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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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  2006, December 30
ScoreKeeper Talks To Composer John Powell About BOURNE, X3, UNITED 93, HAPPY FEET, And...MAD MAX: FURY ROAD!?!?
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  2006, December 23
Soundtrack.net - Geoff Zanelli scores Disturbia



This past week Emmy-winning composer Geoff Zanelli (Into the West) recorded his score for the Dreamworks feature thriller, Disturbia. Directed by D.J. Caruso, the film is about a young man (Shia LaBeouf) who is put under house arrest, and begins to believe that one of his neighbors is a serial killer.
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  2006, December 18
THE DA VINCI CODE NEW NOMINATIONS

The Hans ZIMMER's score has been nominated for the 64th. annual Golden Globes ceremony (which will be held on 2007 January, the 15th.) and by the The Broadcast Film Critics Associations.


  2006, December 10
Hans ZIMMER on Holiday

The Film Music Radio released an audio interview from the composer, recorded at Remote control Studio. A come back on his career, and one of the first interview regarding his work on THE HOLIDAY and extract release from this score. Just one thing to do, listen...

Many Thanks to Daniel Schweiger from Film Music Radio


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  2006, December 10
Williams alone face to Zimmer's team

Nominations for the Grammy Awards revealed three nominated composers for five movies.

John WILLIAMS is nominated for his great work on Memoirs of a Geisha & Munich.
Harry Gregson-Williams get his first Grammy nomination for The Chronicles of Narnia (part 1), and Hans ZIMMER is nominated for The Da Vinci Code & Dead Man 's Chest.

The Da Vinci Code's score has been nominated by the International Press Academy (The Golden Satellite Awards), "the largest entertainment press organization in the world with more than 200 respected entertainment journalists covering film, television and new interactive media".

The Satellite Awards ceremony will be held on December, the 17th 2006 in Beverly Hills, LA.
The Grammy awards ceremony will be held on 2007, February, the 11th.


  2006, December 10
News from Jim DOOLEY

The third trailer for Eragon has been released, which features original music composed by James DOOLEY. Also, he will be scoring the sequel to the Eddie Murphy hit Daddy Day Care, with Fred Savage's directorial feature debut, Daddy Day Camp starring Academy Award-winner Cuba Gooding, Jr.

From the Jim Dooley's official website


  2006, December 05
THE HOLIDAY SCORE RELEASE

Varese will release the Hans ZIMMER's score for the Nancy MEYERS's film.
No, it won't be a present for Christmas as the release is for January, the 9th 2007.



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