Music Composed & Conducted by Harry Gregson-Williams
Produced by Harry Gregson-Williams Executive Soundtrack Producer: Robert Townson Recorded by Joel Iwataki Mixed by Malcolm Luker Orchestrated by Ladd McIntosh Music Preparation by Booker White Recorded at The Newman Stage, Twentieth Century Fox
Mixed at Wavecrest Studios, Venice, CA
Music Editor: Richard Whitfield Assistant Music Editor: Meri Gavin
Featured Musicians: Martin Tillman: Electric Cello
Hugh Marsh: Electric Violin
Michael White: Processed Trumpet
Orchestra Contracted by Peter Rotter & Sandy DeCrescent Performed by The Hollywood Studio Symphony Concert Master: Endre Granat Vocal Contractor: Jasper Randall Additional Music by Halli Cauthery Additional Programming by Hybrid Programming Assistant: Anthony Lledo Music Tech Engineer: Costa Kotselas Digital Recordists: Tom Hardisty & Jamie Luker Album Compiled by Slamm Andrews Mastered by Erick Labson
Executive in Charge of Music for Twentieth Century Fox: Robert Kraft Music Supervised for Twentieth Century Fox by Danielle Diego Business Affairs for Twentieth Century Fox: Tom Cavanaugh Music Production Coordinator: Rebecca Morellato
Harry Gregson-Williams would like to thank: Gavin Hood, LSD, Sam Schwartz, Martin Tillman, Erin, Jessie & Joshy Gregson-Williams, Nina Gotts, Toby Chu, Dave Buckley & everyone at Wavecrest Studios, Robert Kraft, Danielle Diego & Rebecca Morellato
Special Thanks: Nick De Toth, Richard Donner, Chris Dowell, Ted Gagliano, Alex Gibson, Megan Gill, Ellen Ginsburg, Michael Hendrickson, Gavin Hood, John Larsen, Mark Martin, Cathy Merenda, Jo Ann Orgel, John Palermo, Lauren Shuler Donner, Ralph Winter & Alex Young
Release date : 05/05/2009
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Norduk Jaffa is right. I saw one of the first versions, very raw version, and had transformers OST.
You known when a movie has no music, then they using temp music. The temp music is very similar to that what they want to the movie from the composer.
And it is a practice that should be stopped, in my opinion. It kills the composer's creativity.
I get using temp music for editing purposes. That makes sense to me. After the scene has been edited, and is then handed to the composer, the temp needs to be eradicated. Though, it gets that much more difficult if the composer is working closely with the editor.
I agree with this : even if the composer isn't influenced by the temp music, the director can get too attached to it, and be unable to accept anything that does not sound like it. I remember that this problem was evocated in an interview, but I don't remember by which composer...Maybe Desplat.
1. Logan Through Time (4:19) 2. Special Privileges (1:57) 3. Lagos, Nigeria (5:10) 4. Wade Goes To Work (1:28) 5. Kayla (2:53) 6. Victor Visits (2:06) 7. Adamantium (4:16) 8. Agent Zero Comes For Logan (3:08) 9. Logan Meets Gambit (4:34) 10. To The Island (3:46) 11. Deadpool (4:10) 12. The Towers Collapse (3:22) 13. Memories Lost (3:01) 14. “…I’ll Find My Own Way” (1:24)
Theres a section in the newest trailer for this film, that has the (batman/transformers) two note motif. Does anyone know if this was original trailer music written by HGW or someone else or maybe... (hopefully) music from the film?
I don't see where all the bad reviews are coming from already. The samples sound just like what I expected: well written and enjoyable generic action music. What were you expecting? HGW hasn't done anything original since Powell, but he does what he does well.