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<br>"Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty."<br><br>Blackwood might want to have a word with you.Too many songs! But at least there is 15 tracks of score.<br><br>BTW, I don't think Djawadi is able just to do themes. His score in GoT Season 7 shows that he is able to do action tracks very well. Also, in GoT Season 6, he shows that he is able to have many themes and develop them in many different ways.Meta your comment is based on smoke...<br><br><br>Do you have any idea of what Hans & Elfman's relation is ? How many scores Danny mixed at Remote Control ? That when Hans was writing Batman Begins, Danny was in the next room and Hans invited him to check what he was doing ? How many people from RCP Elfman recruited to help him ?lol it's too funny the guy even spent the time of typing all this...<br><br>Some people apparently have very boring lives on this planet !These comments by “Balfe” are comical.god knows where such venom comes from . Maybe an ex employee probably.he was correct on one point .He is indeed a trailer composer.He just did the mission impossible trailer!!!
LOL. I guess this "Balfe" guy is one of those trolls from Stop RCP group.Many benevolent saviours explaining the error of our music tastes have surfaced recently, haven't they?Eh, Mr. Ellipsis, I have to take issue with your appeal to popularity. Justin Bieber sells millions of records. That doesn't make his music good. Last year's piece of crap pointless Beauty and the Beast remake made a frankly terrifying amount of money at the box office. Doesn't stop it being a piece of crap.Guys, I know a lot of you probably think I'm an overly critical snob, but next time you do, just remember this guy and realize how much worse I could be. :pBalfe is not a composer, but still he gets to compose dozens of films and shows every single year, wow. He must be doing something good if he is on of the most busiest composers out there, don´t you think? Or you want to tell me that every producer, director or whoever hires him is deaf? Do you know how many films had to be re-scored by Balfe in the past few years? <br><br>
Why you feed the troll?<br><br>Wrong.<br><br>1. Wallfish is a very fine composer, period. Hans is a synth guy.<br><br>2. If Hans wasn't concern about BR he wouldn't do it.<br><br>3. Slavery was abolished 150 years ago. Hans choose to did it and agreed to involve Wallfish.<br><br>4. Maybe true, but it wasn't the thought of Villeneuve.here we go again:<br>Why Hans Zimmer Got The Job You Wanted (And You Didn’t)<br>https://behindtheaudio.com/2013/07/hans-zimmer/Hey you guys.<br><br>Balfe is a trailer composer not someone who composes real scores. He helps Hans out on his projects and occasionally may have a good idea. He is not an artist, simple as that.<br><br>Listen to the 'scores' he composed. At best, marginal efforts in sound libraries, they are just utterly shitty. The epitome of that is Terminator Genisys that even fans of the franchise found embarassing (and that is for a series based on synth scores). The samples are especially abhorrent<br><br>How he climbed to compose music for real films is a mystery. Go back to one of his earliest scores, the 2009 'score' for Ironclad, to find how utterly disappointing his work has been all the way throughout his career.<br><br>Balfe is a hack. He will never be considered a real composer. The industry knows Hans is pushing him and once that attention goes somewhere else, as it does with Hans frequently, Balfe will be immediately forgotten. Tell me - who actually wants a Lorne Balfe score for their film!!<br><br>You rapid fans supporting his work will be laughed at as being idiotic symbiotic followers. Get a fragging grip.<br><br>Balfe is not a composer. <br><br><br>This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here?<br><br>1. Wallfisch, a very fine composer is not a synth guy.<br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure.
This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:<br><br>1. Enhancing the work of Vangelis for a project he has always admired.<br>2. The chance to work with an absolutely open palette of sounds<br>3. The opportunity to truly reinvent not only film music but MUSIC.<br>4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.<br><br>How did Hans fail here? <br><br>1. Wallfisch, a very fine composer is not a synth guy. <br><br>2. Hans does not give a shit anymore, seriously.<br><br>3. An imposed composer on a passion project rarely works<br><br>4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure. <br><br><br>Dunkirk is a sound experiment and not a score. It is rather sad to see a fine composer like Benjamin Wallfisch deal with this nationalistic nonsense.It would be very interesting to get a better sense of what exactly Zanelli's role in the franchise is. He is a very capable composer but his work on 5 was utter scheisse. But that may just be what the franchise calls for. How does the supposedly precarious Hans put his name on all this shit.I would not be surprised if this was done by Balfe finally trying out his real compositional skills outside of him just acting as Hans' copy assistant. Everything that Balfe has done on his own to date is abysmal (okay The Lego Batman movie had some flair but that was probably done by the next generation of assistants). <br><br>Please go back to Ironclad and listen to Balfe before he was HBalfe, to hear his skills. Not very good, right? The man is an arranger not a composer.<br><br>This score will be utterly crap or it will sound like Tron and Transformers. <br><br>Shame as Del Toro and Steven Knight work with real composers like Max Richter who would have excelled here.Instead of concerning ourselves with Sia, we have to be worried about Djawadi. The man has a knick for a simple tv tune. But anything outside of that sounds like a youtube fanvideo. The incidental score for Game of Thrones, especially the wall scenes, is terrible and amateurish. <br><br>All I can think is that the producers must have been pressed with time and had to go with the casio synth nonsense Djawadi presented them with. It is the worst example of scoring for a major franchise. <br><br>Again, Dwajadi does well with his choral bits but he is not a composer, more a theme tune man. Who Wants to be a Millionare would serve him better than a complex franchise. <br><br>Simultaneously, the Paint it Black material from Westworld is outstanding. But was this done by Djawadi or a much more talented orchestrator - can we look into this as it sounds nothing like his work
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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 (3992 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