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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
  2005, October 27


Beyond The Lamp Post
A Photo Essay From The Narnia Sessions

by Dan Goldwasser

One of the highly anticipated films of the new holiday season is the big-screen adaptation of C.S. Lewis’ classic‚ The Chronicles of Narnia: The Lion‚ The Witch and The Wardrobe. Directed by Shrek director Andrew Adamson and produced by Oscar-winning producer Mark Johnson‚ the music for the fantasy epic is being written by Harry Gregson-Williams.
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  2005, October 26

Soundclips

narnia.com Opening
from TREASURE PLANET (James Newton Howard)
narnia.com Tumnus
Harry Gregson-Williams demo theme
Trailer-Musik
X-Ray Dog trailer track "Here Come the King"
Mr. Tumnus Narnian Lullaby
Harry Gregson-Williams demo theme

Source : www.narnia-chroniken.de


  2005, October 17

Composers James Newton HowardGraeme Revell and Hans Zimmer are among the industry professionals who are set to participate in The Hollywood Reporter/Billboard Film & TV Music Conference Presented by Audi on November 15 -16 at the Beverly Hilton Hotel in Beverly Hills.

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  2005, October 11


Klaus Badelt video interview about THE PROMISE (in chinese)


  2005, October 10



Gregson-Williams wins Hollywood Award

One of the most prolific composers in Hollywood in recent years‚ Harry Gregson-Williams‚ will get a Hollywood Award for achievement in film composing at the Hollywood Film Festival next week.
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  2005, October 04


Yesterday in Beijing, Composer Klaus Badelt just had a chat with several reporters during a break from recording the scores for director Chen Kaige’s The Promise (Wu Ji). Badelt said the scores of the film run about 120 minutes in total, which was almost as long as the film itself and the longest score was about 8 minute long. He said Chen Kaige never set any rule for his music and told him very little about the story and the characters of the film. The final work does not sound very East or West, but is added with some Chinese elements, such as using several traditional Chinese instrument in a few scores. Badelt said the music he composed for the movie was greater than what he had done for any Hollywood movie.

Producer Chen Hong just announced that selected scores of Wu Ji / The Promise, originally composed by Klaus Badelt, would be performed by Cincinnati Pops Orchestra at the Great Hall of People in Beijing October 21 - 22. The orchestra’s tour in Asia will include three stops - Beijing, Shanghai and Singapore. Reportedly, Wu Ji / The Promise will be released worldwide this December.


Source : http://www.monkeypeaches.com/wuji.html
Official Site : http://www.thepromise.sina.com.cn/


  2005, October 03
Wallace & Gromit - The Curse Of The Were-Rabbit
Julian Nott / Rupert Gregson-Williams / James Michael Dooley / Lorne Balfe / Alastair King

   Live From Baghdad - The Music of Steve Jablonsky
Steve Jablonsky




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