Music Composed by Hans Zimmer & Rupert Gregson-Williams
Score Wrangler: Bob Badami Music Production Services: Steven Kofsky Music Editors: Christopher Brooks & Katie Greathouse Technical Engineer: James Allen Roberson & Chuck Choi Orchestrators: Alastair King & David Butterworth Music Preparation: Booker White Orchestra Contractor: Peter Rotter Conductor: Nick Glennie-Smith Concert Master: Bruce Dukov Solo Viola De Gamba: David Buckley Synth Programming: Hans Zimmer Score Recorded at Newman Scoring Stage, Fox, Los Angeles
Score Recorded & Mixed by Alan Meyerson Score Mix Assistant: Christian Wenger Recordist: Kevin Globerman Score Mixed at Remote Control Productions, Santa Monica, CA
Additional Music by Halli Cauthery & David Buckley Assistant to Hans Zimmer: Cynthia Park Studio Manager for Remote Control Productions: Shalini Singh Album Mastered by Gavin Lurssen at Lurssen Mastering
Album Produced by Hans Zimmer & Rupert Gregson-Williams Executive Produced by Akiva Goldsman Executives in Charge of Music for Warner Bros. Pictures: Paul Broucek & Niki Sherrod Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executive: Lisa Margolis
Hans Zimmer would like to thank: Akiva Goldsman, Marc Platt, Lynn Harris, Paul Broucek, Jason Linn, Sandeep Sriram, Niki Sherrod, Bonnie Abaunza, Jessica Alan, Bonnie Balmos, Tiffany Bordenave, Leland Cox, Ariel Emanuel, James, Trish & Max Golfar, Peter Gorges, Michael Hein, Axel Hensen, Elizabeth & Martin Holdgate, Kai Krause, Chaz Labrecque, James S. Levine, Christina Mansky, Lisa Margolis, Amos Newman, Ryan Ouchida, Kathy & Stephen Paine, Shalini Singh, Chris Strong, Tim Squyres, Zoe Zimmer, Jake, Annabel, Max & Suzanne Zimmer
Special Thanks to Ann Marie Calhoun, Empress of Inspiration
Rupert Gregson-Williams would also like to thank: Emma Gregson-Williams, Saskia Gregson-Williams, Tony Clarke & Jo Tizard
Special Thanks To: Simon Banks, Lynn Harris, Marc Platt, Joel Roman, Greg Silverman
Thanks To: Jessica Alan, Alexandra Amin, Carter Armstrong, Pete Axelrad, Bonnie Balmos, Candace Carlo, Rocco Carrozza, Glenn Eckerle, Todd Ellis, Kerrylyn Genetive, Dirk Hebert, Angel Hunter, Joe Kara,
Kevin Kertes, Ny Lee, Melisa Levine, Jodi Levinson, Joey Levy, Kris Little, Genevieve Morris, Amanda Narkis, Stacey Robinson, Tim Squyres, Diana Tauder, Bobby Thornburg, Paul Veitch,
John F.X. Walsh & Robert Zick
Release date : 02/11/2014
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HZ wrote that Opening theme and... that's it (as I thought)... lol
Thanks a lot! :)
Thank you Hybrid !
HZ wrote the Opening theme means HZ came up with that idea and not necessarily that cue, right?
He wrote the little main piano theme going throughout the score... But that's it, he probably had nothing else to do with the score (I can't blame him seeing this project). But Rupert did good use of it lol...
yes, it's a really good work. I hope producers realise how much Rupert did, and that they will give him some major works according to that...
I'm genuinely surprised. I could swear I heard Zimmer at multiple points in this score (more than in Kung Fu Panda 2, anyway...).
I know this has nothing to do with the above score but I wanted to share it anyways...sorry. :p
Anyone here familiar with Sporcle? It's a website where people can make, share, play etc. little quizzes. I threw a quick one together where you have to name as many film composers as possible in seven minutes. Try it out and let me know what you think and how you do! You know what to do with the spaces...
Just bought the score and I really like The Girl with the red hair great track.
Yeah, that's my favorite too. The rest is nice, but kind of goes in one ear and out the other without anything sticking. Although that Spirit bit towards the end of Becoming Stars is kind of cute, especially considering there's a horse in this movie too.
I really loved this score...Very beautiful and powerful. I haven't seen the movie yet, but it makes me want to do so. I hope Rupert Gregson Williams will have other occasions to to this kind of rather big-scale works. I suppose he would be able to handle them even without Zimmer.
I'm curious to know who dit what on this one...Please, can you tell us Hybrid Soldier ?
I just saw the movie today, and I have to say the score inside the movie was REALLY impressive. I have the feeling this music was scored "on picture" and not derived from suites, maybe Hybrid can confirm it? It fits perfectly the mood of the movie, accompanies every scene perfectly and adds just the right amount of emotion. But the best point of it is that the music keeps very audible throughout the entire movie! This means that it is possible to fully appreciate the whole score solely by seeing the movie, which has become pretty rare with the latest HZ scores being always under-mixed (Man Of Steel, parts of Rush...).
By the way, the ending of "Becoming Stars" which sounds like Spirit for a few seconds, plays just when there's a horse running on screen. I wonder if it was intentional. Could it be a wink from HZ to his fans?
Interesting, about that very last part, and also interesting about it fitting to picture very well. It seems to me that with the possible exceptions of POTC3 and TDK, suite-based scores are never as impressive onscreen.
Just finished listening to this score for the first time. It's quite nice, if not exactly memorable or mindblowing. "The Girl with the Red Hair" stood out as the highlight for me. I'd give it a 3, maybe 3.5/5.
As far as who did what, I'd be willing to bet that RGW is the primary composer here, but there were indeed parts that stood out as HZ-like. The last couple minutes of "Becoming Stars" in particular - like Mike said, sounds a bit like Spirit.
You may be right that it is, overally, more RGW than Zimmer, but I'd bet that it's a co-composition all the way through, like Kung Fu Panda 2 and Batman Begins. I hear Zimmer in quite a lot of places, even if his influence is secondary.
The first Kung Fu Panda is a co-composition all the way through...the second one feels more like Powell with the odd Zimmer cameo.
Listened a couple of days, i like it, very nice score, 3.5/5
That is coming from a Powell fan. (The Kung fu Panda 2 thing) A heard a lot of both from that score.
So you're saying that I, as a Powell fan, who's heard almost everything the man has composed, am unsuited to determine whether the music sounds like Powell or not?
Logic. You should try it sometime.
Hybrid has said before that the cues in KFP 2 with Lorne's name attached mean they were Zimmer's "contribution". I agree a lot of the Lorne cues sound like Powell, but I think Zimmer did more than you suggest. Secondarily to Powell? Sure. But he did a reasonable portion of it, or else Lorne wouldn't be attached to all those cues. As much as JNH did in TDK, at least.
Edmund, I know you're a big fan of Powell, and so am I. But I'm also a big fan of Zimmer. In fact, these two are probably my favorite film-composers. And I hear plenty of both in Kung Fu Panda 2, which is in my opinion far superior to the 1st one.
Right now I'm missing John Powell so much that this score fills my heart with joy whenever I listen to it. Powell's madness combined with typical Zimmer signature: i think it is one of the finest examples of score co-composition I've ever heard.
... and that's why I wonder why you consider it almost as a Powell score.
I just don't hear Zimmer in that score! I really don't. There's no synth brass, none of those heavy neoclassical chord progressions of his...It's all orchestrally vibrant and organic in a way that Zimmer's scores just aren't. The percussion writing is in Powell's light and frantic style, rather than the heavier pounding of Zimmer. Now, the first KFP does have plenty of those Zimmer elements I mentioned in it ("The Bridge" sounds literally like a half-Powell, half-Zimmer cue), but I don't hear anywhere near as much in KFP2. Maybe if you could point out a few cues? "Po Finds the Truth" is perhaps the only one that comes to mind as particularly Zimmer-like, off the top of my head. I guess there are also the parts that sound like Megamind like the ends of "More Cannons" and "Zen Ball Master", but I put that down more to Lorne Balfe's involvement than Zimmer's.
Inner Peace sounds very Zimmerish to me, and the beginning of Save Kung Fu also—though admittedly those are reprisals of material from the first movie. I also hear Zimmer in parts of Daddy Issues, like the first 40 seconds (though there is a lot of Powell in there). And then the dramatic material around 4:30 or so in Zen Ball Master also sounds very Zimmerish, to my ears...
And I would add some bits of Fireworks Factory that reminds me a lot of Broken Arrow or other 90s HZ scores. I'll tell you when I find which bits exactly, have to re-listen to it.
But one thing's sure: Powell is so versatile and flexible it might be very difficult to identify "his" stuff. If you check Face/Off, HTTYD, The Bourne Supremacy, Knight & Day (all excellent scores) you'll notice they have little to nothing in common...
Edmund & Mike: what about moving to KFP2's own page to continue this thread? :-)
Hans did the music to Son of God? Thought that was supposed to be only Lorne Balfe?
Nevermind, did not realize it was just a film version of the miniseries The Bible.
Republic Records will release a soundtrack album for the biblical drama Son of God. The album features the film’s original music composed by Hans Zimmer and Lorne Balfe. Also included are four songs by Cee Lo Green, Steven Stern & George Krikes, OneRepublic and Hillsong United. The soundtrack will be released on February 25, 2014 and is now available for pre-order on Amazon.
Yea i saw that album on iTunes. A few of the songs are from The Bible soundtrack.
Is the Music for Son of God new stuff or just Hans and Lorne's stuff from The Bible.
I seem to recall from iTunes that the Son of God album has tracks from Zimmer and Balfe which weren't on The Bible album. Whether they're new for the film or just previously unreleased from The Bible, I don't know....
Lol I saw that on facebook yesterday. I wouldn't do that.
Why? I think this is a "once in a lifetime" opportunity and I'm strongly considering taking part in this. But I'm not quite sure how this omaze thing works, exactly. Anyway, if I was to meet Hans and see the studio (which presumably means that I'd get to meet the other composers as well), I would shit my pants. Literally.
Macejko I hope Ramin Djawadi won't be on vacation that day :D
It's not I'm gonna win anyway :D But yeah, I would be probably slightly suicidal if that happened :D
So would people see guys like Lorne Balfe and whoever else working on the score if they won...?
Is That in the Interview Lorne is working on the score
Oh no, it's never in interviews...and anyway, I don't know if he is. Just used him as an example. ;)
2 Dream composers I would love to meet out of there. Hans of course....and Steve Jablonsky
i met Hans last year at a hotel in london. great guy. Signed all my albums and has a lot of time for his fans. had a great convo as well.
@marco I met him too at the Classic Brit Awards and we talked a few mnutes. He is such a nice guy and btw he didn't seem to know a lot about the evening's program. :D
@MacArthur maybe you can tell hans your theory how villains always arrive in the same type of plane. Just don't ask him to release 12 years a slave in honor of Nelson Mandela ;)
Oh believe me I won't ask. btw it was only a joke.
Another thing, if I sign up I probably have a better chance of Lightning striking me, than winning. :)
I couldn't sign up. It'd be too hard to maintain secrecy. lol.
Like, I can't even tell if they are serious? Lol, oh well. Happy New Years to you, bud. :)
lol, me neither. Anyway...Same to you, sir :)
I really don't understand how people could have voted on this score though, already. Even if people did vote, how could they vote so poorly on it? The two 'released' tracks are really great? Oh well, sometimes I think trolls come on this site and vote low on every Zimmer score, they seem to always have 3-3.5 stars..
Indeed, I do really like the two cues we've gotten to hear. It's probably trolls, as you suggest.