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Its Imagine the Fire insertThe Japanese version can be ordered here: http: //www.cdjapan.co.jp/ product/WPCR-18185<br><br>The "Swan Song" is also included on the CD. So it has 3 additional tracks.Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.
So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
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  2018, September 18  updated by Hybrid Soldier
HANS ZIMMER ON WIDOWS, X-MEN - DARK PHOENIX & WONDER WOMAN 1984






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Dimitris Krommidas reply Replies: 0 || 2018-10-03 14:53:15
Congratulations to mr. Zimmer for his Order of Merit medal!

Anonymous reply Replies: 4 || 2018-09-26 09:15:36
Sorry, I don't buy that story about his return to the genre. His words are stuff you say in front of a camera to look good and avoid complications. Everyone dreams of working on (and watching/enjoying) a project with good story, cast, and everything. It is just that these things are monumentally rare to happen these days. And when they do happen they usually come from small teams who cannot afford the likes of Hans Zimmer in the first place. Whatever is behind his return, I am sure it is not story or director. it's largely about expanding influence, and a good dose of financial incentives.

On a different note, I recall the WW motif was being attributed to Tina Guo in the past, but now Hans Zimmer is claiming it for himself. It does not matter who made it happen but I am curious, what was going about with Guo and this motif in the past, was it an attempt to overstate her contribution in order to get her recognized and hired - i.e. the things HZ usually does for friends at the beginning of their solo film composer careers?


Knight2018-09-26 12:07:50
All Tina Guo did in relation to the WW theme is performed it. Hans was the one that created and wrote it.


Mephariel2018-09-26 18:29:28
I am not sure why it is so hard to believe that story or director matters. They matter to virtually every top name composers because having good story and directors will increase reputation and legacy. Composers have repeatedly turn down projects in a franchise when their collaborating directors did not return. It is not just a Hans Zimmer thing.

Also, Zimmer has done plenty of small films like Freeheld for example. He is clearly looking for legacy and I agree about expanding influence. But I am not sure how much financial incentives matter at this point. His net worth is like close to $100 million.

As for Wonder Woman, I think Zimmer always say they worked together on the theme. I don't think he ever said Tina Guo composed the entire thing.


Ds2018-09-26 19:07:57
He composed it, she played it. But performers can leave their mark on the music, and I'm sure Guo put a lot of her personality in her performance. So this theme as we know it could be attributed to both. That's why Zimmer said he "couldn't get it right" until he brought Tina in. But on paper it's still a HZ track.


Anonymous2018-09-27 09:51:46
@Mephariel

What I meant to in the early paragraph was that every composer wishes to work on a project with good story. But good scripts and stories are rare these days.

Like I was trying to say, when good stories do happen, they occasionally appear in films and projects helmed by a crew of lesser-known or unknown talents. (comes naturally really as they don't have nervous producers to appease.) But then again those running these projects of that scope know they cannot get someone like Hans Zimmer on board so that never happens. Cases like Freeheld are too rare to be considered a norm.

Regarding financial incentives, I am sure it is present there in full force. He doesn't need it of course, and he is not taking several projects every year. But he sure doesn't look like he is taking anything that does not have a healthy paycheck guaranteed. I do not believe making music for FIFA, national geographic, volvo, netflix and alike can be considered small and humble.

Zack Snyder reply Replies: 0 || 2018-09-24 15:07:40
He wants to compose for movie with good story.. retirement from superhero genre is just to chase Away justice league executives.. by the way how is HZ and JXL still buddies?

Poor Zack snyder reply Replies: 0 || 2018-09-24 15:04:43
I think he just wanna compose movie with good story.. now we know why he said he is retiring from superhero genre

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fanuelalex reply Replies: 1 || 2018-09-22 08:19:28
so glad to see HZ back to the superhero genre


Edmund Meinerts2018-09-23 12:58:47
yeah I feel like it's been days, weeks even since the last one

nvictor reply Replies: 0 || 2018-09-21 17:45:44
so great to watch this new interview. it confirmed how i felt about wonder woman and widows. it is the right thing to do.

Hans's comment on losing his voice took me by surprise though. dunkirk touched on a few techniques i wanted to see explored more. i know other composers did it before. but i think dunkirk did a better job at putting those elements together... hopefully there is be a similar movie in the near future : )

Antos7 reply Replies: 5 || 2018-09-20 23:08:52
Balfe is doing Michael Bays next movie !!! What’s happened with Jablonsky?


Scorefan2018-09-21 02:33:25
Maybe, Bay thinks Balfe is better than Jablonsky in terms of military tones and music.


Mike2018-09-21 02:59:20
Huh. I like Jablosnky, but I really liked the 13 Hours score, so it's hard for me to complain.


ThePhantasm2018-09-21 03:08:37
Steve is just trying to spend a little time with his family i think, he's not as busy as he used to be but i think it's cause he chooses that. Film Composing is an insanely time consuming job. I like Balfe a lot though.


MikeM2018-09-21 14:35:08
Balfe has constantly been brought in on Transformers movies , so great to see him working with Bay properly


Bayhem2018-09-21 15:24:39
Steve is clearly spending time with his family. He had a second child just a few months ago. I think he will eventually be back on the Bay Train.

And Lorne is the right choice for a "replacement". He's been involved in one way or another with the Bay movies for more than 10 years now. He's certainly not a surprising choice and I'm looking forward to the score. It's a movie that takes place all over the world, so I have big expectations for the music.

isildur reply Replies: 0 || 2018-09-21 15:15:57
Hans says he worked so hard to get WW1 to Rupert, but didn't he also recommend that they try a female composer?

José Damián reply Replies: 0 || 2018-09-20 22:52:19
Review widows: It's also scored by Hans Zimmer, which means it is immediately in the running for best score of the year...

Hybrid Soldier reply Replies: 7 || 2018-09-18 20:45:25
Little HZ interview about a few things...


Dimitris Krommidas2018-09-18 20:58:51
Thanks.


Knight2018-09-19 12:31:50
Hybrid, all over the site there are no longer music extracts to listen to. For me at least, is it a universal thing?


Mike2018-09-19 17:04:02
@Knight, it's not just you.


Hybrid Soldier2018-09-19 19:54:22
Audio is down unfortunately.

Legal reasons... Nothing to do with Hans or any composer who have always been very supportive.

Maybe it'll return, maybe not...


Knight2018-09-19 20:30:08
Article 13?


Hybrid Soldier2018-09-19 20:37:28
Nope.


Even if it wouldn't have helped, I guess ! lol


Knight2018-09-19 20:40:43
Hope it gets fixed, I love listening to the suites you add to scores here.

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HANS ZIMMER ON WIDOWS, X-MEN - DARK PHOENIX & WONDER WOMAN 1984