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Yes! I Finally found the booklet credits for Blade Runner 2049:<br><br>Original score by<br>HANS ZIMMER<br>BENJAMIN WALLFISCH<br><br>Music editors <br>CLINT BENNETT<br>RYAN RUBIN<br><br>Music production services<br>STEVEN KOFSKY<br><br>Synth programming<br>HANS ZIMMER<br><br>Synth design<br>HOWARD SCARR<br><br>Vocalist<br>AVI KAPLAN<br><br>Exotic instruments<br>CHAS SMITH<br><br>Cello, vocals<br>TRISTAN SCHULZE<br><br>Cello <br>SIMONE VITUCCI<br><br>Guitars<br>OWEN GURRY<br><br>Technical score engineer<br>CHUCK CHOI<br><br>Digital instrument design<br>MARK WHERRY<br><br>Sampling team<br>TAUREES HABIB<br>RAUL VEGA<br><br>Score techincal assistants<br>MAX SANDLER<br>NATE UNDERKUFFLER<br><br>Score mastering by<br>ALAN MEYERSON<br><br>Score mastering assistant<br>FOREST CHRISTENSON<br><br>Score mixed at<br>REMOTE CONTROL PRODUCTIONS, Santa Monica, California<br><br>Studio manager for Remote Control Productions<br>SHALINI SINGH<br><br>Assistant to Hans Zimmer<br>CYNTHIA PARK<br><br>TEARS IN THE RAIN<br><br>Written by<br>EVANGHELOS PAPATHANASSIOU (VANGELIS)<br><br>Here's the link:<br>https://ia601507.us.archive.org/21/items/mbid-149daaf9-5c9d- 47d9-a452-d732122da496/mbid-149daaf9-5c9d-47d9-a452-d732122d a496-18376707127.jpgAnd I thought Varese Sarabande will pick this one up. Whatever happened to those guys I will never know.<br><br>A Little off-topic here but might I ask if there any computer geeks around here who know how I can calculate total duration of albums using Excel or some simple web service (other than Soundtrack Collector)?Penka Kouneva I also the orchestrator on this one. Maybe it's a faulty credit?"House Call v1-23697 - Penka Kouneva, BMI" This is the copyright claim I found on a compilation video I made of Jablonsky's music. This claim is where "Vocation" from IDEA plays. Can someone please explain this? I have not been able to find this track Jablonsky (I guess?) ripped off.Edmund ! For YOU !! lol
this one is my pick for the oscar as well. hope it wins : )When will this tracklist be leaked?I heard and thought that Zimmer stopt scoring superhero movies (including Justice League and what comes after) because it has taken 13 years of his life and he wanted to do something elseWere the two men no longer talking or did Zimmer anticipate Snyder's departure as he did in Pirates?@Olive: Rumors says Zimmer didn't want compose Justice League because of Snyder, and left behind Junkie
I agree that Elfman's theme fits into Nolan's films as long as they are adapted to them. However, I think the way things have gone was not bad. TDK trilogy was marked as a project fruit of Nolan's unique vision. Although the themes do not respect the orchestral tradition are more memorable than those composed for more than half of the films of heroes of the last 25 years.Zimmer's entry into the genre can be interpreted as a breath of fresh air in a saturated marketplace at the time. But I agree that the lack of originality these days falls on Zimmer and his company and that the goal of it goes far beyond bringing talents to light.Now we need something new, again.@Hybrid any news on Season 2 soundtrack release?Of cause Balfe worked on it !!! His whole team are credited !!!!!!!Honestly, the purpose of RCP is essentially to take Zimmer's style and make it widespread for use...WB not using ANY RCP to score this seems to have been deliberate, as there's literally no reason it couldn't be done.^ hahaha :D<br><br>I think you're forgetting that Balfe also ghostwrote The Lord of the Rings?
They're starting to send screeners. Finger crossed for the FYC :DThe score reflects the situation of DC movies very well. If Zimmer, like Snyder, continued, the result may not please everyone. A lot of people were unhappy with Snyder's work in the genre, just as many fans of soundtrack were with Zimmer's contributions that never followed the path taken by all the other composers who came before him.<br><br>The two left (regardless of the reason that led them to do this).<br><br>When Zimmer left everyone knew that XL would not hold the pressure or that the result would not be satisfactory for most.<br><br>When Elfman and Whedon were announced we all knew that they were hired to go against everything DC has done before to try to reach the first film of the franchise to reach 1 billion. Even if they were to follow Marvel's script and drop their originality.<br><br>But the hiring of Elfman and Whedon shows that the studio was long lost. Snyder succumbed to BvS. The only salvation for the DCEU are the solo films like Wonder Woman, the next Batman, Aquaman ...and freedom. Freedom for the directors, composers... Warner has always had this advantage over Marvel.@Edmund <br>Given the chance I think Junkie probably could deliver a pretty fun score that stayed thematically consistent with the current universe. It all depends on what the studio/director wants out of the music. The biggest disappointment to me is that this was a huge missed opportunity to do a heroic take on Zimmerís Superman theme, something we havenít heard since MoS. Hell, even the trailers did that.... -_-rumor has it Lorne Balfe did this score<br><br>I guess if we do not get any credits then that proves it<br>======================================<br><br>Oh, absolutely! I'm sure we will soon find out that Balfe also scored Star Wars and Titanic. And Harry Potter. And Indiana Jones.Edmund, I somewhat agree - I've seen very little from Junkie to make me think this would have been a groundbreaking, wonderful score. However, maybe it's the Zimmer fan in me, but I would have loved to hear "stock, barely-altered reprises of Zimmer's themes all over the place" in this score. So many scenes begged for just that. Compositionally it doesn't make for an interesting soundtrack or film score, I agree, but I would be willing to sacrifice that for thematic continuity.
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Trevor RabinPaul Linford
ComposerAdditional Music
Deep Blue Sea
Label: Varese Sarabande
Length: 30'11
HZimmer.com rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (3886 votes)
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  1. Aftermath (2:47)
  2. Susan Softens (2:26)
  3. Journey (4:48)
  4. Main (3:07)
  5. Hunting In Packs (1:42)
  6. Experiment (4:28)
  7. Jim Returns (1:21)
  8. Shark Side (4:27)
  9. Anarchy (4:23)
  10. Doctor's Orders (0:33)
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Anonymous reply Replies: 9 || 2012-07-09 20:04:12
DEEP BLUE SEA COMPLETE SCORE:

1m1 Main Title (6:24)
1m2 Susan's Cause (1:03)
1m3 Aquatica (1:31)
1m4 Carter's Swim (1:30)
1m5 Gliding Monsters (0:40)
1m7 Some Other Way (1:43)
1m8 Doctor's Orders (1:06)
1m9 I Don't Make Waves (1:20)
2m13 Susan's Speech (1:27)
2m13b You Guys Hungry (2:20)
2m14 Hunting in Packs (1:44)
2m17 The Experiment (4:30)
3m18 Armageddon (6:01)
3m19 Jim's Return (1:22)
3m20 No Way Out (4:50)
3m23 Smart Sharks (2:42)
3m24 Preacher Pursued (1:10)
3m25 Trouble in the Kitchen (2:16)
3m27 Chief's Surprise (1:55)
4m28 Franklin's Tale (3:13)
4m30 I Hear You Knocking (5:43)
4m31 Exit Strategy (0:48)
4m32 Susan Softens (1:25)
4m33 Back to the Lab (1:30)
5m33a Jaws of Death (1:37)
5m34 Getting to Knaw You (4:33)
5m35 Susan and the Shark (3:57)
5m36 Journey Topside (5:26)
6m37 Kill Big Shark (6:25)
6m38 Aftermath (2:48)



Mr Tweedy2012-07-09 21:29:05
Hey this is my tracklist !!!


Anonymous2012-07-10 00:41:40
No it aint


Mr Tweedy2012-07-14 20:30:54
Yes it is.

I compiled all the tracknames found on ascap on put them in chronological order and it was exactly the same.


Anonymous2012-07-15 04:04:17
Then the cues are not your own then, are they? If you made up the titles, fine, but this is different.


Mr Tweedy2012-07-15 04:26:25
Well... "I Dont Make Waves" and "You Guys Hungry ?" weren't featured on ascap. I made up those titles. I wonder how you ended up with those as I don't think we have connection together.
And "6m37 Kill Big Shark" is named "We've Got to Kill Her" on ascap. Don't know which one is the true one.


Anonymous2012-07-15 04:44:47
Oh I see. Then I take back what I said, I do apologize.


Mrs. Tweedy2012-07-15 12:21:03
don't cry


Per2012-07-21 18:49:32
Not entirely complete, it's missing like 5-6 min. from where they are getting the experiment ready (before '2m17 The Experiment').

Some interesting things I've noticed now when I've taken a "look" at the film again, is that quite a lot of stuff is actually not used. Like most of 'Aftermath', and, as far as I could tell, both 'Susan Softens' (part 1 on OST track 2) and '2m13 Susan's Speech' is not in the film at all.

And perhaps the best part of the whole score (in my opinion), the action variation of the 'Aftermath'/main(?) theme (++) in '6m37 Kill Big Shark' seems to have been replaced with parts from '3m18 Armageddon' (09 - Anarchy on OST) in the film... don't know why. Maybe the original cue didn't work as they thought. Have no idea. But to me it's bit of a strange choice... (I have the region 2 DVD, so I don't know if it's different in the US version ?)

And some other stuff, like '1m2 Susan's Cause' is completely different in the film. And there's some other differences in the mix etc. as well, like some choir on the versions on this leaked version not in the film and so on...


Medigo2017-07-08 14:52:28
Its possible Kill Big Shark/Aftermath were remixed after the movie itself was re-edited to have Susan die during that segment

badbu reply Replies: 0 || 2014-08-02 11:11:27
an amazing score! :)

Jess reply Replies: 0 || 2008-02-27 00:00:00
Deep blue sea rocks!

Arthen reply Replies: 0 || 2005-09-18 00:00:00
One of the most instantly recognizeable modern filmscores. Trevor has struck a very powerful and memorable theme to go by the years, and it is so memorable that if Aftermath was played 20 years later when i'm like 42 years old-- I'd still immediately sit up from whatever I'm doing, and drift back into the serenity of the score.

And I'd tell my children, you see? Back then visual effects in my time was sooo amazing!

And they'd say, "--what?? you call that amazing???"--


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Deep Blue Sea soundtrack - Trevor Rabin 1999