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I confirm I'm back from it, there's quite a bit of unreleased score.Well, now we have somebody who's seen it (and yes, it's out in some countries today), we know for certain.<br><br>I wouldn't expect anything official any time soon unless Zimmer wants to release a second CD.I absolutely love Kai’s theme in this score, there are so many cool variations that weren’t on the initial album. Hans and Co. really stepped up their game here. I don’t feel the temp as heavily here as KFP2 (which is still an amazing sequel score).Saw the film today, there is a LOT of music missing.As stupid as this film is, you can tell Tom probably had fun working on it. The music is so over the top, it just goes nuts all the way through.
This is one of those scores that I have really warmed up to since it’s release. The emotional stuff for Alita works really well in context and her “Hero Theme” gets some great development (the way it culminates in “Epilogue” is incredible). Also really love the “Motorball” stuff. <br><br>After seeing the film I think the only substantial music not on the album is “Motorball Plan” and “Alita’s Revenge Pt. 1”. The end credits piece I’m guessing is edited from the Full Motorball Suite.Hybrid, did Lorne actually do a lot of writing on this one or is he just being credited for the theme?We've had this argument before, almost any score can fit in a film. But what separates the mediocre composers from the best is the ability to make great music that works on its own, outside of the film. <br><br>Hans has had a lot of work lately that hasn't been doing that, and it's the reason people want him to work with orchestra again and produce is 2000s, late 90s type of style. Because those scores, for whatever problems they had, they felt distinct, memorable (for the most part), and easily could have been enjoyed away from the film.<br><br>Good scores have themes and ideas that both enhance the film, and enhance the listener's experience. Music like Dunkirk, Inferno, or Widows just feel like shallow and empty committee scores that the studio/directors didn't want too much thought put into. "Ah just write one main theme, and fill in the rest with electronics, Hans, it'll be fine!"Hahahahaha well I’m glad he got the credit then :DI absolutely disagree with you saying Widows is a terrible score. It may not be great on album, but the music fits very well with the film.
Actually, I think he only gets credits cause he is the guy... whistling ! :PElectric violinJust out of curiosity... what instrument is playing when Liv and Ben are running towards each other at the end? (Long Distance Goodbye/Landing? I love that instrument!And I’m guessing Neill Blomkamp contributed somehow to the “We Own This Sky” theme that pops up throughout...NM
Jeff & Alex & Evan Goldman are regular Jackman team now. Alex scored a bunch of projects, hence his absence here.<br><br>Then you have Halli, Anthony Willis or Mounsey doing all sorts of things when available.Request the king of pride rock with circle of lifeAmon wrote some music before Hans took over (he has cues on his soundcloud I think), but I think he got credited (and just like 1 or 2% of the cues) more for specific sounds than music writing.Widows is terrible score, Inferno was ok, far from things like Da Vinci Code or Angels & Demons.<br><br>But yes, listen this one, is gratifying see Zimmer can make things with orchestra like early 2000s. And this comes from a guy who loves Inception, Interstellar or ChappieThe fact that his name is in brackets makes me think he didn't work directly on the score but rather is credited because something of his was used. Maybe it was some of his production music rather than Elysium specifically.
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Harry Gregson-WilliamsHalli CautheryAndy PageGavin Greenaway
ComposerAdditional MusicAdditional ArrangementsConductor
Total Recall (Complete Score)
Label: Unofficial Release
Length: 104'57
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 (3190 votes)
  1. The Dream (3:36)
  2. Trapped (2:44)
  3. Balcony (1:56)
  4. Security Elevated (0:39)
  5. Back From Work (1:14)
  6. Goodnight Harry (0:46)
  7. Redlight District (1:37)
  8. First Time (4:21)
  9. I'm Nobody (3:44)
  10. Lori, It Was Me (4:42)
  11. Escaping Lori (3:36)
  12. Hand Call (4:09)
  13. Who Is This Guy? (1:00)
  14. The Vault (3:58)
  15. Customs (1:52)
  16. Get In Now (3:15)
  17. Clear To Engage (2:30)
  18. Reed's Apartment (2:47)
  19. Hauser (2:39)
  20. The Scar On Your Hand (1:33)
  21. Harry Comes In (4:34)
  22. You're A Traito (1:41)
  23. Elevator Chase (4:38)
  24. Through Thr Streets (1:50)
  25. Welcome Home (0:49)
  26. Train To Matthias (2:46)
  27. I Want To Remember (4:07)
  28. Matthias Dies (5:40)
  29. Synths Loading (1:18)
  30. To The Fall (2:28)
  31. Saving Melina (2:37)
  32. Gravity Reversing (2:52)
  33. Quaid Falls (2:25)
  34. Up Top Fight (1:54)
  35. End Of Cohaagen (2:30)
  36. Wake Up (Part 1) (0:24)
  37. Wake Up (Part 2) (1:16)
  38. Ambulance Fight (Part 1) (0:57)
  39. Ambulance Fight (Part 2) (0:54)
  40. The End (2:00)
  41. Gravity Reversing (Alternate) (2:19)
  42. The End (Alternate) (2:34)
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T-Mann036 reply Replies: 4 || 2017-04-26 17:30:03
Epic score from Harry!


Randy Watson2017-04-27 14:27:05
Goldsmith's original is epic, this is boring and generic crap.


T-Mann0362017-04-27 20:30:54
To each his own.


Edmund Meinerts2017-04-27 23:12:45
Yeah no, I'm gonna have to side with Randy on this one. I like Harry a lot, but this was definitely not one of his finest hours. Super generic.


Snake2017-09-23 00:00:38
Randy is obviously wrong and an idiot in my point of view.

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Total Recall (Complete Score) soundtrack - Harry Gregson-Williams 2012