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www.youtube.com/watch?v= uzLk1Ar4DHw@Hybrid<br><br>I did manage to manage to listen to the Gelukkige score he did, it’s an interesting mix of horror music, emotional piano stuff, and some upbeat pop elements that reminded me of Megamind lol.<br><br>Btw, was his concert music for the “Battle of Peace” show ever released? It’s a pretty badass mix of 300, Mad Max, and some epic choral portions.Yeah,pretty goodHave you guys ever listened to anything Tom did in Nederland before saying it's "different" ? :PFrom what I've seen the score sounds so different because Antonio heavily worked on it (as almost every track is on his soundcloud, or was at one point).
Tracklist:<br><br>1. Cobolt (1:42)<br>2. Escape (4:28)<br>3. He’s Gone (3:37)<br>4. This Is What He Does (2:19)<br>5. We’ve Got That In Common (1:22)<br>6. Make It Rain (2:23)<br>7. Attack (2:46)<br>8. Why Me (3:00)<br>9. The Suit (2:16)<br>10. Asylum (3:31)<br>11. He’s Behind You (4:42)<br>12. House Fight (5:35)<br>13. It’s All a Lie (5:27)<br>14. Surprise (1:33)<br>15. Denouement (4:58)Up in Itunes NZ<br><br>https:// music.apple.com/nz/album/the-call-of-the-wild-original -motion-picture-soundtrack/1498520127<br><br>Sounds pretty, pretty goodUp in Itune NZ<br><br>https:/ /music.apple.com/nz/album/the-invisible-man-original-motion-  picture-soundtrack/1498868649oh yes!!! :-)Yeah, it is good.<br><br>Score comes this Friday, also vinyl 4th March
Actually, I prefer BB2 more than Pearl Harbor, thanks!<br><br>There is a quite of the trademark style of Tom in this, his percussion, synths and brassBay should work with Jerry Bruckheimer again. Except Bad Boys 2 (which was way too long) they made really entertaining films together.@Mark<br>You composed this?  It's pretty damn solid work, man.<br><br>Not sure if I hear a whole lot of 90's Zimmer in there, at least not until the last couple minutes.  If anything it gives me modern Lorne Balfe vibes.  But it's not a bad execution of that sound.  Far from it.<br><br>Could just be me.  I'm curious how the more attuned ears around here feel about it.Not bothering with any more of your bullshit.  This already gets down to the crux of the issue.<br><br>"Look at your first comment here, pal. Look at it good! Snarky, dismissive, almost trollish, and with a clear intention to provoke people."<br><br>You chose to take a comment whose only direct provocation was at Bay himself, as a direct insult to YOU.<br><br>Despite the fact that Bay and his work were the only things mentioned, despite the fact that those were the only things being dissed, you chose to take it as an attack against YOU.  <br><br>And when I elaborated on my full opinion, and even capped it off with a "you do you" olive branch, you chose to take it as me "unleashing my true self."<br><br>That speaks volumes about your mindset.<br><br>Y'know, we could keep talking and going in circles like this.  <br><br>We could talk about how you keep staking the worth of Bay as filmmaker on how much money he's made (and how much less money action films I considered better made) and then turning around and claiming "B-b-but I didn't say box office was a sign of quality!"  <br><br>We could talk about how 300 wasn't trying to start a franchise and how you keep pulling that uncited lie out of your ass to write off its merits under the very faint guise of "objectivity."<br><br>But that'd all be beside the point.<br><br>That point being, how people can only shit on a director according to your arbitrary standards, and how your inherent obsession with "disproving" them or "giving them what they deserve" or whatever self-serious crap you've concocted inside your head is dogmatic fanboyism at BEST.<br><br>Nice day indeed.
LOL @ 1/5 star rating, before release.<br><br>Good job, Internet.You should credit Trapanese wherever there is an orchestral prescence in the cues as he handled all the arranging and orchestration.I know what you mean. When I listen to this, I basically hear a Hans & Lorne score with some DP stylings.<br><br>It's fairly frustrating for me, as I'm big on proper crediting; I neither want to give anyone undue credit, nor fail to give credit. With this one, honestly, my only strong intuition is that DP did almost nothing.There's not much besides the general consensus that Joseph Trapanese did a lot of the heavy lifting with DP's ideas (though they still contributed a fair bit). Toby Chu doing "Adagio For TRON" is about it, unless you do count the cues that were once listed on JT's website.<br><br>Quite frankly, I'm still having a hard time believing the duo stayed on a project that apparently was primarily managed by someone else. These are guys that have always stressed to have full creative control on their albums and ventures, so to hear that they weren't really driving the wheel here sounds off to me. It certainly would explain why they haven't done a score since, but hey. I probably won't ever know the full story.Good question. I honestly get the sense this largely scored to picture, given how varied the cues are, plus the fact Hans did the Day of the Dead and Tuesday cues alone.<br><br>The Batman Suite itself almost sounds like it was done after the score itself was composed, but I could definitely be wrong about that.<br><br>By the way, pretty fucking cool Hans did all (six?) of the themes on this. IMO that goes a long way to show he can still do really solid thematic work when he wants to.
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 Shalini Singh
      
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 2019

  Dark Phoenix (Studio Manager)

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 2018

  The World Of Hans Zimmer - A Symphonic Celebration (Shows) (Management)

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 2017

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 2016

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 2014

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