Produced by Rupert Gregson-Williams Executive Album Producer: Robert Townson Score Consultant: JJ George Music Production Services: Steven Kofsky Music Editor: Matt Friedman Technical Engineer: James Allen Roberson Orchestrations: Oscar Senen & Rupert Gregson-Williams Music Preparation: Jill Streater Orchestra Contractor: Isobel Griffiths Ltd. Conductors: Cliff Masterson & Rupert Gregson-Williams Orchestra Leader: Everton Nelson Solo Cello: Caroline Dale & Peter Gregson Score Recorded at Abbey Road Studios, London
Score Recorded by Andrew Dudman Score Mixed by Daniel Kresco Music Services Provided by Cutting Edge Music Coordinator: Lauren Weiss Executive Music Producers: Philip Moross, James Gibb & Tara Finegan Music Business & Legal Executives: Malek Adel & Kristen Azevedo Mastered by Patricia Sullivan
Rupert Gregson-Williams would like to thank: Emma Gregson-Williams, Mel Gibson, Bill Mechanic, Steve Kofsky, Hans Zimmer, Tony Clarke, Steve Mazarro, Evan Jolly, Tom Farnon, Chris Willis & Rich Jacobellis
Release date : 11/04/2016
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Just saw the film, definitely one of my top Oscar contenders for this year. Great direction, acting, cinematography, etc.
As for the score, Rupert hit it out of the ballpark. The first half reminded me of a bluegrass "Winters Tale" while the second definitely had that modern action scoring we are all accustomed with. Only major complaint is some of the dissonant sections during the war scenes but, given the context, it's understandable.
(And 2:00 in Climbing for a Kiss, holy shit that's beautiful)
That is a hell of a beautiful movie. Very powerful, very emotional, and intense as hell. Actors performances are unbelievably good as well. Needless to say, Rupert's score plays a big role in the movie, especially towards the end. A job nicely done by all involved, I sure hope to see this movie at least nominated for the Oscars.
Best war movie...possibly best war movie score of all time...
I just saw this in the cinema last night and I was totally blown away by both movie and score. Rupert has really re-invented himself this year and it seems like Mel Gibson has too.
best war movie score of all time? while i really enjoy ruperts work, but wow that is a bit too much don't you think? :D
"Best war score of all time" may be a stretch, but I really do quite like this. I'm SO SO happy with what Rupert has produced this year. Portions of Tarzan are good, this score (and film) are amazing and The Crown is absolutely sublime. Can't wait for Wonder Woman!
I won't say Rupert has reinvented himself. His sound is more closely associated with the 90s RCP sound. While Tarzan seemed pedestrian for me, Hacksaw Ridge has a great blend of that power anthem sound and some good themes.
Wow, the main theme as heard in the first two tracks is reeeeeeally similar to his brother's "Burning the Past" from Kingdom of Heaven. Did Mel phone up the wrong Gregson-Williams? :P
I mostly like the score, but it's interesting that you can basically divide it into three parts: first pretty but very low-key drama writing kind of a la Winter's Tale (it's been compared to Thomas Newman and James Horner but that's a big stretch IMO), then modern themeless drum-heavy RC action and suspense music of the kind I don't like so much ("Japanese Retake the Ridge" could easily be from a Junkie XL score, which is not a compliment), and finally some good old thematic power-anthem-type emotional action scoring of the kind I do like very much. The first part isn't especially memorable and I could do without the middle part entirely, but otherwise I really enjoy this. It has a narrative and is definitely a step up from Tarzan, although I still personally prefer RGW's lighter efforts like Bee Movie and Bedtime Stories.
Rupert really blew me away with this one! I was not expecting this gem of a score at all, especially in light of some his recent scores. I've been thinking a lot about this score, and what makes it so memorable. What sets this apart from his other scores, or really any other film score out there? And I believe the answer is this: strong, memorable themes, displayed in a way that really allows the music to move you. Because if music fails to move you, then what is it's purpose in any kind of media? Memorable emotions create memorable scores. And that, I think, is why scores like Inferno or BvS fall flat compared to the old Zimmer. Screechy sound design will never create an emotional response. Check out this video that I found to be interesting and insightful:
It really does. Film has really amazing reviews. So, along with the film it seems there is a chance for a nomination for the score too. Just like they nominated Henry's score for Capt. Philips (which by the way wasn't that good a score)
Captain Phillips nomination was a joke. But this sounds better in every way.
There is no nomination for Jackman's Cap Phillips in the Oscars
Well, in the Baftas ;)
I hope this gets nominated
Wich tracks did you use??? It sounds epic and emotional... Can't wait
The part @3:08 is just grand. Thanks for the update, Hybrid ;-)
Do you have more info on that, Hybrid? Like, was it Mel? Or the studio?
Part of me wishes it was still Debney as his previous effort with Mel resulted in one of the best scores I've heard, but I'm excited to hear what Rupert does here.
Outside of Winter's Tale (which is severely underrated imo) nothing RGW has scored has stood out to me. I would've loved to see someone like Lorne Balfe take this type of project on.
Still, fingers crossed for Rupert to deliver something good. :-)
mpolonest123, you should check out Bedtime Stories and Bee Movie (the latter admittedly with a bit of behind-the-curtain help from Hans himself). Both are really fun scores, albeit a lot lighter than what this movie calls for. RGW is quite talented, actually, a lot better than what the fairly bland Tarzan would have you believe.
I'll definitely take a listen to both of those. I had heard Bee Movie a few years back but it never stuck with me. Maybe it's time to revisit it :-)
Wow... Varese Sarabande still suck at artworks. Especially fonts... Ugh...
I'm fine with Rupert scoring this one, but I have the same question as Ds - why Debney was 'kicked out'?
Maybe the whole "Mel is an Anti-Semite" flared up...Who knows. I thought those two were tight after Passion of the Christ.
I have no idea why Debney was debarked...
Maybe he even left himself, who knows ! Actually I don't care lol...