. Personally, I like seeing Zimmer tackle a project with minimalism. Hopefully McQueen (who is a very talented director) doesn’t box Hans in with another TTRL temp... or any temp for that matter.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Additional Music
Klaus Badelt
Additional Music
X-Men
Label: Decca Records
Length: 40'27
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 (3641 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)
Create Topic

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
Scorefan,

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
MICHAEL KAMEN

Music Produced By
MICHAEL KAMEN
STEPHEN McLAUGHLIN
CHRISTOPHER BROOKS

Orchestrations By
ROBERT ELHAI
BRAD WARNAAR
MICHAEL KAMEN

Sampling And Programming By
JAMES SEYMOUR BRETT
MICHAEL PRICE

Additional Electronic Percussion By
KLAUS BADELT

Music Contracted By
THE MUSIC TEAM
GINA ZIMMITTI
DEBBIE DATE - PYLE

Music Preparations By
JOEL FRANKLIN
ERIC STONEROOK MUSIC

Music Recorded And Mixed By
STEPHEN McLAUGHLIN

Music Editor
DARYL KELL

Additional Recording By
JOEL IWATAKI

Music Performed By
THE LA ALLSTAR ORCHESTRA

Cellists
STEVE ERDODY
DAVID SHAMBAN
DENNIS KARMAZYN

Concert Master
BRUCE DUKOV

Score Recorded At
THE NEWMAN STAGE, TWENTIETH CENTURY FOX

Recordist
JOHN RODD

Engineer
BILL TALBOTT

Stage Crew
TOM STEEL
DAMON TEDESCO

Score Mixed At
THE CHAPEL STUDIO

Assistant Engineers
LEE HANNING
MARK KELLEN
DAN ADAMS

Music Supervisors For Twentieth Century Fox
ROBERT KRAFT
MICHAEL KNOBLOCH

Business Affairs
TRACY GALLAS OPGAHL

Original Score Publishing By
FOX FILM MUSIC CORP.

Chairman, Universal Classics Group
CHRIS ROBERTS

Soundtrack Coordinators
LIAM TONER
MIRANDA SMITH
RANDY DRY

Art Director
BEN ALDIS

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

 HANS-ZIMMER.com© 2001-2017 OST 
X-Men soundtrack 2000