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A petition has been started to get the album released .
Signed! It worked on the first Transformers, let's hope history repeats itself.
Signed - hope this works
Is this petition gone? Haven't seen the movie but from what I read this score seem to be amazing so I want to sign.
Anyway not going to see the movie if there is no score release. it will only make me frustrated. What I don't know, I can't miss :)
The petition is still up! It appears that an extra space in the above URL was causing it to not work correctly. This one should work: https://www.change.org/p/paramount-release-the-ghost-in-the- shell-2017-soundtrack-gitsost
Annnnd it added the extra space again for some reason... Just copy and paste the url into your browser but make sure that the extra space between "the" and "shell" isn't there.
Lorne is tweeting everyone that score release won't be happening.
This is ridiculous! I haven't seen the movie but I want to, and to think that I might enjoy the score but won't be able to listen to it by itself! Yikes.
I messaged him on Facebook last night and he just responded: "Hi Zac, no news at the moment . I think if there is enough of a request on social media then there will be a release . Thank you for the support though - lorne"
At least it sounds like there's a chance. It's just up to us now! I wonder what our best plan of action is... Tweeting at Lakeshore Records maybe?
Crazy that a film of this magnitude would not get a score release in this day and age.
Well apparently Lakeshore don't have the rights to it anymore...
I messaged him on Facebook a couple of nights ago and he responded: "No news at the moment . I think if there is enough of a request on social media then there will be a release . Thank you for the support though - lorne"
And he just sent me this link this morning: https://www.change.org/p/paramount-release-the-ghost-in-the- shell-2017-soundtrack-gitsost
Great score . I couldn't really tell who did what though but either way good job
if it is hard to tell who did what, then it is a bit strange to hire balfe for help. because that means balfe wrote in the same style as mansell. so why did they hire balfe? or balfe wrote almost the whole score. then it makes sense, that there are no differences.
Balfe is scoring Geostorm as well. Dudes everywhere!
What happened with Pinar Toprak? It supposed she will make the score
Apparently she was replaced.
Wow, it's a surprise. From what i know, the movie should have arrived in 2016 and she worked on the movie for almost two years when it was in production.
jerry bruckheimer came on board for re-shots, so ofc they also have to change the score now. i like lorne, but a score by pinar toprak would have been really nice.
Well that is depressingly predictable. Pinar Toprak is incredibly talented, and it's not that Balfe *isn't*, but he's so ubiquitous. He's not the one in need of a big break. And for all Zimmer's talk recently of raising the profile of female composers in Hollywood...
im sure its because bruckheimer wants his typical sound and for this type of movie, its no surprise, that he wants a rcp score. i was very surprised when bruckheimer accepted christopher young for Deliver Us from Evil. but that movie was not typical rcp territory and the director worked also with young before.
It's not about who "needs" a break or "deserve" it. She got a chance, she blew it in the mind of people making this (probably very lame) film.
No one should get a movie because they need a break ! Also because of what sex they are . Maybe her score was bad ! That's not sexist . I'm looking forward to Balfe's score for this
Why is it a shame that her score has been replaced ? If you don't do a good job then that is what happens. This will be EPIC . Balfe and Bruckheimer will be amazing .
Maybe it was bad. Maybe not. We don't know at this stage. All I DO know is that she's a good composer (based on what I've heard of hers previously), and she was likely tossed off the project not because of any fault of her score but because Bruckheimer wanted someone he was familiar with. Without giving her a chance to maybe rework her score instead.
Assuming the reason she was rejected is because she did a bad job is pretty naive.
its clear, that it would have been necessary for her to rework the score, not because her score was bad, but because of the extensive reshots. we dont know if bruckheimer didnt want her to rework the music or she just had no time for it. but i also think, bruckheimer is the reason.
They probably also wanted a big blockbuster score . I haven't heard anything by Pinar that is big size . She is a great writer but Lorne's music is another league
pinar can combine synths with orchestra as good as lorne. her Behind Enemy Lines II shows that. and lets be honest, how can you proof, that you can write big size, if nobody gives you the chance to write such a score?
She wrote some great action music for The Wind Gods.
It's pretty obvious . Lorne delivers and is a different league . Not sure why this is even a conversation !
We don't know anything about the situation, so no, it's not "pretty obvious". For all we know Toprak's score is the greatest thing ever composed, a mighty epic that would dwarf even Star Wars or the Lord of the Rings. Alternately, it could also be a great big pile of crap. So you have no foundation for saying that Balfe is "in a different league", none whatsoever. Neither would I for assuming Toprak's score would be better than Balfe's - which is why I never said that, and never will, until I actually hear both scores.
This is what I do know: Lorne Balfe, while a good composer, is hardly starved for work. Pinar Toprak, also a good composer, rarely gets any (especially not on a big effects-driven spectacle like this). That makes this rejection personally disappointing to me as a film music fan.
Incidentally, I wonder if any of these people shitting on Toprak have even heard a note of her music?
it gets a bit boring, that lorne is "everywhere" at the moment. if bruckheimer wanted someone from rcp, mark mancina would have been a more interesting choice. im already happy that geoff zanelli composed the new Pirates and not zimmer. and lets face reality. they hired bruckheimer and danny cannon to save the movie, so ofc they also go with a safe composer, who is experienced with this kind of movie and situation.
why is it boring lorne is everywhere ? His music is fantastic and it's great to hear More of his work
The movie should have arrived two years ago. The previous cuts were not satisfactory to the producers. That's the reason why the producers called Bruckheimer and Danny Cannon to the reshoots. Pinar worked 2 years on the film. Dean Devlin originally has in mind another composer but after Dean listened The Wins God he assigned Pinar to wrote the score. With the reshoots and the introduction of Bruckheimer to save the film, i think in part of the contract that he established the film composer, that's the reason of the rejection and the introduction of Lorne. I have not listened anything from Pinar score, but some people say it's epic. It could have been interesting hear Pinar score in this blockbuster film, like Carter Burwell when he was assigned to score Thor 2. But we will have to wait when the rejected score surface.
i wonder if that 'other' composer was David Arnold? It's sad that he only does tv now. Even Bond was ripped out from under him....
Weird why his is even a sexist conversation ! It shouldn't be . Balfe is a top composer and delivers . What big films did the other composer do ? Exactly
the only reason balfe scores big films now is because he worked with zimmer many years before. otherwise nobody would have recognized him. ofc he also has to be good, but he only got the chance to prove that, because he worked with zimmer on the right films. the same goes with zanelli, powell, gregson-williams and mancina.
Rockhound your wrong . Balfe was a very successful composer for tv in the UK before .
tim....that is not the point. nobody would have hired balfe for Lego Batman, Ghost In The Shell or Geostorm, because he was already successful in uk television. he gets big size films now, because he worked with zimmer on big size films and could prove that he is a good composer for such films. a mix of connection + skills. pinar toprak has sadly just the skills....
Rockhound - your apoint doesn't quite make sense though . There are a log list of composers that have worked for Simmer that haven't achieved success ?????
Excuse my spelling !!!!
"What big films did the other composer do ? Exactly"
Now imagine if the director of Driving Miss Daisy or Black Rain or Rain Man had said that back in 1988. No Hans Zimmer. See why that's an incredibly stupid thing to say?
@Edmund, those are not really what anyone would define as "big films". These are small-scale movies with a large audience potential. If you look back, Hans spent years doing obscure projects (just look at his filmography between 1982 and 1988). Then he was offered Rain Man & Driving Miss Daisy, which allowed him to get noticed. Then he got Backdraft, who allowed him to go for a quite epic sound, in a still relatively small-scale film. He continued scoring small movies for years. His "big blockbuster movies" came only later on, starting from The Lion King. If you look at Pinar Toprak now, I think she's still at the very first stage: working on obscure movies. Asking for her to get large-scale blockbusters now seems a little early...
Rain man and driving miss Daisy were not $100 million films . Don't think Edmund understands how the industry' works !!!! When a film has reshoots etc the studio brings in the best team / editors , writers and composers .
No, Edmund is right, because you can't really apply the 80's moviemaking policy to current standards. I think the risk of hiring Hans to do Driving Miss Daisy is perfectly comparable to this Pinar Toprak doing the - let's be honest here - low profile Geostorm movie, even though budget-wise it might be considered a A-list blockbuster.
What was the risk exactly hiring Hans to score Driving Miss Daisy?
even Rain Man was a success for hans, the producers of Black Rain had problems to hire hans. but ridley scott wanted just him. the same goes for Days Of Thunder. bruckheimer and simpson didnt want him at the beginning, because he was nobody for them. but tony scott wanted him, so they gave him a chance. so...the risk was not to hire hans for Driving Miss Daisy, but because of Driving Miss Daisy. if nobody gives you a chance, you cant prove your talent.
I don't you get given a 100 million dollar film because " you need a chance" ! You get given it because you have proven you are good . Just like any other business . You don't get a CEO job because you "need a chance" !! Life doesn't work that way. Not sure why this is any different that Pan when Powell took over . No one got upset then . Also - back to the topic in hand - saw ghost earlier today and it was fantastic . Visually beautiful and great action . Balfe and Clint did an amazing job and totally exciting .
@Hybrid do you have any further credits ? Really loved the score
ofc it needs someone who gives you a chance. when trevor rabin co-scored Con Air, it didnt mean automaticaly he was the perfect choice to score Armageddon. but bruckheimer gave him a chance, to prove it. but also on that movie rabin got a lot of help from other composers, because bruckheimer thought, it was better for the movie. but this movie put rabin on the radar of other producers, because bruckheimer gave him a chance to score a big budget movie, although it was just rabins third hollywood movie. not even zimmer was able to get such a big movie assignment with his third movie.
Trevor wasn't given a "chance" . He was in one of the biggest bands at that time and according to interviews still had to pitch themes ideas . And he was then chosen. No one gets given a chance - they get chosen because they are amazing at what they do
you mean so amazing, that bruckheimer thought, that it is better, when trevor gets help by 6 other composers? just because he was a member of a successful rock band doesnt qualify him to write a symphonic score for 140 million dollar movie. it was bruckheimers risk to hire him. and yes, he had to write the themes first, to convince bruckheimer. but themes are not a whole score. so yes....bruckheimer gave him a "chance" to prove that he can handle such a big movie. i mean, trevor scored Glimmer Man, because he gave steven seagal guitar lessons. he never scored a hollywood movie before, but seagal gave him a chance as a favour to score that movie. ofc u call that "a chance". or what else is that?
This Ghost in the Shell OST really spakrs up converstation here, huh?
Yeah I don't think Rabin's beginnings on Con Air & Armageddon is a good example because he was fully cornered by RCP.
"No one gets given a chance - they get chosen because they are amazing at what they do"
And that's the thing - based on the admittedly limited body of work she has put out so far, Toprak DOES seem to be very good at what she does. But because she's an unknown quantity to Bruckheimer she got replaced by a familiar name. Every talented composer also needs a bit of luck to get those first few gigs. "You get gigs because you've proven that you are good" - but how do you prove that you are good without getting gigs? You gotta get your foot in the door somehow. Instead they decided to smash it in Toprak's face.
edmund, in general i agree with you, but Geostorm is a special situation. it looks like that this movie had big problems and they try to save this mess now. i can imagine, bruckheimer hasn't even listen to pinars score. they hired him, because he was successful in the past with the way he made movies. and one part of his movies is a rcp score. so they hired a composer of that company. they can take no risk anymore. that's all. ofc it is also possible, that her score was really bad or that she had just no time rework her music, but i dont think that.
Sure, I'm not surprised that Bruckheimer would act in this way. I'm not *surprised* or anything. Just disappointed. And as always, the studio logic of "our film is in trouble, better throw out the score" just doesn't make sense to me. Obviously the problems run far deeper than that, but for the most part it's too late to fix, so they have to go for the one thing they still can change...except it won't save the film at all. :(
imdb says, they spend another 15 million dollar for serious re-shots. the movie had far more problems than the score. i would have loved to hear an epic pinar toprak disaster movie score, but i totally understand, why they hired balfe.
Rockhound not sure if you understand the process . During test screensings , in the focus groups they ask questions about storyline , what is not working and among other subjects , music is questioned. It is not always the studio that makes the decisions ! I'm looking forward to this soundtrack .
Not sure why Geostorm is even being discussed. This happens all the time so why is it a factor ????? Anyway!!!! Saw Ghost today and it was amazing in 3D.wish there was a score release and not just songs
just came back from film.....did they shamelessly end up getting Balfe to rescore Mansell's main thematic material in the first half of the film including the shelling/opening titles (which btw, have the GHOST IN THE SHELL title appear TWICE?)? Because it's so different from the IMAX preview music wise, I was so bummed as Mansell's main theme was just amazing there, and in the finished it's just...eh? Mansell's original theme shines through the final third very nicely though.
The opening was definitely Lorne, it sounded like Terminator Genisys ! lol
it's just suggestive (between that and how he was announced so close to release) that LB was brought on at almost if not the very last minute to redo some of Mansell's early cues.
Also Clint's been eerily silent about the whole film on his Twitter and social media while Balfe has been hyping it quite a bit.
No idea if anyone can confirm but, the clip of the water fight was released (looked nice) and there's scoring involve but no idea if it's the film actual score or just music picked for this type of ad.
If it is, sounds pretty cool, very Mass Effect-ish with some Balfe action around.
It's the film score. There's also a 5min clip released this morning with more of the score too.
Yeah, just saw it, and loving the score!
Just saw the clip on Lorne's Facebook . He film looks fantastic and Lorne's score is great. I want a soundtrack release !!!!!