Additional Music: Stephanie Economou Music Editor: Richard Whitfield Orchestrations: Ladd McIntosh Orchestration Coordinator: Esther McIntosh
Orchestra Conducted by Harry Gregson-Williams Concert Master: Tereza Stanislav Performed by The Hollywood Studio Symphony Pro-Tools Engineer: Paul Thomason Orchestra Recorded by Dennis Sands Digital Workstation Operator: Adam Olmsted Scoring Stage Recordist: David Marquette Orchestra Recorded at Sony Scoring Stage, Culver City, CA
Score Mixed by Al Clay Score Mix Assistant: Alvin Wee Score Mixed at The Village Recorder, West LA
Orchestra Contractor: Peter Rotter Music Preparation: Booker White, BTW Productions
Score Production Supervisor: Monica Zierhut
Featured Musicians: Piano: Harry Gregson-Williams Soprano, Alto & Tenox Saxes: Chris Bleth Guitars: George Doering Electric Violin: Hugh Marsh Electric Cello: Martin Tillman Vocals: Stephanie Economou
Album Compiled by Paul Thomason & Stephanie Economou Album Mastered by Gavin Lurssen & Reuben Cohen, Lurssen Mastering Score Produced by Harry Gregson-Williams Executive Album Producer: Ben Affleck Executives in Charge of Music for Warner Bros. Pictures: Paul Broucek & Amanda Narkis Executive in Charge of WaterTower Music: Jason Linn Music Supervisor: Amanda Narkis Music Business Affairs: Dirk Hebert
Harry Gregson-Williams offers a special thanks to: Ben, Billy, Tina, Amanda & Paul & all at Warner Bros. for their support. And to Erin & all my children - Jessie, Josh, Jude, Grace Willow & Hadley for their patience & love
Thanks to: Katie Admire, Ben Affleck, Madison Ainley, Tina Anderson, Peter Axelrad, Maria Belli, Joseph Billé, Steve Bursky, Rocco Carrozza, Chay Carter, Julian Chavez, Jennifer Davisson, Stephanie Economou, Kristy Gibson, Billy Goldenberg, Ray Gonzalez, Afnahn Kahn, Joe Kara, Kevin Kertes, Kolette Kleber, Brian Lambert, Ny Lee, Alison Litton, Lisa Margolis, Genevieve Morris, Jason Owen, Jasper Randall, Jess Roncker, Peter Rotter, Marty Silvestone, Curt Sobel, Jordan Tappis, Paul Thomason, Jennifer Todd, Kevin Weaver, Richard Whitfield, Margaret Yen, Monica Zierhut & Robert Zick
Release date : 12/23/2016
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While I'm always happy to see HGW get new assignments, I'm also always a bit disappointed when it turns out to be a thriller (which is the case nine times out of ten with him, these days).
I want to hear him in Narnia/Kingdom of Heaven mode again. The only music like that he's written lately are his three cues from Exodus, which are really great, but it's not enough... :(
I guess it's the kind of approach Affleck prefers from HGW. It's the same basic style heard in Gone Baby Gone and The Town where you have an ambient soundscape aided by some slow strings and a guiter.
HGW is extremely adept in writing some aggressive orchestral cues as in KoH, Narnia and Prince of Persia. Hitite Battle was my favorite track from Exodus. Too bad he doesn't do many such projects.
And given the outstanding work he has done with Ridley Scott, its a shame he won't be doing Alien: Covenant.
Yeah, Affleck seems to have assumed the "director who gets HGW to provide boring thriller scores" mantle from Tony Scott. I'm not really sure what it is with Scott...earlier in his career he would get scores with big themes, Days of Thunder, Crimson Tide, even Enemy of the State to an extent. But from Spy Game onwards pretty much all the scores to his movies fell into the same boring thriller-score pattern. Wonder what happened to turn him off to bold thematic film scoring? (Then again, I wonder that about most of Hollywood these days...)
"Hittite Battle" and "Tsunami" were both great. A little teasing glimpse of the HGW of old.
I "mostly" agree with Tony Scott's score BUT Déjà Vu is fantastic in every way, and it has lots of themes... lol
Days Of Thunder, Crimson Tide and Enemy Of the State are simpson/bruckheimer productions. Thats why these scores have big heroic themes and an epic feel. but if u listen to The Fan, thats already harry gregson-williams style, although its a zimmer score. i really liked the team tony scott/harry gregson-williams. its a special thriller music style with a very specific sounds. afflecks Gone Baby Gone was also very lovely with a beautiful theme and a couple of nice motifs here and there during the suspense stuff. the new movie has a different setting than the other affleck movies, so maybe harry is using less electronics and more orchestra.
The amount of people wanting Trent Reznor to score his upcoming Batman film frightens me.
I'd rather have HGW in thriller/superhero mode for Affleck any day, in comparison.
sound clips on amazon.de. the music sounds great and nothing like The Town or the tony scott movies.
^ Harry better score that Batman film.
I hope HGW scores Affleck's Batman movie, seems like an obvious choice actually. Affleck keeps his relationship with HGW, and Batman remains in RCP territory. Nice deal :-p
Love the sound clips and excited for the release on Friday!
Tracks like Ybor City remind me of early sounds of Smilla and Deja Vu; Three Years, Four Months has a Passionada and GBG flair to it; Loretta Figgis is beautiful!
Hybrid: any idea who is doing the vocal work? Lisbeth Scott??
I'm also really looking forward to The Zookeeper's Wife!