I mean, Matthew Vaughan coming up with a massively idiosyncratic, creative spy. And hiring Lorne Balfe to score. The laughs are plentiful. They dry out soon. Who hires Balfe for a project like this? Have you ever had music in your project? If you had, you would think about this.
Ah, sad to see that Warner is a Zimmerite. I went through the score and yes, it is positively full of references to Rabin and Hans. The Rush temptrack is very very obvious. I did like the Armageddon references, but again, as with all things Balfe, they sound lifeless and dumb. I hope talented composers like Warner don’t use the dead-eye Balfe way but do some real talented work.
I thought exactly the same while listening to the score!
Some cues sounded like he’d wrote those…I don’t think we’ll ever know if he composed something, but judging by the sound of the score I think he had quite a lot of influence as a producer
Man, whoever you are – have you ever listened to film music, to refer to Lorne Balfe like this? The style of the score by him…..Hesus Christos? What is a Lorne Balfe score style – please explain. The dude is an AI programme waiting to be replaced.
Have you ever heard of style? Balfe is an empty vessel.
Give me an example of Balfe scoring style – what sounds like him?
Lorne Balfe not the one who invented the Media Ventures and Remote Control sound to associate him with it. It’s better to say that parts of the score sounds like Hans Zimmer’s music, because his music could be used as a temp tracks and inspiration for composer of this film Amelia Warner.
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I mean, Matthew Vaughan coming up with a massively idiosyncratic, creative spy. And hiring Lorne Balfe to score. The laughs are plentiful. They dry out soon. Who hires Balfe for a project like this? Have you ever had music in your project? If you had, you would think about this.
Balfe is to comedy as AI is to creativity. Let’s hire them alll to do that right now!
Ah, sad to see that Warner is a Zimmerite. I went through the score and yes, it is positively full of references to Rabin and Hans. The Rush temptrack is very very obvious. I did like the Armageddon references, but again, as with all things Balfe, they sound lifeless and dumb. I hope talented composers like Warner don’t use the dead-eye Balfe way but do some real talented work.
Stéphane, do you maybe know, if Lorne also composed music for Young Woman And The Sea? Officially his function is just being the producer, but the Main Theme and the whole style of the score sound alot like him.
I thought exactly the same while listening to the score!
Some cues sounded like he’d wrote those…I don’t think we’ll ever know if he composed something, but judging by the sound of the score I think he had quite a lot of influence as a producer
Apparently Lorne does everything now !
In fact there is even a piece that is very reminiscent of Rush.
Rockhound: Stéphane, do you maybe know, if Lorne also composed music for Young Woman And The Sea? Officially his function is just being the producer, but the Main Theme and the whole style of the score sound alot like him.
Man, whoever you are – have you ever listened to film music, to refer to Lorne Balfe like this? The style of the score by him…..Hesus Christos? What is a Lorne Balfe score style – please explain. The dude is an AI programme waiting to be replaced.
Have you ever heard of style? Balfe is an empty vessel.
Give me an example of Balfe scoring style – what sounds like him?
Lorne Balfe not the one who invented the Media Ventures and Remote Control sound to associate him with it. It’s better to say that parts of the score sounds like Hans Zimmer’s music, because his music could be used as a temp tracks and inspiration for composer of this film Amelia Warner.
Loving Get Up and Start Again.
And Electric Energy
You meant it’s on your tempo, Fletcher?