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2/5 stars? Why are people hating on this?Me tooExcited!!!God’s gun theme reminds me of part of “River Mission” from Battlefield 2: Modern Combat OST. I think Lorne was an additional composer on that score aswell (excellent OST btw)God’s gun theme reminds me of part of “River Mission” from Battlefield 2: Modern Combat OST. I think Lorne was an additional composer on that score aswell (excellent OST btw)
"It's good shit lieutenant" The principle is based on Thomas Newman's Bond.  "Take back what's ours" and "the truth" is Ad astrahonnestly, I do get why people refer to MW2, but to be honest, it's not the same.  With the amount of time I heard that score, I can say that it uses the same drums, and a pattern that is quite similar to the one used in MW2, but it is not a copy/paste.  It's no different to me than Junkie XL re-using the same pattern of drum in all of his recent scores since Mad Max.  When it comes from the same composer, I guess it's normal to have works that parts that similar from a score to another.  Just think of John Murphy who re-use his powerful theme from Sunshine in a lot of his scores (28 weeks later, kick-ass, etc).   <br><br>Actually I'm quite glad he re-used the themes from Mancina as that was, to me at least, a big miss for BB2 even though Rabin and Jablonsky did a great job.  It's like doing a James Bond movie without the Bond theme.  It might be good, but it miss the little something that gel everything together. ;)  I really like what Lorne did on this one.  Even though he re-used the theme, he made them his own, in a similar way he did with MI Fallout, while sometime paying homage to the original ones. ;)  My 2 cents.Not really familiar with either Mancina’s BB score or MW2, but I’m really enjoying this. It’s like an old-school MV score filtered through Lorne’s sound. The main tune (which I’m guessing is Mancina’s) is a lot of fun, particularly when paired with the choir. <br><br>And as for Ad Astra, the villain motif in “Take Back What’s Ours” sounds like it was directly lifted from the space scenes of that score.can I see the clip? is it on YouTube?can I see the clip? is it on YouTube?
I love the score. It is action packed and to the point.<br><br>I saw his orchestra clips as well but I wonder why he actually spends the money and effort for orchestra when the end product sounds (as usually) 100 percent sample library. All the dynamics of real players are gone in the final mix so why bother with orchestra at all...I'm highly disappointed by the score... Lorne went the very easy way and recycled the MW2 score as well as the Mancina theme in almost every track. Like seriously... the only thing u here is MW2, Main Theme and lot of rustle-synth score. 1/10! No effort went in this score and I dont say that often.As for Ad Astra, unfortunately i can't hear anything from Ad Astra aswell :/ It's just MW2 mixed with Mancinas themes for me. And the cues from MW2, they aren't just drums, all the guitars, melodies, vibes, even the choir or the voices are included. The above mentioned cues from MW2 are not complete, there are plenty of them, but these will give you the idea of what we've mentioned. Again, i'm not mad, i'm happy that a wider audience can hear these cues, but then again, on MW2 they sounded better and fresher than on the BB3 score (i mean the quality of the recordings - you can hear the cues and instruments more directly. On the BB3 score it sounds like being in a bathroom hearing to the MW2 score). And as i said earlier, i would like to understand or know what Lorne thought about using all these cues. Time pressure? Unused opportunity for a wider audience? And then again that synth-sound even using a real orchestra :/@ Mr Tweedy:<br><br>MW2 has hundred of cues, which has all the special atmosphere and sound-effects, but try listen to these cues to understand what i and others mean:<br><br>- Guerilla Tactics <br>- Guerilla<br>- Contingency<br>- Breach<br>- Retreat and Reveille<br><br>Funny thing, play the cue "Guerilla Tactics" from MW2 and let Shazam try to find out what track that is. It shows me as "Lorne Balfe - We're Dangerous People" from BB3 :DI really like this score!<br>Sure he used Mancina's Theme, that's allright cool, I don't hear anything similar to Ad Astra....don't know why somebody compare this score with Ad Astra....<br>That MW2 sounds are very great, he don't copy himself, he just used the Drums, what's definitely be OK!!<br><br>I don't know why people always want to compare scores....Everybody use his own Temp Music sometimes, that's normal!
Please could you give me the exact name of the track from MW2 that is used in BB3? I’d like to compare both!I love Lorne´s music and all, but I am genuinely wondering, why they decided to re-use MW2 so much in the scoreas for the drums, yes, i would understand. but the orchestra? you're recording the strings from a real orchestra, so why the downgrade in sound-quality?Because that parts are sampled drums and there are no real?i don't know what to think about the use of mw2. i mean, i love his work for mw2, it's TOO good to be just a score for a game, a wider audience should hear this, so i'm kind of happy to hear some parts of it here. BUT somehow, it's kind of a lazy move just to copy that 1:1. some cues are untouched and some cues are layered with some themes of mancina. i would be interested to know what was he thinking while doing this? <br><br>i followed his video uploads on his social media channels, where he showed some snippets of the orchestra and i truly loved that. but while hearing at the score, i'm dissappointed to hear the quality as it sounds like synth. i mean that typically Balfe synth sound quality. if he uses truly orchestra, than it's a shame and pitty that it sounds like synths in the end. he needs a better recording or mixing or whatever to get rid of that synth-quality-design and having the true-orchestra feeling
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Mini biography from IMDB

German-born composer Hans Zimmer is recognized as one of Hollywood’s most innovative musical talents‚ having first enjoyed success in the world of pop music as a member of The Buggles. The group’s single Video Killed the Radio Star became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV.

Zimmer entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers‚ which included the film My Beautiful Laundrette. He soon began work on several successful solo projects‚ including the critically acclaimed A World Apart‚ and during these years Zimmer pioneered the use of combining old and new musical technologies. Today‚ this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer’s career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year‚ Zimmer composed the score for another Best Picture Oscar recipient‚ Driving Miss Daisy‚ starring Jessica Tandy and Morgan Freeman.

Having already scored two Best Picture winners‚ in the early ’90s Zimmer cemented his position as a pre-eminent talent with the award-winning score for The Lion King. The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score‚ a Golden Globe‚ an American Music Award‚ a Tony and two Grammy Awards. In total‚ Zimmer’s work has been nominated for 7 Golden Globes‚ 7 Grammys and seven Oscars for “Rainman”‚ “Gladiator”‚ “The Lion King”‚ “As good As It Gets”‚ “The Preachers Wife”‚ “The Thin Red Line‚” “The Prince Of Egypt” and “The Last Samurai.”

With his career in full swing‚ Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers’ guidance. With state-of-the-art technology and a supportive creative environment‚ Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical ’think tank.’ This approach helped launch the careers of such notable composers as Mark Mancina‚ John Powell‚ Harry Gregson-Williams‚ Nick Glennie-Smith and Klaus Badelt.

In 2000 Zimmer scored the music for Gladiator‚ for which he received an Oscar nomination‚ in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album “Gladiator: More Music From The Motion Picture‚” released on the Universal Classics/Decca label. Zimmer’s other scores that year included Mission: Impossible 2‚ The Road To El Dorado and An Everlasting Piece‚ directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor‚ The Ring‚4 films directed by Ridley Scott; Matchstick Men‚ Hannibal‚ Black Hawk Down and Thelma & Louise‚ Penny Marshall’s Riding In Cars With Boys and A League Of Their Own‚ Quentin Tarantino’s True Romance‚ Tears Of The Sun‚ Ron Howard’s Backdraft‚ Days Of Thunder‚ Smilla’s Sense Of Snow and the animated Spirit: Stallion Of The Cimarron for which he also co-wrote four of the songs with Bryan Adams‚ including the Golden Globe nominated “Here I Am.”

At the 27th annual Flanders International Film Festival‚ Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-piece choir. Choosing selections from his impressive body of work‚ Zimmer performed newly orchestrated concert versions of Gladiator‚ Mission: Impossible 2‚ Rain Man‚ The Lion King‚ and The Thin Red Line. The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."

In 2003‚ Zimmer completed his 100th film score for the film The Last Samurai‚ starring Tom Cruise‚ for which he received both a Golden Globe and a Broadcast Film Critics nomination. Over the past year‚ Zimmer has scored Nancy Meyers’ comedy Something’s Gotta Give‚ the animated Dreamworks film‚ A Shark’s Tale (featuring voices of Will Smith‚ Renee Zellweger‚ Robert De Niro‚ Jack Black and Martin Scorsese)‚ and most recently‚ Jim Brooks’ Spanglish starring Adam Sandler and Tea Leoni (for which he also received a Golden Globe nomination). His upcoming projects include Paramount’s Weatherman starring Nicolas Cage‚ Dreamworks’ Madagascar and highly anticipated Warner Bros. summer release‚ Batman Begins.

Zimmer’s additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review‚ and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP’s Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of 4.


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