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Don't feel bad. You've just summed up why Hans and Lorne make a good team. Lorne is by all accounts a fantastic arranger and can bring out the best in others' ideas but I sometimes find his own compositions are a bit basic or leave me cold. Hans on the other hand always nails the theme and the concept but his scoring to picture to me feels clunky and a bit amateurish, especially when the music is dense. <br><br>Both super talented in their own ways. :-)Is there anyway o get sheet music for Into the pie machine for orchestra?Just saw Maleficent 2. There is a lot more Newton Howard in the movoe than there is on album.<br>I actually can't really understand why they didn't include the reprise of The Christening (the dinner scene) & the finale in the movie.<br><br>Zanelli's score is wonderful and I love it very much. But would have loved this on albumI can't imagine how someone likes Balfe's part over Richters. As you said Thomas, Richters work sounds more like suites, and Balfes work is written more to picture. BUT, it sounds to me also like a typical RCP-work with Hans. While Hans gives the direction with his suites and melodies, Balfe and co are adapting those suites to the specific scenes and writing some "new" stuff to fill any gap if there is any need of it, so they become additional composers in the credits.<br><br>And here, we have the same. Richter shows the direction and some cues are real intense and beautiful. Balfes parts sounding like a gap-filler. I don't want to talk bad about Balfe, he's a composing machine, but still i can't find anything remarkable on those parts and so i can't understand how Richters work hasn't been used but instead the more colorless cues from Balfes part :/<br><br>Again, don't feel insulted guys, it's just my sensationBalfeís part is the best I think.<br>It also seems written to picture instead of just long suites.<br>My understanding is the Balfe wrote half of the score but the album doesnít seem to represent that for some reason.
I really liked Richterís score over balfesI listened Max Richter for years. He is the kind of select or minority composer who does his solo works and soundtrack for movies not so famous. <br>His solo works are really really good with quintet and piano and voice. "on the nature of daylight" is definitely the best. <br>His sountrack is not good as his solo, to be honest. I think "the Leftovers" (2014-2017, HBO series), "Miss Slaone" (2016) and "Mary Queen of Scots" (2019) are cool.<br>If you need some peaceful music for meditation or good sleep, listen to his work.Richter did his recording in january and june 2019. The Director himself is a fan of Richter, so the deadline and director are not the reason.<br>It seemed that producers were not satisfied with Richter's music and they wanted something new, that's why they got Lorne. It turned out Lorne brought a very limited new...@Cercei<br>Hybrid can definitely answer that best. Richterís score is used (alongside Balfeís material) as well as some source pieces. If I remember correctly itís a mish-mash of the two.I do know that piece, itís very pretty. Iíll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His ďMusic For AirportsĒ and ďThe Lovely BonesĒ are excellent if you like more introspective music.
btw, you're saying Lorne recomposed and reworked the entire score. as i haven't seen the movie yet, did the producers end up with not using richters score for it at all and just used the score from Lorne?thanks for your information. but i actually don't understand why they have done that. i've heard now Lornes cues and Richters cues. all those cues from Lorne, they sound very similiar to that what Richter composed, but somehow with less melodies. And you really have to work hard to not use fewer melodies then Richter, as he's a minimalist at its best ^^ with that being said, i can't hear any groundbreaking differences from Lornes part, so what was their idea on hiring it and getting the same style of music, but in a more "light" version? :/i really admire Max Richters work, he isn't that new in this scene. his style is that repeating minimalism. maybe you've heard once the cue "on the nature of daylight" which was used a lot by many other movies. his last score which knocked me out was "Hostiles". such an emotional and intense score, you need to hear that, and probably see the movie as well (with Christian Bale). <br><br>Really surprised at this album, Iíve never really heard anything from Max Richter but I really like what he ended up writing for this score. It surprisingly flows well for a stand alone listen. Itís funny that the producers wanted a different approach, I think Richter nailed it.<br><br>Balfeís contribution is excellent as well, I particularly like that repeating chord progression (which is starting to become one of his trademarks considering how many times he has used it). Itís disappointing that they didnít include more of his contribution though, since he apparently rewrote the entire score.Lorne said in his Twitter, the first album for His Dark Materials come 3rd November, no date, for the moment, for the second album.
Was the producersi haven't understood the fact, that Lorne was involved in this. Can someone explain it for me? Was the director not satisfied with Richters music? Was the deadline too near? Or what was the reason why they have brought Lorne to this project?"The Wanderer", "Event Horizon", "You Have To Let Me Go" and "Tuesday (Voiceless)" = WOW WOW WOW!!!Zanelli is no James Newton Howard, but he did a fantastic job with writing a large scale fantasy score. Iíll even say that, while I think the first Maleficent is stronger overall, I personally like the action writing better here. Also 2 little things Iíve noticed;<br><br>1. The new theme here sounds fairly similar to the Father/Son tune from KFP3<br>2. 2:20-3:30 sounds like it may have been temped from the finale of Fantastic Beasts. (Or maybe Iím just crazy lol)Great work of Zanelli, if is not as good like JNH's Maleficent, is a tremendous work, with a terrific writing and orchestrations, even the most tender parts are terrific.
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 LATEST RELEASES
 NEWS
  2003, November 30
James Newton Howard
& Hans Zimmer work together !

Upcoming movie Secret Window from director David Koepp‚ with Johnny Depp‚ John Turturro & Ving Rhames‚ will see his partition composed by two big names of film music‚ James Newton Howard & Hans Zimmer. The two are very good friends‚ we all knew that‚ but a collaboration among them would be an exciting exercise‚ for this new movie adaptation from a Stephen King's book Two past Midnight : Secret Window‚ Secret Garden.
Verdict on April‚ the 23th. 2004 (USA film release date).
 
Info Billboard related by Musicfromthemovie.com



  2003, November 29
Alan Silvestri once again ousted benefited Hans Zimmer
 
Starring Jack Nicholson‚ Diane Keaton‚ Keanu Reeves‚ Frances McDormand and Paul Michael Glaser‚ directed by Nancy Meyers(What Women Want)‚ Something's Gotta Give is finally composed by Hans Zimmer‚ who stand in for Alan Silvestri‚ once again‚ after Pirates Of The Caribbean. The film will be released in USA on December‚ the 12th. To be continued...


  2003, November 23
Interview with Jim Dooley
 
The composer answers our web-interview carried out last summer.
 


November‚ 18th. 2003



The Last Samurai Tracklist and CD infos


>> Mp3 extracts added <<


  2003, November 08
NEW !!!
click on the Interview Link to read the Klaus Badelt Interview
by Peter Simons
 
Thanks to Ludovic Serou


  2003, November 07
Harry Gregson-Williams in Madagascar

Musicfromthemovie.com announces that Harry Gregson-Williams has been hired to score Dreamworks's Madagascar(2005)‚ an animated movie directed by Eric Darnell(Antz) & Conrad Vernon. (Voices from Ben Stiller‚ Chris Rock‚ David Schwimmer...)
In the meantime‚ Harry's next project is the sequel of Bridget Jones's Diary succeeding that way Patrick DOYLE‚ in Renée Zellweger's next movie‚ intitled Bridget Jones : The Edge Of Reason.
More Infos...

Thanks to Mikael :-)
 


Shrek 2 : Trailer

Watch the trailer for one Harry's next project more‚ by clicking the link further down this page.


  2003, November 03
THE LAST SAMURAI : Audio Extracts !!!
 
The official Website from Hans ZIMMER's next movie The Last Samurai‚ has just edited three extracts from the music. Enter the Flash Site‚ then go to the "Sound" Link.
 

The production notes regarding the score :
"Academy Award-winning composer Hans Zimmer weaves the distinctive sounds of traditional Japanese instruments into his powerful original score for The Last Samurai‚ which marks his 100th feature film collaboration. He adds a layer of cultural nuance to the action by incorporating elements of shakuhachi‚ (bamboo flutes)‚ koto (a 13-stringed instrument similar to a zither) and taiko‚ literally "fat drum‚" used in Japan in a variety of settings including courtly‚ religious‚ cultural and military. Taiko were employed on the battlefield since the 5th century to signal commands that could be heard across great distances."
(info : The Last Samurai official website)



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