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Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.
Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.
Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112
You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze Rozman
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Additional Music Arranger
Matthew MargesonTodd HabermanJeff BiggersJason Soudah
ComposerAdditional ArrangementsMusic Scoring MixerScore Technical Assistant
Skyline
Label: Varese Sarabande
Length: 52'31
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 (9696 votes)
  1. Don't Look Up (1:40)
  2. Abduction (3:29)
  3. The Escape (3:33)
  4. Ship Down (2:12)
  5. Skyline (2:40)
  6. They're Not Dead (5:02)
  7. Make A Run For It (6:15)
  8. The Cavalry (2:41)
  9. Arrival (3:42)
  10. The Resurrection (2:17)
  11. Final Battle (3:14)
  12. Jared IsChanging (3:51)
  13. Vaya Con Dios (1:28)
  14. Loss Of A Friend (3:59)
  15. Inside The Ship (4:34)
  16. Damage Control (1:55)
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Pages << 1 2 >>

Knight reply Replies: 0 || 2019-01-27 21:33:26
From the sessions list posted below, I have rearranged the score order to be chronological:
01 Skyline
02 Don't Look Up
03 Arrival
04 Jerrod Is Changing
05 The Escape
06 The Resurrection
07 Loss of a Friend
08 The Calvalry
09 Ship Down
10 They're Not Dead
11 Make a Run for It
12 Veya Con Dios
13 Final Battle (co-written with Todd Habermann according to ASCAP)
14 Abduction
15 Inside the Ship
16 Damage Control

Anonymous reply Replies: 2 || 2014-09-11 22:40:19
Skyline Sessions
01 - 1m01.5v0 Skyline
02 - 1m01v12 Main Titles (Skyline)
03 - 1m01v11 Main Titles (Alternate) {Skyline}
04 - 2m07Av02 Siren Light Music
05 - 2m07Bv02 Don't Look Up
06 - 2m07Cv06 Jarrod Almost Abducted
07 - 2m08-09v08 Arrival
08 - 3m10v07 Jarrod is Changing
09 - 3m11v01 Untitled
10 - 3m12v05 Bye Bye Neighbor _ To the Garage
11 - 3m14v04 The Escape
12 - 3m15-16v04 The Resurrection
13 - 4m17Bv02 Discussion
14 - 4m17v05 The Loss of A Friend
15 - 4m18-19v06 What's the Plan _ The Calvary
16 - 4m20v04 Ship Down
17 - 4m21v05 They're Not Dead
18 - 5m22v06 Jarrod and Elaine Make A Run for It
19 - 5m23-24v07 Slaying the Drone _ Tanker Morseis _ Vaya con Dios
20 - 5m25v06 The Final Battle
21 - 5m26v04 Abduction _ Around the World
22 - 6m27v03 Inside the Mothership
23 - 6m28 Damage Control
24 - 6m29 Skyline Suite


Everan2014-09-12 04:53:33
Wait, was there music in the film that wasn't in the soundtrack?


KT Koskela2014-09-12 18:36:44
Yes.

Everan reply Replies: 2 || 2014-05-23 02:35:47
So, the Facebook page of the film just posted the poster for the film's sequel.
Hoping Margeson returns.


Prott2014-05-23 11:20:39
I hope so too, the score for the first one is the best part of the movie... by far!


cody2014-05-23 15:55:06
just the track damage control!!

Anonymous reply Replies: 0 || 2011-03-05 00:00:00
Shockingly bad score .... 4 chords - 5 at best ...

Could try harder - seriously.

Tim reply Replies: 0 || 2011-02-19 00:00:00
To be honest, the score is good, but the movie is one of the most rediculous ones I've ever seen!!

Falconet from italy reply Replies: 0 || 2011-02-19 00:00:00
yeah...margeson did addittional score on Brian Tyler's Battle of Los Angeles

Anonymous reply Replies: 0 || 2011-01-25 00:00:00
Simply, The Score Is Amazing. And Much music is missing.

Dakota reply Replies: 0 || 2011-01-20 00:00:00
He's also doing the Score for Battle: Los Angeles, which this film is a rip-off of.

Anonymous reply Replies: 0 || 2011-01-20 00:00:00
Curious, but Brian Tyler is a producer executive of this movie. Remember, Tyler made the score for Alien Vs. Predator Requiem which was also directed for The Strauss Brothers, the directors of Skyline

585347054 reply Replies: 0 || 2010-12-05 00:00:00
i'm listenin' this score right now....so amazing!!!

585347054 reply Replies: 0 || 2010-12-05 00:00:00
&#1085;&#1077;&#1090; &#1089;&#1083;&#1086;&#1074;...

Everan reply Replies: 0 || 2010-11-27 00:00:00
I adore the score, since I saw the movie and I actually liked it. If you're gonna see it, go with the expectations of having fun and see some great effects, not to see the next District 9, like a lotta people thought.
Margeson better have more work, and give additional music for Transformers 3, or maybe write the score with Steve Jablonsky. They could be awesome together.

john mansell reply Replies: 0 || 2010-11-21 00:00:00
good score, more please

Jaros428 reply Replies: 0 || 2010-11-20 00:00:00
"Final Battle" is definately my favorite. The last minute is just really epic sounding ;) I love it.

Felix D. reply Replies: 0 || 2010-11-19 00:00:00
Of all the tracks, I'll put in my vote that "Damage Control" is the weakest and feels out of place with the rest of the score. Considering that it's the music for the end credits of the movie, that makes it easier to understand with its inclusion. I like the track, but of all the tracks, it's the one I could leave out and still feel very satisfied with the score...it just doesn't flow with the feel of the rest of the tracks. And, yes to Miles, that the score plays out as a "low-key" offering, compared to other film scores, but this is, I believe, intentional. I'll be watching for future scores by Margeson, as I believe that he's shown great promise with giving us more scores that will be just as exciting to listen to. I still love Skyline's score, overall, and it's definitely worth the money.

Chill, refer to one of my previous posts for how "They're Not Dead" fits into the score's chronological order.

Here I am, working at home on my normal Friday schedule, and I'm listening to it, again. Of course, I have to keep things fresh, so I'm alternating "Skyline" with listening to the score for "9" by Deborah Lurie and the ever-pleasing release of Star Trek: The Deluxe Edition by Giacchino.

Happy listening, fellow fans!

Cloud reply Replies: 0 || 2010-11-19 00:00:00
As far as I'm concerned, Damage Control is the weakest track on the album. Totally ruins the listening experience for me at the end.

Miles reply Replies: 0 || 2010-11-19 00:00:00
I'm probably unique here, because "Damage Control" isn't my favorite track. It's not unlistenable, but the rock element seems slightly gratuitous, and there's an abrasive edge to it that keeps me from giving full marks. On the other hand, tracks like "Ship Down", "Final Battle" and especially "Abduction" are very good indeed. All in all, a solid if slightly generic effort from Margeson. Here's hoping he gets the opportunity to be more versatile in the future!

Chill reply Replies: 0 || 2010-11-18 00:00:00
and what about they're not dead?

Cody Ellsmore reply Replies: 0 || 2010-11-18 00:00:00
The Song Abduction has a bit of a steve jablonsky touch to it but it good and Damage Control mostly the best track on it

Chill reply Replies: 0 || 2010-11-18 00:00:00
whoops meant jared is changingVVV

Felix D. reply Replies: 0 || 2010-11-17 00:00:00
I agree, Chill. Abduction is my favorite track of the score. That's one of the final cues, falling in this order,

"Final Battle"
"Abduction"
"Inside The Ship"
"Damage Control"

chill reply Replies: 0 || 2010-11-17 00:00:00
if its not in order does that mean abduction could be the ending cue? I think its the most memorable piece, along with final battle...

Felix D. reply Replies: 0 || 2010-11-17 00:00:00
Hi, Bondo. The score actually is not in chronological order, but what's nice about this film score's production is that ALL of the memorable music is there...no wishing for those additional tracks that most scores leave out. For a sample chronological order for one of the film's memorable sequences, listen to the following in order,

"The Cavalry"
"Ship Down"
"They're Not Dead"

Nearly 2 days later and I'm still listening the heck out of the score. And, thanks for the comment, Everan!

Ele reply Replies: 0 || 2010-11-17 00:00:00
Wow, I didn't expected that, but this score is really good!

Falconet reply Replies: 0 || 2010-11-17 00:00:00
i'm listenin' this score right now....so amazing!!!

Bondo reply Replies: 0 || 2010-11-17 00:00:00
If anyone has seen this, can you tell us if it's in chronological order?

Kire reply Replies: 0 || 2010-11-16 00:00:00
Everan: yep. soundtrack was amazing :P that main theme was catchy.

The movie wasn't too bad; it was engaging, so long as you like sci-fi stuff. Action and acting were pretty good :P Special Effects through the roof too!! I can understand why some people won't like it though :P but if ur not a hardass give it a shot otherwise avoid ahaha

Everan reply Replies: 0 || 2010-11-16 00:00:00
I WON'T see the movie, but will get the score
To those that (unfortunately) saw the movie, how was the score? Anything good?

Anonymous reply Replies: 0 || 2010-11-16 00:00:00
Maybe I'll see it in DVD or something. I dont know, I just want the score right now, maybe it's the only thing "rescueable" from the movie, and the effects.

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Skyline soundtrack - Matthew Margeson 2010