Album Produced by Alberto Iglesias & Vanessa Garde Additional Music by Harry Gregson-Williams & Federico Jusid Orchestrated & Conducted by Nicholas Dodd Additional Arranging & Score Programming by Vanessa Garde Additional Orchestrations by Alistair King Orchestration Assistants: Connor Hutton & Greg Hooper Additional Conducting by Alistair King
Score Preparation by Jill Streater, Global Music Services
Score Recorded & Mixed at Abbey Road Studios, London
Score Recorded by Jose Luis Crespo Score Mixed by Geoff Foster Additional Engineering & Mixing by Peter Cobbin & Kirsty Whalley Assistant Engineers: Jon Alexander, John Barrett, Toby Hulbert, Lewis Jones Additional Assistants: George Oulton & Stephano Civetta Album Mixed & Mastered by Jose Luis Crespo Album Mixed & Mastered at Small Room Studios in Madrid
Assistant Engineers: Nicolas Tsabertidis, Manuel Pajaro, Santiago Quizhpe
Orchestra Contracted by Isobel Griffiths Assistant Orchestra Contractor: Jo Changer Orchestra Leaders: John Bradbury & Perry Montague-Mason Choir: London Voices Choir Co-Directors: Terry Edwards & Ben Perry Solo Boys: Leo Blair & Francis Bamford Featured Vocals by Baaba Maal & Dhafer Youssef Aditional Vocals by Raquel Andueza Ethnic Soloists: Dimitri Psonis, Javier Paxarino, Haig Sarikouyoumdjan,
Stuart Hall, Jan Hendrickse & Helen Greenwood Solo Cellos: Jonathan Williams, Dragos Balan, Javier Romero
Score & Album Coordinator: Ana Eusa Additional Music Production: Maria Ulled & Anele Onyekwere Assistant to Composer & Music Preparation: David Cerrejon Additional Music Preparation: Pablo Trujillo & Felipe Milano Translations by Irit Green, Renee Jamieson & Matthew Scarborough Music Editors: Tony Lewis & Rob Houston
Executive in Charge of Music for Twentieth Century Fox: Danielle Diego Music Supervised for Twentieth Century Fox: Patrick Houlihan Business Affairs for Twentieth Century Fox: Tom Cavanaugh Music Production Supervised for Twentieth Century Fox: Rebecca Morellato Music Clearance for Twentieth Century Fox: Ellen Ginsburg
Alberto Iglesias would like to thank Ridley Scott
Thanks to: Steve Asbell, Colette Barber, Fred Baron, Lauren Caruso, Johnny Choi, Christophe Deghelt, Ana Eusa, Anita Greenspan, Rob Houston, Robert Kane, Teresa Kelly, Tony Lewis, Paul Massey, Cathy Merenda, Robert Messinger, Suzette Newman, Jo Ann Orgel, Brianne Porcaro, Areli Quirarte, Billy Rich, Jessie Roberts, Vicki Rossellini, Michael Schaffer & Richard Whitfield
Release date : 12/02/2014
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Exodus is a wonderful score. but everytime I listen to it, I feel like the soundtrack is missing a lot of important cues. The main theme for Moses is incredible but for some reason most of the tracks that contained it were omitted from the soundtrack release. So frustrating when a composer does this.when I saw the film the main theme is obvious and is used quite frequently, but when listening to the soundtrack you could easily walk away not hearing a single theme. I guess I'll be waiting around for an "unofficial" release.
Harry said it wouldn't... I'm not in either Michael Mann's head, HGW's head or Atticus Ross' head... I take the info as it is... lol
That's INCREDIBLY disappointing.
Well the score was a mess HGW wrote 80 min but only partly used...
reminds of of James Newton Howards score for Collateral
And Harry just posted on Facebook :
I would like it to be known for what it’s worth that the ‘score’ for Blackhat maybe credited to me, but contains almost none of my compositions. I attended the premiere of the movie at the end of last week and discovered, to my horror, music that shocked and surprised me…quasi emotional (synth) string pieces that I’d never heard in my life before. I knew of at least one other composer, a good one at that(!), that had put in months of work on this movie just as I had, but this appeared to me to be in addition to both our contributions. To be honest, I’m not sure, as I’m having a hard time understanding what I heard and why it was there and I can say nothing for certain except that I was not the author of most of what is now in the movie. I feel like I want to point this out for anyone who like me cares about these things, as my name is right there listed as the lead composer and one would expect that credit to mean something, but it doesn’t. And I do care about that.
I therefore reluctantly join the long list of composers who have had their scores either sliced and diced mercilessly or ignored completely by Michael Mann. This is his film and these are his decisions and I do respect that, but see no reason to have people mistake this score for one that I composed, or in any way approved of musically. The 90 minutes of score that I did write and deliver is, as I’ve said, mostly unused. I would still encourage you to check out his movie, as you may enjoy it.
AFAIK, this is the first time a composer publicly says that the music heard in the movie is not his...sh** just got real. Hybrid do you have any other examples??
Klaus Badelt should, one day, about POTC 1... lol
Hans admits it for stuff like Invincible for instance.
Well no I have no other examples in my head right now...
I feel sorry for Harry... But more interestingly, he seems to imply he didn't collaborate at all with Atticus Ross. I don't know why a director would ask 2 composers to work on his movie separate from each other. I mean, did they work on picture? Did Mann divide his movie into two parts? Or did he ask them both to compose the whole thing, for him to select the best cues from both? Seems weird to me.
They both wrote a full score I think...
Well it's Mann... He had JNH replaced by a lot of Pinto & stuff... He had John Murphy replaced with Klaus Badelt... Etc...
I just came here to post Harry's Facebook comment, not surprised people are already talking about it though. Poor Harry...having to work with both Ridley Scott and Michael Mann in one year, the only person left from the trifecta of miserable directors for composers to work with is Paul Greengrass!
With all of RCP blocking its doors to Paul Greengrass, I think Harry has a shot there !!! lol
With the return of Damon & Greengrass to the Bourne franchise, I'm really wondering what they're going to do with the music. I think it's out of question for Powell, from what I heard I doubt Jackman will do it, or anyone from RCP... Well, maybe Hans will once again be too kind and accept the job... It would be hilarious :p
Maybe they'll ask JNH, he's capable of RCP-like writing (even if his electronic scores are often dull).
JNH's Bourne Legacy was a total snoozer. His Salt was an OK Bourne-like score, though...as long as it's more like the latter than the former, I'd be all right with him on board.
trent easton navarro
@Ds This is basically standard with Michael Mann, he usually goes through several composers on any film. See the examples Hybrid gave. And also on The Insider he used Graeme Revell and Lisa Gerrard.
Seems on this one he first hired Ross, then Harry, after that Ryan Amon and finally Mike Dean, a keyboardist and producer for Kayne West
I really don't understand that some composers replace score by other quite random stuff like that...Don't they have any respect for their composers ? I don't mind for a score to be totally or partly made of pre-existing material if it is thought to be like this right from the beginning : I can also understand that a director sometimes want to replace a composer by another if he is not happy with the direction taken, but this, hiring guys here and there without letting any of them know what the other did, and taking bits and pieces from each of them (and sometimes from other things too) is very disrespectful, and most of the time not really good for the quality of the score...
Harry deleted the post from his page...and at least, Mann isn ´t even hiding his treatment of music! "I worked with a number of composers on this one because I wanted different things from different people. It’s like casting actors. The film is an adventure of a narrative, and the story changes radically about three times, so there are very different conditions emotionally. That changes the music. So Atticus Ross does one thing, Harry Gregson-Williams does another thing, Ryan Amon does another thing, and then Mike Dean does something else. Mike Dean is Kanye West’s keyboardist and producer—a very talented guy."
People are misinterpreting Harry's message I think.
He isn't criticizing Mann much or searching for pity, he knows the rules...
He was just pissed to be still credited composer when the film actually has almost none of his music... That's all... lol
Can anyone here comment on a proper chronological order for this album presentation? Just a quick look at the titles, clearly these are out of order! I almost always prefer the proper film order, so curious if anyone has already compiled such a list? Thanks!
It's a good score. Listening some cues from Federico Jusid, and they are really amazing. And the fact is that Federico Jusid was rejected from 300 Sequel. So do you think the score would have been different from Junkie XL. Harry's work, impressing as always, with the additional music.
By the word "length", (s)he could have meant :-- (a) The diameter of the disc, which is 12 cm; (b) The diameter of the spindle hole, which is 1.5 cm; (c) The wavelength of the reader, which is 780 nm; (d) The length of the thread, which is approximately 700 MB, i.e. 5,898,240,000 little pits on the aluminium foil -- (I know, OMG right?); (e) The duration of the audio data, which is highly variable depending on amount of memory used, bit depth & sample rate, etc.
What is the runtime of this album? It's it over 40 minutes, 60 minutes or more?