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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, December 19
THE 2004 GOLDEN GLOBES NOMINATIONS
FOR ORIGINAL SCORE

 
Alexandre Desplat : "Girl with a Pearl Earring"
Danny Elfman : "Big Fish"
Howard Shore : "The Lord of the Rings: The Return of the King"
Gabriel Yared : "Cold Mountain"
Hans Zimmer : "The Last Samurai"
 
ORIGINAL SONG
 
"The Heart of Every Girl"‚ "Mona Lisa Smile"
Music by Elton John‚ Lyrics by Bernie Taupin
 
"Into the West"‚ "The Lord of the Rings: The Return of the King"
Music & Lyrics by Howard Shore‚ Fran Walsh‚ Annie Lennox
&‚bsp;
"Man of the Hour"‚ "Big Fish"
Music & Lyrics by Eddie Vedder
 
"Time Enough for Tears"‚ "In America"
Music & Lyrics by Bono‚ Gavin Friday and Maurice Seezer
 
"You Will Be My One True Love"‚ "Cold Mountain"
Music & Lyrics by Sting
 
The ceremony will take place the January‚ the 25th. 2004
more infos at : Thegoldenglobes.com
 


THE SATELLITE AWARDS NOMINATE HANS ZIMMER
 

The International Press Academy announced the nominees for its eighth Satellite Awards‚ which will be held on February‚ the 21th.
 
Original Score
Cold Mountain (Gabriel Yared)
Seabiscuit (Randy Newman)
Finding Nemo (Thomas Newman)
The Missing (James Horner)
The Lord Of The Rings : Return Of The King (Howard Shore)
The Last Samurai (Hans Zimmer)
Camp (Stephen Trask)
 


New Hans ZIMMER Interiew on soundtrack.net
 
Hans Zimmer audio Interview on the Last Samurai official website


  2003, December 17
Paycheck



John Powell
Release Date: 1/13/04


  2003, December 13
HZChat is Open !!!
 
New review from The Last Samourai by Fabrice


  2003, December 08
Zimmmer VS Rifkin : The End Of a Fate
 
Long-time partner of composer Hans Zimmer‚ Jay Rifkin asks for $10 million minimum and punitive damages for all the business that he has allegedly lost through Zimmer's "wrongful" conduct. Rifkin‚ represented in the suit by Henry Gradstein of Gradstein‚ Luskin & VanDalsen‚ alleged that his long management career well-know from others with the name of Mediaventures has been countered by Hans Zimmer‚ his childhood friend from brighton with whom he buildt the entire Studio two decades ago...
Read more...


  2003, December 02
Immortal Memory



The upcoming new release composed by Patrick Cassidy and Lisa Gerrard would be released in January 2004



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