"Beam" Written by John Powell Featuring Francesco Lupica
"Sit Back & Relax" Written & Performed by Francesco Lupica
"The Coral Atoll" & "Light" contain original adaptations of "Christian Race", an American folk hymn
Score Produced by Hans Zimmer Score Recorded & Mixed by Alan Meyerson Album Compiled by Gavin Greenaway Music Supervisor: Rosanna Sun Music Conducted by Gavin Greenaway Mixing Assistant & ProTools Engineer: Gregg W. Silk A&R Director for RCA Victor: Bill Rosenfield
Featured Musicians: Harp: Ellie Choate Harp: Marcia Dickstein Concert Master: Endre Granat Harp: Katie Kirkpatrick Shakahachi Flute: Daniel Kuramoto Koto: June Kuramoto Cosmic Beam: Francesco Lupica Taiko Drums, Tibetan Bowls & Vocal Chants: Johnny Mori Bassoon: Ken Munday Taiko Drums, Tibetan Bowls & Tibetan Bells: Emil Richards Taiko Drums & Tibetan Bells: Danny Yamamoto
Music Editors: Lee Scott & Adam Smalley Orchestrators: Bruce Fowler, Yvonne S. Moriarty Additional Arrangements by Klaus Badelt Mastered by Joe Gastwirt at Ocean View Digital Mastering Music Coordinator: Maggie Rodford, Air Edel & Associates
Media Ventures Coordinator: Tom Broderick Music Recorded at The Newman Scoring Stage, Twentieth Century Fox Score Recordist: John Rodd Scoring Stage Crew: Tom Steel, Damon Tedesco & Dennis Sager Score Mixed at Media Ventures, Los Angeles
Technical Scoe Advisor: Justin Burnett & Marc Streitenfeld Musicians Contractor: Sandy DeCrescent Music Preparation: Jo Ann Kane Music Services Visceral Ambience: Jeff Rona Composer Wrangler: Moanike'ala Nakamoto Assistants to Hans Zimmer: Scott Newman Music Production Services: Media Ventures, Santa Monica
Thank you: Ryeland Allison, Slamm Andrews, Anna Behlmer, James L. Brooks, Emma Burnham, Brother Zephaniah, Tom Cavanaugh, Fred Chandler, Choir of All Saints - Honiara, Penny Finkelman Cox, Bob Daspit, Father Edmond Rukale, Kevin Globerman, Michael Gorfaine, Harry Gregson-Williams, Leslie Jones, Saar Klein, Mike Knobloch, Robert Kraft, Grant Hill, Robyn Klein, Claude Letessier, Henning Lohner, Bill Mechanic, Mike Medavoy, The Media Ventures Team, Melanesian Brotherhood, Mary Jo Mannella, Cathy Merenda, Rebecca Morellato, Andy Nelson, Elisa Perlman, Bill Rosenfield, John Powell, Jay Rifkin, Marc Robertson, Bruno Roussel, Sam Schwartz, George Stevens Jr., Adam Smalley, Billy Weber, Lisa Wasiak, Laura Ziskin, Jake Zimmer & Zoe Zimmer
Extra Special Thanks: Terry Malick & Alexandra Wyatt-Bown Malick
Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading ! Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.
one question to hybrid why the sessions doesn't have his own page? and by the way, i will like to see the 6 hour versión of the thin red line not the cut and cut and cut theater edition, to hear the sessions
Is the wonderful music used for Witt's death scene a Zimmer original or is it the work of another composer? It has been wrongly attributed as Arvo Part's Cantus in Memoriam Benjamin Britten but this is not correct (although that piece is sampled in an earlier part of the score)
Empire Magazine posted a Spotify playlist which includes tracks that Gareth Edwards used as inspiration for his new Godzilla movie. The playlist includes the tracks "The Lagoon" and "Air" from The Thin Red Line, but they list Gavin Greenaway as the composer of those track. Is this legit? Are those tracks mostly his compositions?
trent easton navarro
With film scores Spotify often credits the conductor instead of the composer. If you look The Thin Red Line up on spotify you'll see all tracks are credited to Greenaway. A couple of Elfman scores are credited to Artie Kane
holy shit! anybody heard Oblivion from M83??? everybody says that the hans zimmer sound is everywhere, which is truth but not yust inception and batman. oblivion is really influenced by the thin red line. journey to the line is the most coppied track in the last 14 years. even jon brion did his version in magnolia so it's not yust remote control
1. 1m00 (11 12) NEW DNU (1:32) 2. 1m00 (11 12) NEW V.2 (1:33) 3. 1m00 Opening (3:03) 4. 1m00 v.3 Nature Montage (1:16) 5. 1m02 Children Swimming (3:17) 6. 1m05 Witt W Melanesians (1:41) 7. 1m06 Witt W Melanesians (1:42) 8. 1m06 v.3 Island (1:46) 9. 1m06 v.3 (1:46) 10. 1m06New (1:29) 11. 2m08 Witt in Brig (3:26) 12. 2m08 v.2 (3:37) 13. 2m09 Tall & Quintardi (5:08) 14. 3m11 Staros Below Deck (2:04) 15. 4m14 March Island DNU (8:24) 16. 4m14 March Island Remix (8:26) 17. 4m14R (8:32) 18. 5m16 Tall Staros Orientation (2:24) 19. 6m19 The Grass (0:49) 20. 6m22 Talls Calls Staros (2:43) 21. 7m23 v.1 Keck's Death (4:36) 22. 7m23 v.2 Keck's Death (4:49) 23. 8m25 Welsh Helps Tella (2:30) 24. 8m26 Bead Dies (8:12) 25. 8m26 NEW (3:40) 26. 9m29 v.2 Bell Goes Alone (3:56) 27. 9m30 Tall & Staros (3:30) 28. 9m34 Bird v.2 Welsh & Witt Talk (3:23) 29. 9m34 GOD v.2 (10:39) 30. 10m31 Gaff's Party Returns (3:19) 31. 10m31 w New Perc (3:06) 32. 11m33 v.1 Prisoners (2:09) 33. 11m33 v.2 Prisoners (2:05) 34. 12m39b v.1 (7:57) 35. 12m39b v.3 (3:30) 36. 13m41 Tall Does Nails (1:37) 37. 13m41 Short Tall Does Nails (1:25) 38. 14m42 Air Field Bell Flashback (6:01) 39. 14m42 New ending Airfield (7:21) 40. 14m42 old (6:00) 41. 14m52 (3:43) 42. 15m44 Village Flashback (2:08) 43. 15m45 Witt Travels (2:42) 44. 15m45 46 v.2 Witt Travels Copra (5:49) 45. 15m45 46 (6:12) 46. 15m46 v.4 (6:45) 47. 16m47 In the River Witt Chased (1:30) 48. 16m49 v.3 Witt Chassed (4:28) 49. 17m51 Proc. (4:11) 50. 17m51 Saar Witts Death (2:14) 51. 17m53 CD (5:17) 52. 17m53 v.1 (4:40) 53. 17m53 v.3 Cemetary (4:46) 54. 17m55 (1:56) 55. Big Chord (1:38) 56. Cosmic Beam (drone) (5:43) 57. Grace v.1 - D minor (5:15) 58. Grace v.2 - A minor (5:18) 59. JP Concerto for Beam (6:03) 60. Mono Orch 60 bpm DNU (3:26) 61. Mono Orch 66.5 bpm (3:05) 62. Mono Orch Brass 60 bpm (3:39) 63. Monotone 7 Bars DNU (2:08) 64. Monotone 7 Bars (2:15) 65. River #5 (ReRecOrch) (5:42) 66. Rolling Thunder (3:28) 67. Wild Bowls w Panning Fx (7:19) 68. Wild Bowls w Png Fx & Shaku (7:20) 69. Wild Bowls w Shaku (7:51) 70. Wild Bowls (7:49) 71. Wild Shakuhashi (9:56) 72. Wild Solemn Taiko (3:42) 73. Wild Solo Cello (1:31) 74. Wild War Drums (18:36)
That would be awesome...
Paul Maher Jr
This may well be legit, but it also reflects music made for the edited cut of the film and not the hours of unedited film that also had cues written specifically for them.
I happen to have Fox's cue sheet and the titles are different. The list above also lacks the several Lupica/Scott/ beam cues that Malick has also used in The New World, The Tree of Life and To the Wonder.
I do wish that this was released. it is almost criminal to hold out on us.
And finally after all... I got this rare Recording Sessions !! Awesome...Amazing...
Haha! Yeah! Suck a dick, David, and all the other tools that were teasing people with this! Haha!
^"suck a dick" lawl theyve all probably already been around to that, if they really got nothing better to do than to flaunt cue sheets of rare scores on the interwebs like theyre the shit.....swingin their dick in everyones face, like its gonna get them some respect..truth. (bitches)
Ok, there's another cue list out there from FOX? Please show us this cue sheet so we can compare...
It isn't "out there." It's in my possession. The cue sheet reflects the final edit of the film. The one presented here represents longer cues corresponding to the everchanging edits of the film.
Also, there are variants. For example, what we know of as "Journey to the Line" has, in the film, Charles Ives tagged on to it, which is the original temp music Malick used. He wanted Zimmer to compose something as close as possible to Ives, but apparently Malick chose to go with Ives. The way it was composed is represented on the official release. Also, "Journey to the Line" was considered the first piece of music accepted by Malick as aligning with what he wanted. Before that, he had an array of classical music compositions, like Benjamin Britten for example (used during the scene of Witt's death) for hsi temp score. Zimmer's music was also influenced by the Melanesian songs recorded by Claude Lettesier at Guadalcanal. Then there is the Cosmic Beam and the Kodo drums Malick was fond of that found there way into Media Ventures. So, Zimmer's job was difficult, but made even moreso by the influx of many other musical elements brought into the fold of the post-production process.
When Zimmer said that he considers The Thin Red Line one of his best scores i was like WTF, OK it is good, but amongst the best?!
And now when I heard whole recording sessions and I couldn't agree more. Only when you hear the whole thing you will understand that this is THE masterpiece! Unfortunately you won't get much from the official soundtrack which is too shallow in my opinion, so I truly hope someone will release this on as much discs as needed, because it IS worthy of that!
to make sense of this list, go by this: 1m00 is the cue number. The first number "1" means reel 1, the "m" means music. The cues are numbered in sequence in the order they play in the film. Some composers like to restart the numbering with each new reel - e.g. 1m12, 1m13, followed by 2m1, 2m2 etc. Hans like likes all the numbers to run in one sequence - e.g. 6m22, 7m23. Missing numbers were dropped or combined cues.
This list is late in the editing process, probably one of the final edits before they dropped Bead's death and shortened the sequence where Witt travels alone to another island. The overall narrative as it was released still stands with these exceptions.
The Beam cues are missing with the exception of the "Cosmic Beam Drone" and "Concerto for Beam" which is John Powell's orchestration of a dropped cue called "Peaceful Beam." The Lupica/Beam sessions were done separately from Zimmer's work with music editor Lee Scott and probably totals about 5 hours worth of recordings by itself (the Beam was difficult to record to any degree of satisfaction because of the distortion it created). Lupica's original tapes from the 70s, including "Sit Back and Relax," had to be baked and then reedited for use in the film and trailer. So, out of thirty hours of music on the Avid, it was dwindled down to 5 in the dubbing stage.
@Areozz suck all our dicks!!!!!!! Finally, we can hear the recording sessions. It's truly a masterpiece. And by the way, if you think you are the only "special person" to have this, sorry, go with Hybrid and cry both, because in 3..2..1.. Hybrid will post "This is old news and it's fake, that's not the tru recording sessions" and then he will post the recording sessions just to add "his famous edit suites" to say "those suites are the original no one else" and bla bla bla....
@Scorefan: you are a total dumbass. Do you realize that? You are being a complete ignoramus right now. Don't you know that these sessions have been leaked? Of course I did not have this score beforehand, but I have it now, because someone posted it for the public to dig into it. Idiot.
Your assumption made based on my post completely and utterly makes no sense at all. Please reevaluate what you have said.
To @Areozz what the fuck is going on here!!!!!!!!! i don´t know who is using my name, but like you say Areozz, it's completely bullshit. I know you are not an elitist, also, the recording sessions have been leaked in these days, and we have different point of views, but your comment i understand, but no the that shit from Scorefan
I'll take your word, Scorefan. I've seen you around here. That post didn't seem to make any sense; just a common troll. It's so awful that people can steal names here.
Yeah not everyone can have my shiny font !!! :P
Anyway, for those wondering, I'm not creating a page for this one.
It's a fake!!!! The genre oft he tracks are tagged with "colonne sonore", which is what the fake Inception Recording Sessions and Sherlock Holmes 2 edits were tagged with from THAT PARTICULAR BLOG. Nice try Joker!!!
Although..."colonne sonore" just translates to "soundtracks" in Italian. Although, it does seem like a strange coincidence that the three soundtracks in question here would all be tagged with the Italian word for soundtracks.
@JokerXXX: Burn in hell, you bastard! You've committed countless terrible sins!
Sorry i don't understand what you're taking about? What is a fake here? And why should he burn in Hell? He should be praised because he is ready to Share it.
I'm Italian yes but what!? Why can't I use my language!? Why I must be The owner of that blog!? Must I born in hell because I'm Italian!? WAKE UP GUYS WE ARE TALKING ABOUT SCORES NOT ABOUT LANGUAGES!! ARE YOU CREAZY YOU ARE THE MAD ONES YOU'VE ACCUSED ME FOR SOMETHING THAT I DID NOT! Who are the bastards now!?
Question to you, JokerXXX: tell me what is another synonym for words like changed, altered, modified?
It's a simple situation JokerXXX... either share the score or don't.
after reading such stupid and violent comments from mr. charles and mr. fate (are you the same guys?), i hope joker will never leak this.
to call this fake, even it is the real deal, and to say he should burn in hell is so f4cking stupid, i just can't find the right words for it.
don't hear at them joker, they're just frustrated that they don't have those scores and screaming out loud like psychos -.-
wooh, cool. another censoring here. feeling like in germany in ww2 or in china now -.-
Germany & China have never been private websites... :P
You like it or not, we do run this the way we want...
No private websites yes, but hiding informations to the population. So same like germany before and china now ;)
Comparing a fan website to Nazi Germany? Classy, guys. And can we just install an automatic filter that deletes every post using the word "elitist"?
This website already tells us fans a lot more than we'd otherwise know and there's only so much they're allowed to tell. So yes, they are "hiding information to the population" because there's a such thing as "invasion of privacy" (not to mention "copyright infringement"), which the site could easily find itself being charged of if they let every dubious fan edited tracklist and pseudo-"recording sessions" be posted. Every forum needs mods, it's how the Internet works.
Having rules =/= Nazi Germany.
If copyright was such an issue, there would be no bootlegs listed here (on an apparently almost-official site).
One word from the others in charge or from HZ and I'll remove all of them in 5 min. That's not an issue... :)
no need to remove anything at all. you guys hiding informations, telling us, that these aren't allowed to be posted, but when something leaks on the net, the first place where it is filled with that information, it's hz.com. and i don't mean the comments here, but you're opening a new topic for that session or expanded one.
so what's the deal? people posting in their comments aren't allowed and they get deleted immediatly, but the crew from this website it's allowed. i'm just not getting it now.
and this website isn't nazi-germany, but the methods you're practising are almost the same. you've heard from propaganda? only letting informations to the people you want. if there is someone who has more informations for the people, he will be banned or all his messages and all the following messages from other people will be deleted without loosing a word.
i like this place here alot, but sometimes the behaviour from the staff is just ridicilous.
@brb : Do you really think we delete so many posts ? you are wrong. We just delete posts from peole who ask for bootlegs. Nothing else
I agree with @brb. There is definitely a double for just the casual fan and these moderators. I think the mods are acting like a bunch of pricks when they delete posts that list complete tracklists and then post the same exact thing on their own. Dick move.
Well said, brb and Jimmer.
@Antas: I respect you very much and am thankful for this platform you've brought to us. i visit this site many times in one day, just because i love zimmers music and from RCP.
but that you're deleting only some posts where someone asks for bootlegs is wrong, I'm sorry. so many times i've seen how complete conversations have been deleted, and in these conversations there haven't been any posts at all with "can i have it", "send me this email@example.com". no! there were normal discussions about the material, about the cues, about what there exists, what the differences are etc. and within a second huge discussions have been deleted, just because YOU want to hide that information. within a second the place where we all discussed were empty. and no one ever have mentioned the deletion, just like it has never existed.
and that scares me, as that reminds me alot of those methods that former forces have used to hide information to the people and telling them different stories to believe and not the truth.
i'm sorry that i've opened the discussions here, at this topic about the most beautiful music ever written by hans, but i hope you're understanding my frustration, that information and music should be for everyone out there, and not only for some of you. music has been written to be enjoyed, it's another language, it's a language that everyone understands, and i don't think it's right that this music should be hidden to the public (that is zimmers and productions fault, i know). but don't do the same with informations, as informations should be open for everyone who wants to read them!
And you just have an example below of what the hell is going wrong.
@hybrid: yes, these, and ONLY these things should be deleted, but not the discussions about the sessions, which have happened many times!
I agree. Discussions about trading and obtaining bootlegs should be deleted (this is not the place), but posting informations (e.g. tracklist posted above) must be allowed because ultimately this is what this site is about. Posting informations. Of course, unless HZ specifically said not to post Thin Red line and Gladiator recording sessions, which I highly doubt.
hey where is the tracklist for the recording sessions Davis posted yesterday??? As always, the mods of this website delete these kind of comments.
yup, very dissappointed in the acting here. deleting information is cruel, not posting it!
hope this elitist-crap will have an end and everyone can enjoy the music, as music is made for people and not only for some of you.
Yeah, why censorship?
Don't worry, guys. You don't think I don't have all my tracklists saved, do you? There's many more ;)
Then find some other place, forget this site.
share the score ;)
I agree. Show mw the money. Nobody likes a tease, and trading is becoming and outmoded pastime. It doesn't speed up the process of other leaks, all leaks are pretty random and a matter of good fortune. If anything, one generous leak may lead to another faster than this crap of "if you show me yours I show you mine". now show me the one about the general that became a slave, David :-)
Don't forget this is an official place here. Hans & his team visit these pages regularly and we/they don't accept any reference to bootleg/unofficial release anymore. Thank You
Antas yo say hans and his team visit your website and don't accept references to bootleg or unnofficial release. So why keep posting complete bootleg scores. Ask Hybrid why he post those "bootleg" scores?? Please Antas, in your banner you say "no longer with Remote Control Productions" now you change that banner to "Almost Official Site". So what's the game??
yup, what's the difference between those tracklists that david have posted and the tracklist to the bootlegs that hybrid is posting here?
and i highly doubt hans is reading here, but hey, if it's so, dear hans, release already your scores as recording sessions. not for free, we all want to pay for it, to enjoy your music in your fully length! we're waiting so many years for the lion king, the thin red line, last samurai, gladiator, the fan, and all those great scores, but what do we have in hand? 40 minutes of each score.
just look at the thin red line, 3h movie, over 7h music written, and we have only about 40 minutes of it?
please take care of your fans who wanna enjoy your beautiful work in its full glory and stop that elitest bull-shit that makes some of them here as they're the chosen one and feeling themself bigger then others. is this the message of music? that some of them think they have more power then the others? no! music is for everyone, so release please your scores how they should been released.
but then again, i don't believe that anyone of RCP or even hans is reading here.
@Anonymous : The banner depends on the composer's page : For Klaus Badelt or Trevor Rabin, the banner is not the same because they asked us to not associtate their name with Hans Zimmer.
I don't know about 7 hrs of music written, but what's on that tracklist I posted is a little over 5 hrs. I wouldn't call it bootleg, it's the sessions, therefore, they're legit
Anything not properly licensed etc. from the owner(s) of the music would be considered bootleg material...
@David: do you have the score or just the tracklist?
@David, yes that's right. The original footage of The Thin Red Line it was about 6 hours, and then cut to 3 hours. So Zimmer and his team wrote more or less 5 to 6 hours of music. David posted a tracklist and this has over 5 hours of music, and like David said, the original recording sessions. So David, please give us the great honor to hear the recording sessions for this and Gladiator too. Thanks
I concur, please @David share your sessions. It's high time this and Gladiator, as well as others, see the light of day.
i would be also interested in donating something for it... too many years have been past with waiting for this. it would be a dream come true, if this gets the light of the day
Hey David, please (re)post the tracklist on some other site, we'll manage to find it. Thanks.
seriously i'm getting tears in my eyes, when i'm looking at the tracklist and reading what really exists... so many cues, and all aren't some short cues.
oh please dear god, let this be released... :(
Oh please, come on... Most "elitists", as you call them, here aren't a bunch of wine-drinking egocentric and greedy people listening to their precious complete scores while making fun out of YOU. They are random, passionate, and usually nice people who decided to get smart and to try to send a few e-mails or give phone calls to "the right persons".
These boards are full of people complaining, but they all remain passive. Think about how those "elitists" were able to find those scores. Try to be a little smart and creative, and I'm sure you'll get a bunch of your long-awaited scores within a month. Why to the other ones should always do the job for YOU ? Seriously.
sure, do you have the numbers of zimmer and co? ;)
@furgy Do you think those "elitists" (as you call them) got their expanded material phoning Zimmer himself ? :)
No, there are other ways, trust me...
If this was Facebook, I would like both of the posts you just made, Dawn!
just to be secure, so you guys - mr. fate and dawn - have the recording sessions to the thin red line?
and who is the one we should contact? hybid soldier? ^^
No, it's David. He posted recording sessions for Thin Red Line and Gladiator, but they deleted his post.
and how on earth should i contact david without any contact-informations?
I just watched this film for the first time, and on Blu-ray, courtesy of Criterion. It was an excellent movie, and Zimmer's score is magnificent. One of his best. I really must say though, the track "Sit Back and Relax" (my favorite one off the OST) does NOT play at all where I thought it would. It's interesting hearing music and trying to put images to it. I guess this just comes with the territory of listening to a film score before seeing the actual film.
Just thought I'd mention that, and see what anyone else has to say. Areozz, perhaps? You and I seemed to click when we both partook in that Inception nonsense last week....
OK so we know Hans wrote hours of music and only some made it to film. But does anyone have a kind of rough film order of this commercial score?
Hans explained that he wrote a big amount of music before the shooting/editing of the film. The music was used on the set to have all the team in the right "mood". Hans composed music based on key words, feelings... Some bits of music were recorded separately (the melanesian chants), and of course, some cues were written afterwards, for the pictures. They edited heavily all those sources of music for the pictures, so there's no real "chronological order". I think you have to consider the film and music as two completely different pieces, both inspired by each other. You'd better listen the music "as a whole".
No I get all that but surely there is at least a rough order for this?
If you want to create a "rough chronological order", you should edit heavily nearly every cue... As they are standalone pieces, you'd have to butcher them !
Some cues aren't even used in the movie (Stone in my Heart - if I remember correctly)...
You can keep "The Corall Atoll" at the beginning of your order (as it contains music from the opening), and "Silence" can be considered as the closing cue of the movie. "Air" would be just before "Silence". "Sit Back and Relax" should be put in the middle of the order (used during the assault on the hill), "The Lagoon" before "Air"... I should watch the movie before continuing with this "rough" order...
Huge thanks, Tweedy. Thats a start. I would be interested to know your further thoughts on a list if you get to seeing the movie.
Any news on this, Mr Tweedy?
Trent Easton Navarro
It's been a while since I last saw it, but I'll give it a go:
1, The Coral Atoll (although the second half plays later on in the film during the bombing of the hill if I remember correctly) 2, The Lagoon (part of it plays on the scene on the ship before they go to the island. I believe it was also used again somewhere towards the ending) 3, Sit Back and Relax (like Mr Tweedy said, used during the assault of the hill) 4, Beam (used when John Cusack's character is send to investigate the bunker on the hill together with Pvt. Bell) 5, Journey to the Line (assault on the village) 6, Light (Staros' farewell) 7, Air (Witt's run to woods while followed by the Japanese) 8, Silence (ending of the film) 9, God U Taken Laef Blong Mi (end credits)
Stone in my Heart isn't used in the film. Not sure, but I believe The Village also wasn't used. I think this probably as close as it gets to a chronological order. Hope it helps.
Thanks Trent Easton Navarro for your support ! :)
The last part of "The Corall Atoll" also contains music from the investigation on the hill. But I think this part wasn't fully used in the movie (only a minute or so...). The middle section of the Corall Atoll contains Nick Nolte's character theme. Don't know exactly where this variation fits into the movie (it always sounds shorter in the movie).
If I remember correctly, the last minutes of "The Lagoon" are used during the river scene, just before "Air". I don't remember hearing "The Village" at all in the movie. I think there's a variation on "Light" (a few minutes after the original "Light" cue) which is much more "synthy".
"God U tekem" is part of the credits, but has an instrumental variation (unreleased) that is used a few times for the character Witt. There's also another traditional chant ("God U Holem Hands Blong Mi") which is used several times.
"Zimmer wrote several hours of music, with several different themes, even before Malick started to shoot the film. The director then played the music on the set, while filming, to get himself, and the rest of the crew and actors in the right frame of mind. Zimmer and collaborator John Powell composed over four hours of music on this film, presumably for the original director's cut of the film. However, when director Terrence Malick re-cut the film down to its current running time of 170 minutes, he chose only a few select pieces of music from Zimmer's and Powell's musical contributions, along with original source music, and much of Zimmer's compositions were cut."
I'm totally mad that this beautiful score does only have that less of music released. My goodness, why? Please can't they just release it now as a full Recording Session? Or damn, even leak this thing?...
Oh man, how i want this so bad. This is the MOST beautiful score from Hans Zimmer, and it's a shame we don't have all the music, now almost 14 years and until now only those few tracks and there exists more then 4 (!!!) hours of this beautiful music? Come on people, make your voice loud. WE WANT A RECORDING SESSION! Please...
4 hours TTRL? W-O-W... WANT!
does even the 4 hours recording session exists?
Hans said on the criterion edition of the movie that he did all the music before Mallick even started shooting the movie, and he and Powell did roughly 4-5 hours of music, which was later selected by Mallick himself and edited into the movie. He also composed some stuff after Mallick finished the movie and worked with the editors in the 15 months process they edited the movie.
Or for example it was later cut out from the movie and was replaced by other composers like: Charles Ives, Arvo Pärt or Gabriel Fauré.
So I'm quessing Zimmer wrote more than 4 hours, but no news, no rumors on the the net about this recording session for several years. If the two Batman OST leaked so easily, The Thin Red Line should had been available alredy.
my only guess that we haven't seen until yet from this 5 hours music collection is, that Remote Control uses the unreleased music as temp-tracks or samples or even are using them for other movies.
Just look over Elliot Goldenthals score to "Public Enemies". You'll find the track "Beam" and many others that seems to be from TTRL ("JD dies" for example).
In Public Enemies Zimmer's score was used as temp track, and even so one was used in the movie too, as you said the track called Beam. Even some unreleased stuff was given by Hans himself, thats why he is credited in the end, in the thanks section.
I read Zimmer keeps telling people his score for the film is so much more - and so different - than what you hear in the film. He thinks its his best score, just not the version as we know it. Which really makes me hope we someday will hear more from it.
@ Levente: Do you know perhaps which tracks have been exactly given from Hans TTRL score for Public Enemies? Or just those two tracks that have been mentioned here (Beam and JD Dies)?
And for Public Enemies, not only HZ was thanked in the credits, but people from RCP did work on the score. Jacob Shea did some arrangements & programmings... ;)
does anyone know about this "different music" that b00bs have posted? Is this legit?
Why on earth haven't this released already aaaaaaah :O hehehe :P
@ Fry: JD Dies is an original composition by Goldenthal himself. The style is a bit similar to The Thin Red Line some people says, but I think it is more close to Goldenthal's Titus score.
The only "song" that stayed in movie from TTRL is Beam. And you can only hear it for a couple of seconds.
wow man, so many new comments about the thin red line on the fan comments box, i really was excited as i thought that the RS has been leaked or something else ^^
booooh to you all :P
Gavin Salkeld - Composer
> my only guess that we haven't seen until yet from this 5 hours > music collection is, that Remote Control uses the unreleased > music as temp-tracks or samples or even are using them for other > movies
True, some demos and unused pieces made their way onto the Director's Cuts series.
@Gavin Salkeld: are you referring to the DC version of TTRL or other director cut movies where those demos are used?
Gavin Salkeld - Composer
The Director's Cuts library music series :)
@Gavin: Do you know the tracks in those DC collections? And where do you know exactly that these belonges to the thin red line?
can HYBRID SOLDIER tell us, if there exists this 5 hours compilation as a Recording Session like the sincerly leaked Batman Begins and The Dark Knight recording sessions?
HYBRID SOLDER, any word? :P
I'm not christmas father !
Never heard of anything like that, just know from Jeff Rona that 12 hours were written for it, 6 recorded...
6 hours recorded? Damn man, that's impressive! And we only know 1 hour of it? Oh wow... if i only could get my fingers on that version >.<
Gavin Salkeld - Composer
No, I dont know specifics, just that a bunch of unused music/demos from a load of DC CDs came from actual movies.
there's a 16 minute featurette on hans scoring the thin red line available on the 2010 special edition of the thin red line dvd. If anyone has this could they upload to utube as it would be interesting to watch. Or if anyone has found it online. Thanks Jorge
sorry for making pressure hybrid, but you are the only one we know who has contact to RC. And why THIS score? Because it's Hans masterpiece. The only score where Hans says, that this is really good. He always says to the other score that it's ok, but still not good for him. I'm sure he is only saying it so but loves them all ;) But still, he always said how much he loves TTRL. So i thought you could be asking if something could be released, or just "The Journey in Line" with those drums like in the movie.
Like you made it with Inception for these two tracks, now here for this only one track.
Please it would be soooooooo kind from you Hybrid. I know there are a lot of users who wants this too.
@ggh: Haha, fat chance! Sorry to dampen your hopes of ever finding this, but I'm sure Zimmer himself is the only one that has access to the 5+ hours of music that were written for this film. But don't give up hope because I am still hoping for the full recording sessions from the following to be released: At World's End, The Dark Knight, Batman Begins, Sherlock Holmes, The Curse of the Black Pearl, Dead Man's Chest, and The Lion King. See, there's always hope! :-) But in the words of Gandalf the White: "There never was much hope...just a fools hope." I guess you can label me the fool because I'm still hoping...