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@jazzy -- natürlich.  Any criticism must mean I am a Nazi.  Spoken like a modern U.S. Democrat.Yes. I know. But Giacchino has always worked with the Disney.John, on the other hand, is his equivalent in the Blue Sky and  Dreamworks.Well this is... fuck YESThe prologue music builds on the music from the very first teaser with lots of rhythmic variations. It has a very ominous sounding hum in the background and some sounds that are very hard to describe but are very addictive. Also, the tempo changes throughout the prologue. A lot of people disagree with me (some think it's nothing special) but I think the track should've been released.hmm... the part of the theme near the end reminds me of a few notes from pirates, different enough yet very familiar... where did you find this??
All right now I understand... How was the prologue music?There was a 5 minute prologue (it was more like a montage than a prologue) It was attached to IMAX screenings of Rogue One and Kong: Skull Island.What is the prologue that you refer to? I remember the opening of the movie having the first part of the Mole playing.Now that I've seen the movie I can say: <br><br>1- The album is pretty good. It's definitely not as bad as I thought it was, even though there are some stuff missing. I personally enjoy listening to it on its own.<br>2- The prologue music is NOT in the movie. <br>3- The cue that starts as they carry the stretcher is a variation of Supermarine (the first 3 minutes melody-wise)<br>4- I knew that drum break in Supermarine at 5:30 is too good to be in the movie. (Maybe it is, I'll pay more attention next time I see the movie again)<br>5- I love how they incorporated Elgar's theme in a very dark and twisted way throughout the score then introduced it in a very uplifting way. I got goosebumps. <br><br>To me personally, it would've been a perfect release if they had included the music from the prologue on the album.Well. It certainly sounds like HZ. Hybrid?
Is this legit?First 2 minutes look like to be demo of "Home"Zimmer, Badelt and Djawadih t t p s://www.youtube.com/watch?v=aAleXrIgBr8&feature=youtu.be hello I found this a while ago it is a rejected theme from the film lone ranger, score compos by hans zimmer. Probably hans didnt like this theme and decided not to use it, or maybe it was directors decision not to use. Anyway, enjoy it! I like very much the score how it is now but this ideas is interesting!<br>Just listen to "The Oil" for an example
The orchestral intro to "it's on again" (also outro of "You're that spider guy", just not with the percussion from TASM2) was re-used all over the Dunkirk score as well. The bass line for it is pretty obviously or very similarly re-purposed in a few places.Bill Conti gets an Oscar...so...i think Hans get a nominationThe reason I believe it partially depends on the piece's composition date is because of copyright laws. Arrival had to pay rights to use Richter's piece, just like if it had used a pop song, and I believe this played a big factor in its disqualification. Elgar's piece is public domain now, so it would be like if a score had included a Mozart sonata (extreme comparison).LOL @Macejko. I think Edmund is completely exhausted now. It'll take two to three days regain all the fluids he lost.@ James D<br><br>I don't disagree that Star Wars is the tip-of-the-iceberg when it comes to film music projects. However, you have to remember Powell has been in the game far longer than Giacchino has. I don't believe it has to do with how long you've been in the business, but if you're "sound" can carry the movie.
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 LATEST RELEASES
 NEWS
  2007, March 28
New interview with KLAUS BADELT

This week's edition of Film Music Weekly magazine features a very interesting new interview with KLAUS BADELT on TEENAGE MUTANT NINJA TURTLES.

Here's a characteristic extract: "I think an earlier approach was to make it an all too serious, heavy and dark picture. When I saw it, I felt it had all the potential to have more fun without losing the integrity of the story, the brotherhood theme, and 'real story lines and emotions.' Kind of what I did with 'Pirates of the Caribbean' – there were a lot of spooky and dark aspects to it, but I tried always to keep the music fun and never overweight."

You can read the whole article by downloading the latest edition of the magazine for free via the magazine's official website at FilmMusicWeekly.com.


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  2007, March 26
Audio Interview with MARK MANCINA

Scorenotes.com features a very interesting new interview with the composer, talking about his scores to "Shooter", "Criminal Minds" and more. Listening options are Real Audio or MP3.


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  2007, March 15
Scoring coverage of Mark Mancina's SHOOTER

Composer Mark Mancina has just finished recording his score to the new action thriller, "Shooter". Reuniting with director Antoine Fuqua ("Training Day"), Mancina composed a tense and exciting score for the film and Soundtrack.net features a very interesting article with photos on the scoring sessions.


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  2007, March 06
Harry Gregson Williams to score GONE, BABY, GONE

According to FilmMusicWeekly.com Harry will score "Gone, Baby, Gone", a crime drama written and directed by Ben Affleck and starring Morgan Freeman, Casey Affleck, Robert Wahlberg, Michelle Monaghan and Ed Harris.

For more info and release date of the film, please visit the original source and download the latest edition of the magazine (March 5, 2007) for free.


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  2007, March 02
Jim Dooley scores new videogames

Composer Jim Dooley has a couple of new exciting credits in his agenda, namely the new XBOX360 game Def Jam: Icon by Cinematics and Castle Wolfenstein by Activision.

For more info you can visit Dooley's official website and the Gorfaine-Schwartz Agency

Additionally, Scott Glasgow will finally provide the score to Bone Dry and not Dooley with Mel Wesson, as previously reported.


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  2007, March 01
Mark Mancina scores SHEEPISH

The the Gorfaine-Schwartz Agency just released confirmation about this new assignment for composer Mark Mancina, an animated movie entitled "Sheepish" which is still under pre-production and will be directed by Kevin Johnson and Dan St. Pierre. Release comes from Starz Animation and 20th Century Fox.


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