Watch your tongue Ian, no need to be insulting at every corner, I will have no remorse in removing your comments when I see fit. You’re fucking tiring.

That being said, comparing the Langdon scores is kinda funny given all 3 films have pretty much nothing in common. Da Vinci’s score would sound ridiculous on Inferno. Inferno works perfectly to picture. And I do listen to Inferno way more than Da Vinci…

@Ian The Bane chant is remarkable & added a new color to the trilogy that wasn’t there before. Not to mention how well it complimented Tom Hardy’s performance.

And the “Man Of Steel” drum circle made the percussion more heroic, grand, and Superman-ish. It was an interesting change of pace from the percussion used in TDK trilogy which has just concluded the year before.

Experimentation is experimentation & Hans has been very successful in knowing where to go next.

But this applies to any piece no? I’m pretty sure Hans is good enough at programming to synthesize an organic sounding orchestra flawlessly. Last year on the VI-Control forum he shocked everyone when he revealed the “In Love” track from the WW84 Sketchbook is completely programmed.

Yet he still utilizes real people and real instruments a lot of the time. And he can explain why he makes that choice musically better than I ever could… but from my perspective as a fan it’s awesome that he had the fans be a part of the world of TDK Trilogy and seeing the Drum circle with so many prominent drummers definitely adds a layer to the feeling of the score that wouldn’t have been there had it just been a drum that’s layered 10 times on a computer.

Side-note: Not saying the recordings are better than synthesized music. In fact I kinda love the tracks that I know were just Hans by himself coming up with it all and building it.

Ian, Hans always sounds sincere when he’s, erm… waxing poetic in interviews (Stéphane, you’ve written yourself a few times here that what’s said in interviews is not to be taken too seriously). It’s one of the more tiresome features of Hans, partly because often the music doesn’t need the kind of pretentious commentary he gives it. I’m not the first Hans fan to comment on this ;)

The thing I can never quite figure out is if he believes the stuff he says in interviews or if it’s purely marketing. I think it’s sort of consistent enough in style that it might be genuine.

Totally agree with Ian here – the score is terrible, and the worst of HZ’s propensity to ‘experiment’. Yes, experiment by all means in the privacy of your studio, but don’t label laziness as experimentation and sell it off to said studios (or, well, perhaps do). Atli continues to be very interesting, and I do wonder if he had an oversized role in the chorals of Da Vinci Code (since choir seems to be his thing)

Balfe is a joke of a composer and has no individual or identifying qualities to anything he has done so far – yes, he may be a great, anonymous journeyman, a la labourer for the industry that gets basic noise in the background, but do you lot come to a HZ fansite to worship someone who has no identity in his creative work?