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Tracklist<br><br>1. Hostage Part 1<br>  2. Will & Sarah<br>  3. Welcome To Heaven<br>  4. Botha<br>  5. The Crane<br>  6. Chopper Ambush<br>  7. Duct Tape<br>  8. Bridge Collapse<br>  9. Proper Motivation<br>  10. Out On A Ledge<br>  11. Georgia & Henry<br>  12. Reflections<br>  13. Hostage Part 2<br>  14. Reboot<br>  15. Lucky Man<br>  16. Skyscraper<br>  17. The Pearl<br>  18. WallsSorry about my ingnorance, but what means "Additional Music" (Batu Sener, Paul Mounsey, etc)?Conrad Pope orchestrated and conducted this in New Zealand so i hope this isn’t Junkie’s regular sound design, percussion and synth score.@Edmund Meinerts:<br><br>"Hope nobody is stupid enough to think Powell was to blame." This. Following that same logic, Disney should never have let Williams back after the prequel trilogy.Has anyone been able to source this amazing soundtrack on records? <br><br>Thanks,
He already did score a masterpiece in Mad Max Fury Road, although his music for that was no masterpiece. ;)Do you say "masterpiece" based on Peter Jackson's name, or based on the trailer? Because I'm really afraid for this movie, I love Jackson's films, but it just looks too dumb :-pBest chance Junkie XL will ever have to score a masterpiece. Hope he do one this right.According to Film Music Reporter Junkie will score Mortal Engines. <br><br>http: //filmmusicreporter.com/2018/06/18/junkie-xl-scoring-mortal- engines-movie-adaptation/There wasn't really any hype for the movie, it didn't seem like people were all that interested in a Han Solo origin story. Plus it's only been half a year since Last Jedi came out and broke the internet. Unlike Marvel, Star Wars doesn't seem immune to franchise fatigue.<br><br>A shame. Hope nobody is stupid enough to think Powell was to blame.
Hi guys. Dose anybody know why solo faild in box office ?Search for "filmtracks".Sorry, just found it.Tried that, couldn't find an author named Clemmensen who reviewed it. (I don't know where to look I haven't seen this guy's reviews before).Should be easy to find with google...
Seriously guys, what site is he on? I want to see this review, but I don't know where it is.I know woodwinds, with few exception, have been completely abandoned by RCP, but man would it be nice if Steve fit woodwinds into the small scale family scenes. He's great with them, but for whatever reason he doesn't seem to be able to use them unless it's an animation, The Sims or IDEA specifically, or fantasy (even then The Last Witch Hunter had no woodwinds). They add so much to the soundscape and make any score so much richer. <br><br>I'm listening to the Lord of the Rings Trilogy again currently, and god, they'd be nothing without all of those flutes and clarinets. Even when the main instrument is brass or string, the addition of woodwinds is so cleverly implemented by Shore, and they not only blend, but they actively enhance the sound. <br><br>Of course I'd also love Steve to continue using choir. He even seems to be getting better with it, with Transformers 5's use of it resembling the Halo franchise in a number of ways. It would be a wonderful surprise though if he went back to woodwinds eventually. I'm definitely not of the belief that they can't be used in a modern day setting either (Silence of the Lambs and the Spider-Man scores use them particularly well).Steve is a very accommodating composer. So it's really up to the director's vision. With Bay, you know you gonna hear some of the best stuff Steve has to offer and that's because they share the same "musical ear".<br><br>When he's scoring Peter Berg movies, Steve often relies on sound design and his scores for those movies are not really melodic. The few exceptions aside, Berg likes sound design scores. And he likes to experiment A LOT (example: the MRI machine sound that was incorporated in the Battleship score. Bold choice!).<br><br>Where does the director of Skyscraper stand in all of this?<br><br>Personally, I think this score will be "in the middle". Little sound design there, little melodic cue over here.... : ) I don't expect power anthems, simply because - as big as the movie is - it's not "Michael Bay big". I do hope for a little choir work though. Steve is great with choir.The Solo review does look quite good.<br><br>Clemmensen comes across pretty badly in many of his reviews. Even some of the positive ones. He has some very strong preconceptions about certain things that sometimes lead him to say some reasonably aggravating stuff.<br><br>Interestingly, he stays almost reasonable in his A World's End review. I wouldn't point to that one as his most typical negative review.Additional information<br>Posted date 2016<br><br>but, It was sold for two years.<br><br>
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  2010, January 25


  2010, January 20
Composer Zimmer on 'Holmes,' Oscar's Troubling Taste



Robert Downey Jr.’s brash, spirited performance in the title role of the Guy Ritchie film “Sherlock Holmes” may have taken home a Golden Globe on Sunday night, but a different – but equally bold – aspect of the film has a better chance to draw attention from the Academy. Hans Zimmer’s score turns action-movie music on its head, using a small group of acoustic musicians to whip up a playful, dynamic, inventive folk-based sound that plays a dominant role in the film as it trashes and reinvents the conventions for this kind of movie.

The German-born composer talked to theWrap about the film in his Santa Monica studio, where he composes in a remarkable room that manages to combine thick carpeting, plush red couches and dark carved wood bookcases with a huge array of computers, synthesizers and recording equipment.

The conversation was interrupted several times by urgent conversations about music the prolific composer had written for an upcoming episode of “The Simpsons,” which apparently hadn’t quite passed muster with that show’s producers.


Complete interview at : www.thewrap.com


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  2010, January 18
Composer Zimmer Talks Sherlock Holmes, Inception, Dark Knight, It’s Complicated


In many ways, the best thing about Sherlock Holmes is its score (released January 12), featuring exotic Hungarian and gypsy instruments. It’s one of about a hundred movie scores delivered by prolific German composer Hans Zimmer, who has earned six Oscar nominations; he won for The Lion King in 1994.

Articulate and charming, Zimmer invited me to his lair in Santa Monica, a sprawling complex housing other composers as well as rooms crammed with synthesizers, computers and towers of servers. He’s currently working on Inception for Chris Nolan, for whom he composed the score for The Dark Knight. He gave me a tour, showed me where and how he composes and explained his working process on the scores for Sherlock Holmes, It’s Complicated, Gladiator, and The Dark Knight. He even plays a bit.


More at : blogs.indiewire.com


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  2010, January 09
Meet The Musicians



Hans Zimmer recorded the score with featured soloists Lorne Balfe, Ann Marie Calhoun, Tina Guo, Aleksey Igudesman, Davey Johnstone, and Diego Stocco on a triple-neck double-bass he himself built.

Zimmer contrasted an opulent sounding chamber orchestra with these soloists and a Salvation Army Brass Band; infusing Doyle’s orderly, Victorian world with the unorthodox.

Get to know these diverse talented musicians and learn how they became involved with this project in the videos below.

> watertower-music.com/sherlockholmes/musicians/


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  2010, January 08
AUDIO: On The Score With Hans Zimmer

Daniel Schweiger interviews HANS ZIMMER about the romantic samba of IT’S COMPLICATED, and an off-the-wall score for SHERLOCK HOLMES.

> More at www.filmmusicmag.com


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  2010, January 05
Despicable Me Project



Hans Zimmer & The Neptunes


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