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According to Film Music Reporter Junkie will score Mortal Engines. <br><br>http: //filmmusicreporter.com/2018/06/18/junkie-xl-scoring-mortal- engines-movie-adaptation/There wasn't really any hype for the movie, it didn't seem like people were all that interested in a Han Solo origin story. Plus it's only been half a year since Last Jedi came out and broke the internet. Unlike Marvel, Star Wars doesn't seem immune to franchise fatigue.<br><br>A shame. Hope nobody is stupid enough to think Powell was to blame.Hi guys. Dose anybody know why solo faild in box office ?Search for "filmtracks".Sorry, just found it.
Tried that, couldn't find an author named Clemmensen who reviewed it. (I don't know where to look I haven't seen this guy's reviews before).Should be easy to find with google...Seriously guys, what site is he on? I want to see this review, but I don't know where it is.I know woodwinds, with few exception, have been completely abandoned by RCP, but man would it be nice if Steve fit woodwinds into the small scale family scenes. He's great with them, but for whatever reason he doesn't seem to be able to use them unless it's an animation, The Sims or IDEA specifically, or fantasy (even then The Last Witch Hunter had no woodwinds). They add so much to the soundscape and make any score so much richer. <br><br>I'm listening to the Lord of the Rings Trilogy again currently, and god, they'd be nothing without all of those flutes and clarinets. Even when the main instrument is brass or string, the addition of woodwinds is so cleverly implemented by Shore, and they not only blend, but they actively enhance the sound. <br><br>Of course I'd also love Steve to continue using choir. He even seems to be getting better with it, with Transformers 5's use of it resembling the Halo franchise in a number of ways. It would be a wonderful surprise though if he went back to woodwinds eventually. I'm definitely not of the belief that they can't be used in a modern day setting either (Silence of the Lambs and the Spider-Man scores use them particularly well).Steve is a very accommodating composer. So it's really up to the director's vision. With Bay, you know you gonna hear some of the best stuff Steve has to offer and that's because they share the same "musical ear".<br><br>When he's scoring Peter Berg movies, Steve often relies on sound design and his scores for those movies are not really melodic. The few exceptions aside, Berg likes sound design scores. And he likes to experiment A LOT (example: the MRI machine sound that was incorporated in the Battleship score. Bold choice!).<br><br>Where does the director of Skyscraper stand in all of this?<br><br>Personally, I think this score will be "in the middle". Little sound design there, little melodic cue over here.... : ) I don't expect power anthems, simply because - as big as the movie is - it's not "Michael Bay big". I do hope for a little choir work though. Steve is great with choir.
The Solo review does look quite good.<br><br>Clemmensen comes across pretty badly in many of his reviews. Even some of the positive ones. He has some very strong preconceptions about certain things that sometimes lead him to say some reasonably aggravating stuff.<br><br>Interestingly, he stays almost reasonable in his A World's End review. I wouldn't point to that one as his most typical negative review.Additional information<br>Posted date 2016<br><br>but, It was sold for two years.<br><br>Hello Hans.<br><br>May i ask you a question?<br><br>The piano sheet is now on sale, so that your music is now in the market for commercial purposes. It is sold at $ 10, although I do not know whether or not the seller arranged the piano music directly. Please check with us for the availability of other music.<br><br>Please refer to this site: htta://www.yes24.com/24/goods/28085649<br><br>(South Korea book store.)<br><br>Book Introduction :<br>It is the piano music which made the best 22 songs. New Age, movies, games, animations, etc., can be seen in various genres, and each sheet of music is directly attached to the author's QR code video.<br><br>If there is no problem, please respond.<br><br>Have a good day.He’s definitely not a bad reviewer, and his writing style is pretty sharp. The obvious problem is that he has a strong bias against Zimmer. Most of his recent Zimmer reviews are less spent talking about themes and more so the “issues” with his current style.'At World's End' is possibly one of his greatest 'missteps' for sure, but he is a mostly reasonable guy when reviewing, and simply has a taste that doesn't accomodate a lot of the more modern sounding scores, which I think is ok, since we all have our preferences. His 'Solo' review is a must read for any fan of the score though. :D
If you want to understand why he's persona non grata, just go and check out his review of Hans Zimmer's masterpiece At World's End, it sums up pretty nicely the guy's mental issues :p<br><br>But his other reviews are mostly OK and that Solo one is indeed very good, worth a read.Who is he and why is he a persona non grata? ô_OHow dare you mention his name ??<br><br>I should erase that post... :PWhat site are his reviews on again? Not really sure where to look.As long as Steve knows to keep this score mostly melodic with little to no sound design, I'll probably be happy with it.
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Trevor RabinPaul LinfordDon HarperJennifer Hammond
ComposerAdditional MusicAdditional MusicSong Arranger
The Guardian (Complete Score)
Label: Unofficial Release
Length: 92'07
HZimmer.com rating:        Not yet rated
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 (2204 votes)
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  1. Opening - Randall Rescues Couple (5:54)
  2. Helen Leaves (1:14)
  3. Abandon Ship - Copter Crash (5:53)
  4. Billings Surfaces (1:14)
  5. Billings Dies (3:34)
  6. A School Introduction (3:48)
  7. Randall's Nightmare - Flashback #1 (0:39)
  8. Tread Water (2:00)
  9. Willing To Sacrifice (0:34)
  10. Hypothermic Pool Lesson (2:46)
  11. Pushing Blocks (1:27)
  12. Breath Record (1:17)
  13. Flare Demo - Flashback #2 (0:38)
  14. Understand Your Limits (1:44)
  15. Maggie & Randall Getting Old (0:49)
  16. Rude Awakening - Flashback #3 (0:27)
  17. Burning Boat Footage (1:11)
  18. Hodge Panics (1:28)
  19. Jake's Past (4:43)
  20. They're Not Coming Back (2:01)
  21. Skinner Bleeds (0:50)
  22. Graduation - Goodbye To Emily (3:19)
  23. Randall Back To Kodiak (1:45)
  24. Heading To Cave (2:46)
  25. Flashback #4 - Log Strike - Rescue (4:46)
  26. Randall Resigns (3:14)
  27. Randall Goes Back To Helen's (1:45)
  28. Randall Gives Helen Divorce Papers (1:30)
  29. Fishing Boat Rescue (5:24)
  30. Randall Returns To HQ (6:20)
  31. Randall Frees Jake (8:59)
  32. Never Let Go - Bryan Adams (5:06)
  33. Helen Leaves (Alternate) (1:15)
  34. Maggie & Randall Getting Old (Alternate) (0:49)
  35. Burning Boat Footage (Alternate) (1:09)
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Bayhem reply Replies: 2 || 2018-05-17 20:27:20
Hmm, aside from "The Guardian Suite' I don't think I've heard any other tracks from this score. And I have a feeling I'm not the only one....lol.

Speaking of.........I would most definitely put "The Guardian Suite' right up there next to "Now We Are Free" and "My Name is Lincoln". It's *that* good and powerful. Shame that the movie is not as popular as The Island and Gladiator. If it was, that suite would've been one of the most popular film score tracks with millions of views on YouTube. It certainly deserves it.


superultramegaa2018-05-17 21:56:46
Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores.


I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that.


Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme.


Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion.


Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.


Bayhem2018-05-18 05:16:58
I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.
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I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks.

But why most people don't think like us?

The reason I think is because those "big tracks" are presented - most of the time - during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.

While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.

The subtle tracks simply can't win against that. Sadly....

By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.

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The Guardian (Complete Score) soundtrack - Trevor Rabin 2006