Secret Headquarters
Secret Headquarters
Lorne Balfe Lorne Balfe Composer Adam Price Adam Price Additional Music Eva Reistad Eva Reistad Music Scoring Mixer Steven Davis Steven Davis Additional Music Stuart Michael Thomas Stuart Michael Thomas Additional Music Dieter Hartmann Dieter Hartmann Additional Music Michael Bitton Michael Bitton Music Scoring Assistant Rufio Sandilands Rufio Sandilands Song Writer Ethan Gillespie Ethan Gillespie Technical Music Assistant
Secret Headquarters

Secret Headquarters – Project Details

2022
SECRET HEADQUARTERS, 2022, Directed by Henry Joost & Ariel Schulman

FILM CREDITS

Music by Lorne Balfe

Music Editors: Stephen Perone, Andrew Silver, Marc S. Perlman, Brittany DuBay & Mark Wike
Assistant Music Editor: Christine H. Luethje
Additional Music by Adam Price, Stuart Thomas, Steve Davis & Dieter Hartmann
Music Production Coordinators: Ruth Titmarsh & Ashleigh Kelly
Music Production Assistant: Michael Bitton
Orchestrators: Adam Price & James Yan
Copyist: Booker White
Score Recorded at Newman Scoring Stage, Fox Studio Lot, Los Angeles
Score Conducted by Peter Rotter
Score Recorded by Scott Smith
ProTools Operator: Larry Mah
Scoring Stage Recordist: Tim Lauber
Scoring Stage Engineer: Erin Michael Rettig
Scoring Stage Managers: Greg Dennen & Hoss Yekband
For Executive Sound Staff: Stacey Robinson & VP Post Sound Operations
Score Mixed at Firdaus Studios, Dubai
Score Mixer: Eva Reistad
Music Contracting: Encompass Music Partners
Music Consultants: Randall Poster & Kareem Abdullah
Concertmaster: Tereza Stanislav
Synthesizer: Lorne Balfe

"Ride Of The Valkyries"
Written by Richard Wagner
Arranged by Lorne Balfe

"Dinero"
Written by Rufio Sandilands
Performed by iZNiiK

Secret Headquarters

Secret Headquarters

2022 46'21
Release date : 08/12/2022
BOOKLET CREDITS

Music by Lorne Balfe

Produced by Lorne Balfe

Music Editors: Stephen Perone, Andrew Silver, Marc S. Perlman, Brittany Dubay & Mark Wike
Assistant Music Editor: Christine H. Luethje

Additional Music by Adam Price, Stuart Thomas, Steve Davis & Dieter Hartmann

Music Production Coordinators: Ruth Titmarsh & Ashleigh Kelly
Music Production Assistant: Michael Bitton
Orchestrators: Adam Price & James Yan

Copyists: Booker White, Chris Anderson-Bazzoli, Kristine Angelino, Brandon Bailo, Marshall Bowen, Leslie Buttars, Nicholas Cazares, Mark Fugina, David Giuli, Jennifer Hammond, Lisa Janacua, Valarie King, Martin Mcclellan, Aaron Meyer, Johanna Orquiza, Sasiwan Seiter & and Karen Smith
Score Recorded at Newman Scoring Stage, Fox Studio Lot, Los Angeles
Score Conducted by Peter Rotter
Score Recorded by Scott Smith
Pro Tools Operator: Larry Mah

Scoring Stage Recordist: Tim Lauber
Scoring Stage Engineer: Erin Michael Rettig
Scoring Stage Managers: Greg Dennen & Hoss Yekband
Fox Executive Sound Staff: Stacey Robinson, VP Post Sound Operations

Score Mixed at Firdaus Studios, Dubai
Score Mixer: Eva Reistad

Music Contracting: Encompass Music Partners
Music Consultants: Randall Poster & Kareem Abdullah
Concertmaster: Tereza Stanislav
Synthesizer: Lorne Balfe

Mastered by Robert Vosgien
Executive in Charge of Music for Paramount Pictures: Randy Spendlove
01 – Open The Portal (2:52)
02 – Secret Headquarters (3:32)
03 – The Gang (2:02)
04 – Love Prevails (1:51)
05 – Baseball Catch (3:30)
06 – End Of Story (1:12)
07 – Argon’s Journey (6:12)
08 – Father And Son (1:35)
09 – Blue Eagles (2:02)
10 – Not Bad For An IT Guy (1:34)
11 – The Winter Suit (1:18)
12 – Negotiate (2:40)
13 – Go Get Them (1:21)
14 – Hostage (2:54)
15 – Lizzy’s Light (2:10)
16 – Holograms (2:43)
17 – Testing Time (2:28)
18 – Elevator Drop (1:03)
19 – Crashing Down (3:22)

2 Comments

  1. Knight December 14, 2022 at 12:35 pm

    Some composer credits:
    Lorne Balfe, Steven Richard Davis
    Baseball Catch
    Blue Eagles
    Not Bad for an IT Guy
    The Winter Suit
    Hostage
    Holograms

    Lorne Balfe, Dieter Hartmann
    Negotiate
    Lizzy’s Light

    Lorne Balfe, Steven Richard Davis, Adam Price
    Elevator Drop

  2. Knight August 12, 2022 at 4:21 am

    The suites are really cool; I’m loving how much use Lorne has been getting out of his synthesizers lately

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