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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 sensationBalfe’s 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 doesn’t seem to represent that for some reason.
I really liked Richter’s 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. Richter’s score is used (alongside Balfe’s material) as well as some source pieces. If I remember correctly it’s a mish-mash of the two.I do know that piece, it’s very pretty. I’ll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His “Music For Airports” and “The Lovely Bones” 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, I’ve 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. It’s funny that the producers wanted a different approach, I think Richter nailed it.<br><br>Balfe’s 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). It’s disappointing that they didn’t 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. I’ll even say that, while I think the first Maleficent is stronger overall, I personally like the action writing better here. Also 2 little things I’ve 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 I’m 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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  2009, July 25


Hans ZIMMER will score the next Chris NOLAN's films (?)


New cast and crew details were revealed for Christopher Nolan's upcoming film, Inception, via a press release from Warner Brothers.
Joining the cast is Academy Award nominee Tom Berenger(Platoon).
Although many suspected David Julyan would be composing the score for Inception, it has now been confirmed that Hans Zimmer will be handing the score.
The film, "a contemporary sci-fi actioner set within the architecture of the mind," hits theaters July 16th, 2010 and stars Leonardo DiCaprio, Ellen Page, Joseph Gordon-Levitt, Marion Cotillard, Tom Hardy, Cillian Murphy, Michael Caine, and Ken Watanabe. More infos

Christian Bale will slip back into his rubber Batsuit next year to begin shooting the sequel to The Dark Knight. (news from WENN)

The Hollywood actor has confirmed he will return as Bruce Wayne/Batman for the third time in director Christopher Nolan's forthcoming film, but a production schedule had yet to be released.

However, Bale's The Dark Knight co-star Gary Oldman, who portrays Commissioner Gordon in the movie adaptations, broke the news of the return of the Caped Crusader to fans at the annual Comic-Con in San Diego, California on Friday.

He told fans, "The next Batman is shooting next year. It's at least two years away. But you didn't hear it from me!"

Certainly a job for the great composer of the previous opus ; ZNH... To be continued...

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  2009, July 22
James Michael Dooley: Dorothy of Oz

James Michael Dooley, whose recent credits include Disney's direct-to-video The Little Mermaid: Ariel's Beginning as well as the theahtrical thriller Obsessed, will do the music for the animated Dorothy of Oz, a family movie currently in post-production.

For more, tune into: upcomingfilmscores.blogspot.com

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  2009, July 22
Rupert Gregson-Williams: Grown Ups

Rupert Gregson-Williams continues his working relationship with director Dennis Dugan. Their third film together, after I Now Pronounce Your Chuck and Larry and You Don't Mess With the Zohan, is Grown Ups, which is also a comedy.

for more info visit the original source, at: upcomingfilmscores.blogspot.com

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  2009, July 17
www.geoffzanelli.com

Geoff Zanelli's new website featuring unreleased music from The Last Samurai, Pirates Of The Caribbean 2 & 3, Ghost Town, Matchstick Men, Hannibal & more...

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  2009, July 12
Hans Zimmer & co : Concert at Dreamworks Animation



Thanks to Fabian Bucher

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  2009, July 04
Here's a new version of the site to celebrate this summer. I hope you will enjoy it and don't hesitate to post (or to contact me) if you have any technical troubles :o)
ps: a webradio will be soon available

Antas

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  2009, July 01
Todd Haberman



  2009, July 01
Composer’s James Newton Howard and Hans Zimmer Exclusive Interview - 2009 Saturn Awards



Direct link : www.collider.com


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