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Because they each only wrote one theme and they weren't used in this movie.  Almost all of the original themes were Hans' anyway, and those were used, so he's credited.Surely there's more original Pirates of the Caribbean themes than just Hans Zimmer, no?! Klaus Badelt and Blake Neely are credited in the others so why aren't they here???the likes of which well never hear outside of the film. our only hope is if someone gets the fyc album and shares itIt was also nominated for interstellar and the film had not yet been shown ... the most important thing is that there can be great music in this movieBeen watching it on the BBC and Balfes score is breathtaking
I don't think you want the general public nominating film scores.FYC albums is the thing studios use for these kind of nominations.Especially can't wait for the Mission Impossible 2 mix.yeah. critics. who the hell nominated it for the music? the general public hasnít even seen or heard it yet.The film premiered at the Toronto International Film Festival back in September and was reviewed by like 50+ critics already.
and the film has yet to open. who even nominated it? the people in the industry. they award themselves. goes to show how much of a sham it all is.Nominated in Hollywood media award best score film.To be honest,it sounds a bit computerish to me also. It lacks expressiveness and the "voices" of both hands are at the same volume most of the time, a bit confusing for the ears.As a pianist myself I think I can safely say this wasnít Hans...from hearing the demo I doubt any one pianist could play it all. This could be multiple recordings on top of each other, or (more likely) one of Hansí typical computer demos.This soundtrack has been available for 12 years
Proposal.<br><br>Hi Iím visiting Marid in April to see Hans live. Would love to propose to my girlfriend on stage during Pearl Habour Tennessee. Is this even possible? Any help would be amazing <br><br>Thanks Dan.Tracklist<br><br>1. Haunted Halloween<br>2. Terror-fried Eggs<br>3. Junk Brothers<br>4. Bike Chase<br>5. Hadouken<br>6. Fright Bulb<br>7. Drowned and Out<br>8. Crash Dummies<br>9. Dr. Shivers<br>10. Slappy Families<br>11. Sup My Witches?!<br>12. Slappy Halloween<br>13. Gummy Bears<br>14. Ungrateful Dead<br>15. Costume Drama<br>16. Witch, Please!<br>17. Mama-fied<br>18. Seedy Part of Town<br>19. Oh Gnomes!!<br>20. Creep It Real<br>21. Allegro con spirito<br>22. Slappily Ever Afterand the missing music when Clementine rides to the Passage in episode 10, where everybody starts fighting each other. I can't understand why this isn't on the album. The theme is slightly hinted in the first part of vanishing point I think but in a much softer and slower version.Hi! I would like to know when all these soundtrack will be available?<br><br>I love the Score of this film, Hans and his team did a wonderful job!<br>Beware spoilers:<br><br>Yes! I really want the missing music in Vanishing Point. Also, the end variation of the Dr. Ford theme when William rides away after the confederates battle and first sees his daughter. Another one would be the variation of the Sweetwater theme when we see the village in Shogun world. And the music when the train drives into the Mesa, the Dolores and Teddy love scene music and more variations of the Dolores theme which we hear in the second part of "Myself" on the album.
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Steve JablonskyDavid FlemingGary DworetskyLuke Richards
ComposerAdditional MusicAdditional MusicAdditional Music
Transformers - The Last Knight
Label: Paramount Pictures / La-La Land Records
Length: 129'34
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 (1989 votes)
  1. Sacrifice (6:46)
  2. The Coming Of Cybertron (4:58)
  3. Merlin's Staff (5:49)
  4. No-Go Zone (3:28)
  5. Stay And Fight (6:26)
  6. Code Red (2:12)
  7. Izzy (4:00)
  8. Purity Of Heart (3:34)
  9. Megatron Negotiation (3:37)
  10. Today We Hunt (1:46)
  11. Running Out Of Tomorrows (1:20)
  12. Drone Chase (5:07)
  13. You Have Been Chosen (2:17)
  14. Seglass Ni Tonday (6:27)
  15. Quintessa (6:36)
  16. Vivian (3:52)
  17. Abduction (3:04)
  18. History Of Transformers (4:23)
  19. Cogman Sings (2:09)
  20. Vivian Follows Merlin (6:41)
  21. The Greatest Mission Of All (2:19)
  22. Dive (3:15)
  23. Two Moons (2:03)
  24. Merlin's Tomb (3:18)
  25. Claim The Staff (3:36)
  26. Prime Versus Bee (2:45)
  27. Your Voice (4:34)
  28. I Had My Moment (2:29)
  29. Ospreys (1:49)
  30. Battlefield (3:43)
  31. Did You Forget Who I Am (1:56)
  32. We Have To Go (5:48)
  33. Calling All Autobots (2:55)
  34. Sir Edmund Burton (4:10)
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Bayhem reply Replies: 16 || 2018-08-06 11:00:13
I hope they announce soon that Steve is scoring Mike Bay's next movie, 'Six Underground'. I love Bay, but if he goes with a different composer I'd be extremely disappointed. At this point, Steve works so well with Bay that I don't want to see another composer doing his films. Just look back at their collaborations - they're just spectacular. Nothing against his other projects, but IMO Steve really delivers his best when he's working on Bay movies.

I really hope he does 'Six Underground' too. I know Bay worked with Lorne on 13 Hours, and I loved that score, but after doing 300 scores this year alone Lorne needs to take a break. Get Steve back.


superultramegaa2018-08-06 16:36:15
Well, the writers have a pretty decent reputation so hopefully that movie turns out better (I'm speaking for myself, Bayhem not saying I'm right). Sadly though, the music will most likely be at best a really fun MV homage, or at worst, Skyscraper (not a problem with Bay specifically but the studio might want that type of score.) The MV homage one would be great, but I really do hope Steve's agent gets him to a project that will show his melodic tendencies again.

Every score I've heard from him post-Steamboy I've heard that same style desperately trying to break through. Nightmare and Amityville ended up having much more melody and thematic work than most modern horror (which is consumed with ambiance quite often), TMNT 2 had several moments where it felt like Danny Elfman and James Horner's Spider-Man works, The Last Witch Hunter almost felt like a Christopher Young score (minus instrument variety), and Transformers has the traits of a Zimmer score while adding Jablonsky's complexity into the power anthems, and Howard Shore/tribal mentalities when it came to the choir and drum work.

Of course a melodic MV homage would still be welcome, but man, Jablonsky needs to take the Zanelli route and get some connections at Disney, because he really understands that style. I need to stop writing paragraphs about every topic.


Charlie072018-08-06 23:15:40
Balfe is doing Six Indeground . He hinted at it in interviews for Fallout


Hybrid Soldier2018-08-07 00:28:27
Steve passed on this one.

So yeah, expect Lorne to take over.


Brent2018-08-07 06:27:15
Wait a minute. Is Steve's relationship with Bay turning sour? He skipped out on 13 Hours and now this one. I know Steve had a pretty difficult time with the latest Transformers, but I'll admit, I'm a bit disappointed.


Hybrid Soldier2018-08-07 08:11:09
Absolutely not.

Steve was pretty clear about 13 Hours. Bay wanted Hans. Hans supervised the whole thing, Lorne scored it.

For this new one, it just can't work out for other reasons. Steve will return for the one after... :)


Bayhem2018-08-07 08:40:20
Thanks for the info, Hybrid Soldier.

Well.....I am kinda disappointed that this would be another original Bay project without Steve as a composer, but then again I really liked what Lorne did on 13 Hours so I'm not gonna be angry that he's the one doing the movie. I'm sure he would do a solid job.

I honestly think that Steve is taking a little break from scoring. If I'm not mistaken he had a second child recently and from what I see on his Twitter, Instagram and Facebook he seems to be a real family man. So maybe that's why he's not as active as previous years.


Brent2018-08-07 09:13:32
Thanks for clearing that up Hybrid. :)


Mike2018-08-07 13:48:03
Was Hans unable to do 13 Hours, or did he just...not want to work with Bay?


Bayhem2018-08-07 18:17:35
Was Hans unable to do 13 Hours, or did he just...not want to work with Bay?
============================

Or........maybe it was Bay who didn't want to work with Hans!Jokes aside, if that's your not-so-subtle way of taking a shot at Bay, it ain't working. Bay and Zimmer have a looooooooooooooooooooooooooooooong history together. They know each other very well. Hell, Hans was even helping out on the Transformers movies. Bay considers Hans a friend, and if you watch the Ice Bucket Challenge that Hans did you would see that he considers Bay a friend too. Yes, Bay is a very demanding and tough guy, but so is Hans. They have had difficult moments, sure, but nothing that would make them not wanting to work together. They know how they behave very well. Also, Hans really WAS unable to do 13 Hours. Bay shot and released the movie really quickly, faster than anticipated. The movie started shooting in mid 2015 and it came out in January of 2016. That is really, really fast for a Bay production. Hans worked on 5 movies and two documentaries that came out in 2016. So combine all those elements and you'll see why Hans didn't do 13 Hours.


P.S. Hans is so big and successful that if he really doesn't want to work with someone he will make it clear. We would know. He would certainly not put his name on that person's movies (even if he's "just" an executive music producer).


Hybrid Soldier2018-08-07 18:21:42
Hans has known and been working (more or less credited) with Bay for more than 20 years...

No, he doesn't have a problem with Bay. He doesn't mention him much in interviews, and rather mocks his own scores for Bay, but that's a faÁade, cause who else offers him this possibility to "not be so serious" ?

For 13 Hours he was in the middle of other scores, Bay wanted some Black Hawk Down but you can understand Hans didn't really want to actually write that again, so he rather let Lorne have a go. But he was there during the whole process, extremely close.


Mike2018-08-07 18:24:45
Actually, believe it or not, I wasn't taking a shot at Bay. I like his movies just fine, especially 13 Hours, but I also know Hans didn't have a wonderful time working on Pearl Harbor, and thought maybe he didn't want to relive it.

And that's true, about Black Hawk Down. I would love to see Zimmer do a movie like 13 Hours again, but I get why he doesn't want to. He also didn't want to do Kingdom of Heaven because he didn't want to do Gladiator 2.0.


Hybrid Soldier2018-08-07 18:38:38
Kingdom of Heaven. He signed for it, he visited the set, he was all game with Ridley, and started to write demos.

What happened was that the movie editors were pushing for Gladiator temp, Hans was fed up with it after a while and left the project and recommanded Harry. The irony is, the first cue in the film is actually by Hans...

The thing is, demanding directors, they all are. But when you work with Nolan & Steve McQueen, it's like, "heavy". Super serious.

Every once in a while, no matter what you actually think of the film being made, you "need" to work with Bay or Zack Snyder a little and just have fun. Steve Jablonsky said that sentence (implying working on Tears of the Sun without mentioning it), that Hans would tell him "You know what ? The film is shit, but let's have fun and write a good score, shall we ?" Hans loved working on Batman V Superman, and probably on most Bay movies, no matter how chaotic they were... lol


Mike2018-08-07 18:46:39
Honestly, I think it's the "bad" movies where Hans and crew write the best scores. Because yeah, like you said, they LET themselves have fun. I love the collaborations Hans and Chris Nolan have, for the most part, but sometimes I feel like Hans lets himself get bogged down in the seriousness of the project, so the music becomes a lot more muted and intellectual (for lack of a better word).


Bayhem2018-08-09 09:59:47
Since when a "fun movie" = a "bad movie"?? I've noticed this with certain film fans......If the movie is a colorful summer popcorn flick with tons of action and explosions, it automatically means it's a "dumb movie". While if the movie is dead serious and dark, it automatically means it's awesome and super cool.

This is a very ignorant way of judging cinema. ANY director can make a dark movie. The fact that most don't do it clearly shows that audiences prefer "colorful, fun" movies. So this notion that "fun movies" are automatically inferior to those dark, cold Nolan movies is a silly notion.

Also, I honestly don't know why Hans was apparently so negative toward Tears of the Sun. The movie is not some silly, low budget thing. It's a pretty serious and powerful war drama. I see nothing wrong with it.


P.S.

Mike, Hans received a Golden Globe nomination for Best Original Score for his work on Pearl Harbor. So no matter how tough it was working on the movie, it was all rewarded. That score still remains one of the most popular Zimmer scores and I'm sure he's proud of the finished result.


superultramegaa2018-08-09 15:25:49
It's a pretty obvious conclusion to come to the way Hans and Steve have talked about the opportunities movies they clearly dislike gave them. Steve during his interview was clearly about to say how bad Dragon Wars was, but stopped himself because he felt bad for the director, and he compared it to what Hans said about Tears of the Sun.

Sure Steve probably doesn't hate most of Michael Bay's films (besides maybe TF5 from his bad composing experiences and his frustrations with the editing team), but these type of dumb popcorn flicks do give them more room to have fun. Whether they think the film is bad or not is irrelevant.

Almost every Jablonsky score (with the exception of Steamboy) has had a film attached to it that I've not seen, thought it was nowhere above mediocre, or flat out hated it. But he either is able to enjoy the film enough to pull good composition out of it, or was able to "have fun" as Hans put it.


Bayhem2018-09-21 08:56:18
Lorne is now listed on IMDB and Wiki as the composer of 'Six Underground'. Clearly Bay likes working with him. Good for Lorne.

Bayhem reply Replies: 2 || 2018-06-05 19:29:47
Sooo, how about that 'BumbleBee' trailer? I really liked it and I'm kinda bummed that Steve is not the composer. However.......if the music at the start of the trailer is an actual music from the movie, then I'm definitely looking forward to the official release.

Sounds really good.


iamtommie2018-06-05 21:47:48
I think that Ramin Djawadi is the one of maybe 5 composers who ever made music for a trailer. And it's not possible that it's the score by Dario Marionelli because that's probably not even recorded because the movie has a christmas release. The score is probably going te be recorded in late summer.


Bayhem2018-06-07 10:33:55
Good point.

You're probably right. It's still too early. Would love to know who did that piece of music at the start though : ) Sounds very much like an MV/RC composition.....

Bayhem reply Replies: 1 || 2018-06-04 15:32:24
Hmm, is it me or is the music during the introduction of Viviane (the horse riding scene) not included in the official release of the score?

Can't seem to find that particular piece of music....



superultramegaa2018-06-04 21:18:25
No, that's another one from the FYC score only. Abduction is the first time that theme pops up in the official release.

superultramegaa reply Replies: 1 || 2018-05-26 03:09:47
Whoa, whoa, whoa, whoa! When was there a flute in this score?? I just noticed there's a credit for a flute soloist, and I've listened to this score several times and never noticed a flute? Does anyone have any idea which track it might be?


Bayhem2018-06-04 15:35:54
You got me.....I also can't recall. Guess it's time to listen to the entire score again : )

By the way, why are 'X Ambassadors' listed right next to Steve on the movie's Wiki page? I've never heard of them being involved. Weird....

Five reply Replies: 4 || 2018-05-21 08:53:19
Why no listing here for the complete score?


Bayhem2018-05-21 09:37:49
Is there a complete score out there? If not, don't be surprised there's nothing here yet. Sometimes it takes years before a complete score listing pops on this site.


Iamtommie2018-05-21 12:06:52
The FYC score was complete. And it's out since november last year


superultramegaa2018-05-21 22:01:00
Hybrid doesn't like the FYC because of how much it butchers Steve's original themes and doesn't include additional composer credits. I believe that was the reason.


Five2018-05-22 08:53:59
superultramegaa - I can understand that, but Hybrid posts his custom complete score track lists here all the time. I wonder why he has not done so for this film yet.

superultramegaa reply Replies: 1 || 2018-04-07 23:46:54
Since not much seems to be going on in the site, and I literally cannot stop listening to this score, (and the fact that I have a habit of writing full-length reviews for Jablonsky scores anyway), I felt the need to share my final thoughts on this score.

First of all, wow. Jablonsky managed to find a way to score for a Bay film and mostly avoid power anthems/themes, and transcend the music into its unique identity, with plenty of subtlety and complexity. That in and of itself is an achievement. A lot of Bay scores have been good, but the only one that comes close to this level for me is Pearl Harbor.

Second, I think it's amazing that Jablonsky and his team, despite being limited to strings, horns, drums, electronics, and choir like always, managed to make almost every song's texture feel unique and varied. Something that I think every other TF's score failed to do despite how good/bad of scores they are.

Third, I love how on every new listen, I notice how Steve managed to link every theme/motif to each other perfectly. "Purity of Heart" of course is used perfectly to represent the knights and the way Steve implemented an electronic version for the military, is a clever way to tie it into the final battle. "Sir Edmund Burton" was a beautiful way to close the theme out, with the death of the theme (plus Burton's theme) directly tying into the character's death.

Plus there's the theme from "Claim the Staff/Prime Versus Bee" which seems to represent the fight for Merlin's Staff throughout the film. Plus the little touches like Hot Rod's theme being in the ending of "Seglass Ni Tonday" in a different key, "The Coming of Cybertron" playing in brief moments in the final battle's score to remind you of the impending doom lurking above, and Vivian's theme having the same chords/progression as "Merlin's Staff" representing the connection between the two.

And of course the use of the old themes is the best it's ever been! The rebuilding and use of the Autobot theme is Howard Shore levels of amazing. First, it's really nice to hear the Autobot theme played in a different key (E minor rather than D minor and G minor like it's always been). But the way the theme builds from the brief hints in Canopy and Bumblebee's arrival to the final battle where it can be heard in subtle hints in "Battlefield", then the 3 note motif version of the theme in "Did You Forget Who I Am", to a reduced version of "You're A Soldier Now". It's almost downright beautiful to hear by the time it plays in full in "Calling All Autobots". All of that detail, along with the perfect use of the Optimus theme, and my favorite reprises of "Arrival to Earth" at the end of "Your Voice" and "I Had My Moment".

My only problems with this score is:

1. I had to mix the 34 track release with the complete score to get the best satisfaction out of the themes. Neither one is a perfect representation of the score on its own.

2. After the menacing Galvatron theme in TF4, there is quite literally no theme for Megatron. Hell, I would have even accepted the brief motif that appears when he's taunting Optimus in "Your Voice".

3. The "Polo" cue is laughably over-dramatic in the context of the scene. It just doesn't fit, it sounds like an action cue. There's even a Desperate Housewives homage after that cue, why didn't Steve just do a track like "Scarlet" from Steamboy for that scene? Or even an upbeat version of Vivan's theme with light percussion?

4. The film version of every theme (besides "We Have to Go which had great progression throughout the score), just isn't satisfying. "Purity of Heart" and "Stay and Fight" suffered the least as they were used appropriately, but "Izzy" doesn't have much presence in the film (Maybe it could have been used in "Battlefield" briefly), Burton's theme is chopped to pieces and is too sporadic for general audiences to remember it, "Merlin's Staff" only has brief references here and there, (no grand statement like "We Have to Go" and "Sacrifice"), and "Quintessa" didn't utilize the horrific sounding horns enough.

However, with the mix I arranged, I got the most out of this score out of all of the other TF scores, and I think it's one of those Jablonsky scores like D-War and Your Highness that come extremely close to the genius of Steamboy.


Bayhem2018-04-08 13:56:41
Very well said. Great review. I love this score, and I agree with your points, but as I've already said here on multiple occasions I'm more of a fan of the classic MV/RC sound. So, as much as I love the TF3, TF4 and TF5 scores, the ones I listen to the most are TF1 and TF2. What can I say.....the period from 1995 to 2009 is my favorite, as far as the MV/RC sound is concerned. The more recent scores are just........not the same. Too much sound design for my taste.....

By the way, I just saw 'A Quiet Place' (produced by Bay), and I have to say this would've been a great project for Steve. It's a very intense and unnerving movie. Wish Steve was the composer, his style would've been a perfect fit for the material, but oh well.......

Having said that, Beltrami actually did a solid job with the music. He started his career with scary movies (Scream, The Faculty...) and IMO he's at his best exactly when he's scoring thrillers and horror films. Can't wait to listen to the entire 'A Quiet Place' score album.

Brent reply Replies: 1 || 2018-03-08 02:10:41
Any idea on if Jablonsky is scoring Skyscraper? Thereís been a bunch of stuff out there that says he is, but no confirmation.

This guy has been slow in recent years. Lol!


Bayhem2018-04-08 13:44:56
He IS scoring Skyscraper. The director of that movie is a fan of the MV/RC sound.

As for Steve slowing down a bit, it's intentional. He recently had a baby. Besides, he's got nothing to prove anymore. He's been more than successful with his music.

superultramegaa reply Replies: 0 || 2018-03-11 21:38:14
Hey Hybrid, do you know if "Game Over, Man!" is getting a CD/iTunes release or not?

... reply Replies: 3 || 2018-02-18 13:08:00
they are going to reboot transformers, oh my GOD!


LS100 Studios2018-02-18 18:30:25
It's probably for the best at this point. With the fifth film, the continuity was ripped apart and the story became unbelievably convoluted. So many characters have been wasted and killed off throughout the series. At this point, audiences don't really know what's going on. I think it's time they take a break, and then start anew.

I started watching the films when I was younger, and while I'd love for them to wrap up the "story", how many movies would it take to do so?


Transformer2018-02-18 18:52:38
Not so fast!

h t t p s ://screenrant.com/transformers-movie-universe-reboot-cancell ed-rumors-denied/amp/


superultramegaa2018-02-18 19:36:58
Meh. As long as Steve is still there trying to salvage the movies with his music I'll be fine.

Jean-Luc reply Replies: 2 || 2018-02-05 01:55:24
Anyone y'all seen super bowel trailer of the Skyscraper movie with the rock? When I found out about Steve Jablonsky to score Skyscraper it's going to be interesting. I still excited to hear his upcoming score on July this year.


Olive2018-02-05 02:03:24
More Dwayne Johnson. This is fine.


superultramegaa2018-02-05 02:49:34
His IMDB says he's scoring a Netflix comedy that's coming out in March. It'll be nice to have more Jablonsky in general. He seems to be taking a lot more time in between scores. Might be why his more recent scores have been getting a lot better.

JBSO99 reply Replies: 4 || 2018-01-21 13:38:02
Could somebody help me to create a list of all the suites from the five Transformers movies? I want to make a compilation of all of them but I cannot figure out what are all of them. Thanks!


superultramegaa2018-01-21 15:17:55
I think I can remember all of them for you.

TF1 - Autobots, Optimus, The AllSpark, Arrival to Earth, Frenzy, Decepticons, Bumblebee, Whitwicky

TF2 - Prime, Infinite White, The Fallen, Heed Our Warning, Einstein's Wrong, The Shard

TF3 - I can't remember the album names but for the complete score there's:
Death and Return Suite, Sentinel Prime, Battle Glorious Suite, Battle, Our Final Hope, Megatron in DC, Conspiracy Suite, Shockwave

TF4 - Autobots Reunite, Tessa, Hunted, Lockdown, Decision, Galvatron, (and maybe I'm forgetting a few others).

TF5 - Sir Edmund Burton, We Have To Go, Sacrifice, Purity of Heart, Izzy, Merlin's Staff, Seglass Ni Tonday, Vivian


JBSO992018-01-21 19:42:13
Wow, great collection superultramega! I don't know if there are any of them missing, but with those, there is a 35-track collection. Not bad at all!


Backbiter2018-01-21 21:29:02
superultramegaa i think that you are missing The Knight Ship from TF4.


superultramegaa2018-01-21 22:14:53
Ah, ok. I didn't know that was a suite, Backbiter. Thanks!

Editor reply Replies: 1 || 2018-01-14 01:00:28
We're missing a cue in between "Keep A Secret / Vivian Arrives" and "American Man / Talking With Burton"


T-Mann0362018-01-16 19:08:55
Really? I never knew that.

David reply Replies: 2 || 2018-01-15 15:59:29
Steve and his wife had their second child over the weekend! It's a boy! Congratulations, Steve!!! :D


Bayhem2018-01-15 23:04:38
Congratulations, indeed! Very happy for Steve. Let's hope his son follows his father's footsteps.


Olive2018-01-15 23:29:25
Congratulations for Steve and Katia! Great family!

Bayhem reply Replies: 5 || 2018-01-14 15:49:50
I already put together a video showing that the original version of "We Have To Go" already fit perfectly within the film.
..........................


superultramegaa, where can I watch that video? Can you post a link here? Or it's not allowed?


superultramegaa2018-01-14 16:02:28
I should be able to, I've seen others do so.
https://www.youtube.com/watch?v=edLF0ZgSJgY


LS100 Studios2018-01-14 17:36:19
I saw that a couple months back - really love how it fits! The only thing I miss from the film version is the impact the music has when Megatron gets thrown out of the chamber. The way the music quiets for Prime and Megatron's exchange, and then swells up after Prime defeats Megatron fits perfectly in the film. But otherwise the original fits great too.


Hybrid Soldier2018-01-14 18:03:18
Yeah to me it just confirms We Have To Go from the OST was never intended in that scene like that. It's just a suite, the build up is typical of Transformers movies. There are too many things that just don't work, even if the suite was meant to be used somehow there...


Adam2018-01-14 18:14:24
Biggest crime to me is "Merlin's Staff" was reduced to a paltry 30 seconds in the film and "Stay And Fight" was cut down to 2 minutes.


superultramegaa2018-01-14 18:30:54
I disagree. I think it works perfectly. While yes the strings and horns in the film version work better for intensity, but the original track has better buildup and emotional peaks. Especially when Optimus is struck by lightning. The original music just works so beautifully with the choir and string section, and the fade out when Vivian releases the staff.

I like it much more than the bland strings at the end of the film version. In comparison, it just feels so anticlimactic. You have buildup, an intense string/horn section, buildup with strings and choir, then fast paced strings and bland tension ending. It's definitely not what Steve had in mind for the scene.

LS100 Studios reply Replies: 14 || 2018-01-11 02:04:38
This is a listing of all the tracks in the complete/FYC score, and whether the tracks were unreleased or film edits of previously tracks. In total, around forty tracks (half the score) were completely unreleased.

Also, for film versions that say (1/2) or (2/2) - that indicates the film version of a track from the original soundtrack is split into more than one track in the complete score.

01. Opening Battle (1:45) - Film version of "The Coming of Cybertron" (1/2)
02. Merlin (0:31) - Unreleased Track
03. Merlin Gets the Staff/Battle Won (3:11) - Film Version of "Sacrifice"
04. Troubled Times (1:56) - Film version of "The Coming of Cybertron" (2/2)
05. No-Go Zone/Kids (3:00) - Film version of "No-Go Zone"
06. Sqweeks and Canopy Part 1 (1:04) - Unreleased Track
07. Sqweeks and Canopy Part 2 (1:22) - Unreleased Track
08. Canopy Death (0:40) - Unreleased Track
09. Cade Arrival (1:18) - Unreleased Track
10. Knight Gives Cade Medal Disk/Cade Captured (2:28) - Film version of "Stay and Fight" (1/2)
11. Stand Down (1:46) - Unreleased Track
12. That Voice (0:52) - Unreleased Track
13. Barricade/Megatron (0:43) - Unreleased Track
14. Quintessa Part 1 (1:12) - Unreleased Track (contains elements of "Quintessa" suite)
15. Quintessa Part 2 (1:31) - Unreleased Track (contains elements of "Quintessa" suite)
16. Cade Driving Amulet (1:01) - Unreleased Track
17. Polo (0:46) - Unreleased Track
18. Vivian Arrives at Museum (0:27) - Unreleased Track
19. Vivian Museum (1:15) - Unreleased Track
20. Quintessa Part 3/Optimus Redemption (1:00) - Unreleased Track (contains elements of "Quintessa" suite)
21. Cadeís Junkyard (0:46) - Unreleased Track
22. Talisman (The Medal) (1:00) - Unreleased Track
23. No Home (1:02) - Unreleased Track (reprise/rendition of "Have Faith Prime" from AOE)
24. Too Tough to Share (1:32) - Unreleased Track
25. Horns From Hell Part 1 (1:09) - Unreleased Track (contains elements of "Quintessa" suite)
26. Horns From Hell Part 2 (0:30) - Unreleased Track (contains elements of "Quintessa" suite)
27. Dad (1:27) - Unreleased Track
28. Megatron Montage Front (1:37) - Unreleased Track
29. The Tank/Megatron Names His Crew/TRF Plans (2:20) - Film version of "Megatron Negotiation"
30. We Hunt (Decepticons Hunt) (1:44) - Film version of "Today We Hunt"
31. Izzy and Cade Fix Voicebox (1:22) - Film version of "Running Out Of Tomorrows"
32. Lennox Mounts Up/Code Red (2:14) - Film version of "Code Red"
33. Standoff/Cade (1:47) - Unreleased Track
34. Megatron Has Sqweeks/Put Him Down (1:26) - Unreleased Track
35. Drone Chase Part 1 (2:33) - Film version of "Drone Chase" (1/2)
36. Drone Chase Part 2 (2:26) - Film version of "Drone Chase" (2/2)
37. Cade Meets Cogman (1:21) - Film version of "You Have Been Chosen" (1/2)
38. Chosen (1:11) - Film version of "You Have Been Chosen" (2/2)
39. One True Knight/Quintessa Part 1 (0:22) - Unreleased Track (contains elements of "Quintessa" suite)
40. Freak Anomaly (0:42) - Unreleased Track
41. One True Knight/Quintessa Part 2 (1:00) - Unreleased Track (contains elements of "Quintessa" suite)
42. Fatherís Study (1:10) - Mostly unreleased, partially film version of "Abduction"
43. Fatherís Study/Car Abduction (1:59) - Film version of "Abduction"
44. Cade and B Arrive at Burtonís (0:54) - Film version of "Seglass Ni Tonday" (1/2)
45. Keep a Secret/Viv Arrives (1:27) - Unreleased Track
46. American Man/Viv and Cade Talk to Burton (1:14) - Unreleased Track
47. Witwiccans (1:58) - Film version of "History of Transformers" (1/3)
48. Nazis/Battle Memories (0:58) - Film version of "History of Transformers" (2/3)
49. Every Myth (0:53) - Film version of "History of Transformers" (3/3)
50. Roundtable/Organ SRC (1:27) - Film version of "Cogman Sings" (1/2)
51. Cogman Choir (0:37) - Film version of "Cogman Sings" (2/2)
52. The Staff (2:26) - Film version of "Seglass Ni Tonday" (2/2)
53. Better Get Cracking (4:45) - Film version of "Vivian Follows Merlin" (1/2)
54. Planetary Vampirism (1:22) - Unreleased Track
55. Vivian Follows Merlin/Car Chase (2:58) - Film version of "Vivian Follows Merlin" (2/2)
56. HMS Alliance (0:55) - Unreleased Track
57. Too Old (1:56) - Film version of "The Greatest Fear of All"
58. Underwater (2:55) - Film version of "Dive"
59. Burton Visits the Prime Minister (1:11) - Unreleased Track
60. Submarine (2:03) - Film version of "Stay and Fight" (2/2)
61. Two Moons (1:53) - Film version of "Two Moons"
62. Slimy Staff Search (0:42) - Unreleased Track
63. Merlinís Tomb Part 1 (0:46) - Film version of "Merlin's Tomb" (1/2)
64. Space Station (0:38) - Unreleased Track
65. Merlinís Tomb Part 2 (2:31) - Film version of "Merlin's Tomb" (2/2)
66. Claim the Staff (3:49) - Film version of "Claim the Staff"
67. Ship Rise (1:15) - Film version of "Prime Versus Bee" (1/2)
68. Top Side Fight (Prime vs. Bee) (1:41) - Film version of "Prime Versus Bee" (2/2)
69. Your Voice (2:12) - Film version of "Your Voice" (1/3)
70. Knighted Part 1 (2:13) - Film version of "Your Voice" (2/3)
71. Knighted Part 2 (0:27) - Film version of "Your Voice" (3/3)
72. Shut It Down (2:46) - Unreleased Track
73. Soldiers Take Position/Burton Dies (2:37) - Film version of "I Had My Moment"
74. Back in the Tank/Quintessa Shoots Blue Light (1:00) - Unreleased Track
75. Crush Zone/Prison Ship Hangar (1:29) - Unreleased Track
76. Fly with Me (0:46) - Unreleased Track
77. Ospreys (1:41) - Film version of "Ospreys"
78. Gunfire (3:38) - Film version of "Battlefield"
79. Dante/Prime Kills Dante (1:52) - Film version of "Did You Forget Who I Am"
80. We Have to Go/Zero Gravity (5:21) - Film version of "We Have To Go"
81. Fall and Grab (1:30) - Film version of "Calling All Autobots" (1/2)
82. Ending (2:09) - Film version of "Calling All Autobots" (2/2)
83. Unicron (0:57) - Unreleased Track (contains elements of "Quintessa" suite)


T-Mann0362018-01-11 02:26:40
Brilliant deductions, bro. That is a 100% complete film score of "The Last Knight".


Bay2018-01-11 06:30:02
Thanks!
And whats all an Suite on the ost ?


Medigo2018-01-11 10:29:44
Pretty sure 'Red Alert' also appears in the intro of 'Cade Arrival'

also most of these film versions sound exactly like the album versions dont they?


Hybrid Soldier2018-01-11 12:32:39
"Film Version", that's a very very polite way to name what is simply butchering & music editing... Steve probably freaked out and was absolutely right to release the cues as he wrote them, and not the way they were destroyed in the film !


Medigo2018-01-11 16:02:08
Yeah I vastly prefer the suites over the FYC representations


mpolonest123 2018-01-11 16:08:49
Agreed. The score in film is a complete dumpster fire (although there are some cool variations on previous themes). The fact that Seglass Ni Tonday is barely used is a hugely missed opportunity.

And I remember an interview with Steve around the time the film came out where he basically came out and said the music in film was extremely chopped apart and that the album presentation was his true vision.


Anonymous2018-01-11 16:12:59
Why is everyone so surprised
That's how bay works
Look at the first transformers
That one is also a disaster in terms of butchering
A composer is hired to write the score not cut it to picture


LS100 Studios2018-01-11 16:15:36
Nope, hardly any of the film versions sound exactly like the album versions. Some of the suites, like "Sacrifice", "Seglass Ni Tonday" and "We Have To Go", sound extremely different in the complete score. Half of "Sacrifice" was cut out for the film, "Seglass Ni Tonday" was pulled apart into multiple tracks, and the amazing theme at the end of it was scrapped. Parts of "We Have To Go" were kept, but then new cues (Prime vs. Megatron, Quintessa zapping Optimus) are spliced in. And the "Battlefield" drums in "We Have To Go/Zero Gravity" were also amplified compared to the original track. "We Have To Go/Zero Gravity" is perhaps the best film version track, as it introduces some great new material - the others are just condensed, or slightly expanded reworks of the originals.

Elements of the "Merlin's Staff" suite are also included in track 2, "Merlin", which is unfortunate because it's an amazing suite and it's condensed to thirty seconds in the film. The Quintessa suite was pulled apart into around ten different, minute long tracks. I do like some of the sound effects added to these smaller tracks, but you can really see how much this suite was edited.

Jablonsky released the original album with the unedited suites mentioned above, as well as "Purity of Heart", "Stay and Fight", "Izzy" and "Sir Edmund Burton", because of how his music was edited in the film. I feel a lot of the editing with the film versions works, as in they sound pretty good, but you can tell how Jablonsky's original work was pulled apart for the film.


superultramegaa2018-01-11 23:02:06
While I agree many themes were butchered (and Purity of Heart still has no resolution/payoff track), I'm just grateful for a complete film version score release. I love both Steve and Hans' music but Jesus is it a pain to recreate every film version track yourself. Finally, someone just fucking releases an SFX-less complete score of what was in the film. Y'see people who put together complete scores? This is how you release them! Alternate tracks are for recording session leaks!


Olive2018-01-11 23:10:03
I'll agree with you.


Bayhem2018-01-12 21:28:22
A film score exists to accompany the movie. To serve the movie. Sure, it also exists as a standalone piece to please the ears of us film score fans, but first and foremost it exists for the movie. Period. The composer and his team creates the score. But.....the director (especially a powerful director like Mike Bay) is the one who decides what he's gonna use and how he's gonna use it.

It's been that way since the beginning of cinema. Also, while some of you folks blast Bay for "butchering" the film version of the score please keep in mind that without Bay and his taste in film music we wouldn't even have these scores. From The Rock to Transformers 5. He is part of the small group responsible for the creation of the beloved MV/RC sound. I, personally, became an MV/RC fan because of his movies. Because of his taste in film music. So let's give credit where credit is due. And not just criticize. Now, having said that, I actually agree about the music editing in TF5 - could've been better - but this is certainly not the first time wť've seen this kinda thing with an MV/RC score. And it's not gonna be the last.


Hybrid Soldier2018-01-12 21:30:21
It's not even Bay's fault there, he was asked to make his 3h00 movie into a 2h30 one...


superultramegaa2018-01-13 15:01:46
That's true, but I think that he could have found a better way to fit it all in. Particularly "History of Transformers" and "We Have To Go." I already put together a video showing that the original version of "We Have To Go" already fit perfectly within the film. There is absolutely no reason it had to be edited. It was already perfect.

While it'd be more difficult with "History of Transformers", they could have at least fit the Bumblebee/AllSpark reprisal into the film instead of techno Seglass Ni Tonday. At least "We Have To Go" still had a good portion of Jablonsky's vision and some interesting new material. "History of Transformers" was just undercut without the ending homages.


Meta2018-01-13 23:45:45
Yes I agree...out of this entire score I found "We have To Go" to be the only keeper to replace the rest of the actual soundtrack release...

The soundtrack actually did have pretty much all the music, which is surprising and commendable (I can say the same about Blade Runner 2049, as well - minus the mixing for the end credits and the part where K is burning down the Sapper farm, but that's just being nitpicky...)

David reply Replies: 2 || 2018-01-11 17:02:09
Hybrid are you going to create a page for the complete score with composer credits? Can you please?!


Hybrid Soldier2018-01-11 19:17:55
Composer credits, hardly, the cuesheet is 100% Steve Jablonsky... lol


olive2018-01-11 21:25:41
O % in the royalties this time, babies...

T-Mann036 reply Replies: 2 || 2018-01-10 15:50:58
For those of you who want to know the list of tracks in the FYC score, you asked for it! Here they are...



01. Opening Battle (1:45)
02. Merlin (0:31)
03. Merlin Gets the Staff&#8202;&#8202;- Battle Won (3:11)
04. Troubled Times (1:56)
05. No-Go Zone&#8202;-&#8202;Kids (3:00)
06. Sqweeks&#8202;-&#8202;Canopy Part 1 (1:04)
07. Sqweeks&#8202;-&#8202;Canopy Part 2 (1:22)
08. Canopy Death (0:40)
09. Cade Arrival (1:18)
10. Knight Gives Cade Medal Disk&#8202;-&#8202;Cade Captured (2:28)
11. Stand Down (1:46)
12. That Voice (0:52)
13. Barricade&#8202;-&#8202;Megatron (0:43)
14. Quintessa Part 1 (1:12)
15. Quintessa Part 2 (1:31)
16. Cade Driving Amulet (1:01)
17. Polo (0:46)
18. Vivian Arrives at Museum (0:27)
19. Vivian Museum (1:15)
20. Quintessa Part 3&#8202;-&#8202;Optimus Redemption (1:00)
21. Cadeís Junkyard (0:46)
22. Talisman (The Medal) (1:00)
23. No Home (1:02)
24. Too Tough to Share (1:32)
25. Horns From Hell Part 1 (1:09)
26. Horns From Hell Part 2 (0:30)
27. Dad (1:27)
28. Megatron Montage Front (1:37)
29. The Tank&#8202;-&#8202;Megatron Names His Crew&#8202;-&#8202;TRF Plans (2:20)
30. We Hunt (Decepticons Hunt) (1:44)
31. Izzy and Cade Fix Voicebox (1:22)
32. Lennox Mounts Up&#8202;-&#8202;Code Red (2:14)
33. Standoff&#8202;-&#8202;TRF&#8202;-&#8202;Cade (1:47)
34. Megatron Has Sqweeks&#8202;-&#8202;Put Him Down (1:26)
35. Drone Chase Part 1 (2:33)
36. Drone Chase Part 2 (2:26)
37. Cade Meets Cogman (1:21)
38. Chosen (1:11)
39. One True Knight&#8202;-&#8202;Quintessa Part 1 (0:22)
40. Freak Anomaly (0:42)
41. One True Knight&#8202;-&#8202;Quintessa Part 2 (1:00)
42. Fatherís Study (1:10)
43. Fatherís Study&#8202;-&#8202;Car Abduction (1:59)
44. Cade and B Arrive at Burtonís (0:54)
45. Keep a Secret&#8202;-&#8202;Viv Arrives (1:27)
46. American Man&#8202;-&#8202;Viv and Cade Talk to Burton (1:14)
47. Witwiccans (1:58)
48. Nazis&#8202;-&#8202;Battle Memories (0:58)
49. Every Myth (0:53)
50. Roundtable&#8202;-&#8202;Organ SRC (1:27)
51. Cogman Choir (0:37)
52. The Staff (2:26)
53. Better Get Cracking (4:45)
54. Planetary Vampirism (1:22)
55. Vivian Follows Merlin&#8202;-&#8202;Car Chase (2:58)
56. HMS Alliance (0:55)
57. Too Old (1:56)
58. Underwater (2:55)
59. Burton Visits the Prime Minister (1:11)
60. Submarine (2:03)
61. Two Moons (1:53)
62. Slimy Staff Search (0:42)
63. Merlinís Tomb Part 1 (0:46)
64. Space Station (0:38)
65. Merlinís Tomb Part 2 (2:31)
66. Claim the Staff (3:49)
67. Ship Rise (1:15)
68. Top Side Fight (Prime vs. Bee) (1:41)
69. Your Voice (2:12)
70. Knighted Part 1 (2:13)
71. Knighted Part 2 (0:27)
72. Shut It Down (2:46)
73. Soldiers Take Position&#8202;-&#8202;Burton Dies (2:37)
74. Back in the Tank&#8202;-&#8202;Quintessa Shoots Blue Light (1:00)
75. Crush Zone&#8202;-&#8202;Prison Ship Hangar (1:29)
76. Fly with Me (0:46)
77. Ospreys (1:41)
78. Gunfire (3:38)
79. Dante&#8202;-&#8202;Prime Kills Dante (1:52)
80. We Have to Go&#8202;-&#8202;Zero Gravity (5:21)
81. Fall and Grab (1:30)
82. Ending (2:09)
83. Unicron (0:57)


Bert2018-01-10 16:18:49
who the fuck is Dante

thats the FYC version of OST track Did You Flrget who I am


Everan2018-01-10 16:25:31
Dante=Infernocus, the big ugly Decepticon Optimus kills, probably just a nickname, they tend to do that

Iamtommie reply Replies: 4 || 2018-01-09 23:14:34
www.paramountguilds.com/transformers/score/

FYC Score: 83 tracks. It looks complete!!


mpolonest123 2018-01-10 00:11:13
Outside of missing the suites (which are on album) I gotta say yeah, it looks complete. :D


LS100 Studios2018-01-10 00:15:26
Wow, that's a surprise! The score definitely looks complete. Very exciting!


Everan2018-01-10 03:46:43
We Have To Go, Film Version, heck yeah!!


T-Mann0362018-01-10 07:08:30
Sounds to me like it's a complete film score (minus the suites from the OST).

Bayhem reply Replies: 26 || 2017-12-31 15:32:51
Sooo, it seems that the upcoming Bumblebee movie will be the first TF movie not to be scored by Steve. I don't mind as log as they keep at least some bits from the original 2007 score.

I wonder if they will go with a non-MV/RC composer this time? Thomas Newman will fit the bill, IMO. On the other hand though, Mike Bay is the main producer of the movie, he's very involved, and he always been extremely loyal to the MV/RC talent. So maybe he will push for Lorne Balfe.....Or Henry Jackman.....I'm very curious to see who gets this gig.


superultramegaa2017-12-31 16:28:02
Very disappointing. Hopefully this will just be a John Williams - Star Wars sort of thing where Steve composes all the main films and not the spin offs. Hopefully he doesn't leave with Bay because with Bay gone, the TF films might actually get better, and it would suck to not have Steve compose for better films.

Plus we might get directors who don't order Steve to imitate Zimmer all the time, because that's been the biggest problem with the scores even though I like most of them.



Anton2017-12-31 16:28:28
Balfe is doing it


T-Mann0362017-12-31 17:01:51
TBVH, Lorne Balfe would be a PERFECT choice to compose for a new Transformers picture.


Bayhem2017-12-31 18:02:14
Plus we might get directors who don't order Steve to imitate Zimmer all the time
----------------------

Well, Bay is a filmmaker with a VERY distinctive and recognizable style. And not just visually, but musically. People expect a certain sound from his films and he gives them that. It's no wonder that some of the most popular and beloved MV/RC scores are from Bay movies. For the Transformers films Bay made, IMO, the right decision to use the "Zimmer sound". Steve delivered that, but with the sequals he was able to branch out a bit as well. It's not just Zimmer-sound, especially with the third and fourth movie.

And it needs to be noted that Steve's work for Bay's Pain and Gain is certainly not a Zimmer-type score. I would say that this score in particular is a perfect example of the "Jablonsky sound". And that sound is more than just power anthems.


As for the Bumblebee movie, I have a feeling that Bay - as a producer - will let Travis Knight pick the composer he wants to work with. So I wouldn't be surprised if they go with Dario Marianelli, the guy who scored Knight's "Kubo and the Two Strings".


Bayhem2017-12-31 18:03:04
Balfe is doing it
--------------------------------


Source?


superultramegaa2017-12-31 22:16:46
"...but with the sequals he was able to branch out a bit as well. It's not just Zimmer-sound, especially with the third and fourth movie."

I disagree. The 3rd movie still felt too Zimmer to me. It was sounded way too much like Inception, and Steve still seemed to be trapped in D minor. The 4th movie is basically a combination between Pirates of the Caribbean 2, and The Amazing Spider-Man 2 (overwhelming electronics with pop singers involved).

Now I want to stress even with these problems, I love the first 2 scores, and I enjoy TF3 because I feel like even with these limitations, Steve still tries to make his music as interesting as he can.

"And it needs to be noted that Steve's work for Bay's Pain and Gain is certainly not a Zimmer-type score. I would say that this score in particular is a perfect example of the '"Jablonsky sound."' And that sound is more than just power anthems."

This is true. I did feel TF5 in particular gave Steve an opportunity to express himself as a composer. With much more complexity and the Williams similarities seem a little more obvious here. What I really want is Steve to finally make a score the general public seems to recognize, (TF1 is the closest but most of his scores are recognized as nothing more than Zimmer-types. Hell, I've even heard one reviewer call TF5 stock music).

I think he could achieve this if we got a director that makes the music loud enough to be heard, and not equal to the sound effects so you get nothing but an auditory mess. It's just unfortunate Steve has yet to be a part of a truly great film that allows him to show his melodic side. I know he's done Deepwater and Lone Survivor which seem higher quality but those are more restrained scores. I think he needs a blockbuster that allows him to show his Steamboy/D-War level of quality.


Farestdkr2018-01-01 15:05:20
Why not Hans Zimmer?


Meta2018-01-01 16:52:28
LOL because Im pretty sure he doesn't want to have anything to do with Transformers, much less Superheroes.


Backbiter2018-01-01 17:40:04
...but with the sequals he was able to branch out a bit as well. It's not just Zimmer-sound, especially with the third and fourth movie.

LoL what?

1st Film = Batman Begins + King Arthur
ROTF= King Arthur + Angels & Demons
DOTM= Dark Knight + Inception
AOE= Man of Steel + Inception + Dark Knight Rises + Tron:Legacy + Fall of Cybertron
TLK+= Batman vs Superman + Game of Thrones


superultramegaa2018-01-01 18:24:46
The only one I don't get is Batman vs. Superman for TLK. The orchestrations and tone of those 2 films' scores don't really feel that similar to me. Game of Thrones I hear, but not really BvS.


Hybrid Soldier2018-01-01 18:57:57
TLK+= Batman vs Superman + Game of Thrones

Huh ?? No way ! 13 Hours !


Bayhem2018-01-01 19:31:56
LoL what?
..............................


Always that one person.....SMH. What do you think you've accomplished by posting this list? You do realize that I can do the exact same thing with EVERY single MV/RC score. Every single MV/RC score contains (sometimes very noticeable) elements from other - previously released - MV/RC scores. So instead of lol-ing me, do some proper reserach and don't pretend that Steve is the only composer who "borrows" from other scores. Maybe I should do the same with Balfe, HGW and Badelt, huh?

And by the way, "ROTF= King Arthur + Angels & Demons" is an utter nonsense. Hilarious nonsense. Come to think of it, the rest of your list is pretty hilarious too. Why? Because a few bits and pieces that remind you of other scores do NOT turn the entire score into a rip-off. Might wanna keep that in mind the next time you decide to undermine entire scores just because they contain a few recognizable bits from other scores.


superultramegaa2018-01-01 20:12:39
I also think that's a good way to clarify is yes, Steve Jablonsky is going to sound like Zimmer or another MV/RC to a certain extent. The key factor is, can he set himself apart in the process? I think TF 1, 2, (3 maybe), and 5 succeed at that.

TF4, aside from the Decision Suite, Autobots Reunited, Lockdown, and Galvatron, I think fails to do that. I remember many tracks sounding way too close to Pirates 2/Dark Knight series, or being consumed by Imagine Dragons. However, I agree most of his scores don't directly rip off of Hans every 4 seconds and a lot to the comparisons to Hans' movies are either ridiculous because Steve helped work on them so of course it will sound similar, or just inaccurate aside from similar aesthetic choices.


Bayhem2018-01-01 20:22:06
The 3rd movie still felt too Zimmer to me. It was sounded way too much like Inception, and Steve still seemed to be trapped in D minor. The 4th movie is basically a combination between Pirates of the Caribbean 2, and The Amazing Spider-Man 2 (overwhelming electronics with pop singers involved).
........................


Look, if we start going down this road we will end up nowhere. Inception also rips-off previous scores, Pirates as well, Spider Man 2 too. Why do we pretend that Transformers are the only scores that contain elements from previous scores? By doing so we undermine the very hard work Steve and his team put into these scores.

It's useless to focus on this thing, since ALL MV/RC scores borrow from each other. It's been that way since the mid 90s.



==================
What I really want is Steve to finally make a score the general public seems to recognize, (TF1 is the closest but most of his scores are recognized as nothing more than Zimmer-types. Hell, I've even heard one reviewer call TF5 stock music).
===================


Well, I've read a review that stated the Inception score is the biggest Zimmer fail of all time. Only VROOOOM, BROOOOOM and nothing else. What I'm saying is, you should never care about reviews. For one, a lot of film score reviewers are usually huge MV/RC haters.

As for Steve, I would say he has already created scores that are very popular and recognizable with the general public - The Island and the first Transformers. I've heard tracks from these scores on countless live events and even during the Olympic games. Not a lot of film composers have accomplished that. And from my observation, ordinary listeners don't even mention Zimmer when they listen to these scores. They know very well who Steve is. He's one of the very few MV/RC composers who are popular outside the "fan bubble". During his All Access interview last year he was introduced by FMM as "the one and only Steve Jablonsky". They will never say that if he's not popular or recognizable enough. And yes, I get what you're saying - you want Steve to create a popular among the public score that doesn't sound like a classic MV/RC score. On this one I will say this - he already did that with Pain and Gain, but sadly this score is not as popular as the TF score. Same for his scores for Keanu and Your Highness. They don't have that MV/RC sound, but at the same time they're nowhere near Transformers, in terms of popularity among the casual film score listeners.


==============================
It's just unfortunate Steve has yet to be a part of a truly great film that allows him to show his melodic side.
==============================


Transformers 1 is a great film. With a very melodic score. I clearly remember how in 2007 so many people - ordinary people - said after watching the movie how much they loved the music. It was insane. The chat around this score was on par with the Gladiator score mania in 2000. There was even an online petition for the official release of the score, I'm sure you remember.



=====================
I think he could achieve this if we got a director that makes the music loud enough to be heard, and not equal to the sound effects so you get nothing but an auditory mess
======================


Well, I have no problem hearing the music in the TF movies. Hell, I've heard people complain that the music was even too loud. The Filmtracks guy was one of them. Mike Bay, unlike Peter Berg, knows how to properly mix the music with the sound effects. Listen to the scores Steve did for Bay and for Berg and you'll see what I mean. For the Berg movies - like Battleship, Deepwater and Lone Survivor - Steve basically created sound design scores. You don't know what's sound and what's music. While with Bay he could be way more melodic. A good example is the Skorponok scene in TF1 - there is a huge amount of sound effects, explosions, gunfire, flying jets, people screaming......yet, you can clearly hear the badass music that plays during this part. It's a very melodic, very memorable piece of music. And because of it this is one of the most iconic scenes in the movie.


Bayhem2018-01-01 20:34:03
I agree most of his scores don't directly rip off of Hans every 4 seconds and a lot to the comparisons to Hans' movies are either ridiculous because Steve helped work on them so of course it will sound similar, or just inaccurate aside from similar aesthetic choices.
================================


Well said. That is exactly my point. I don't deny that there are some very Zimmer-ish bits and pieces in Steve's scores. No one denies that. Hell, I spot them immediately. But they certainly don't overshadow the rest of the scores. So to dismiss the scores completely - like some people try to do (Balfe fanboys perhaps, lol) is ridiculous. Want to complain about composers ripping off Hans and his sound? Go listen to Harald Kloser' '10,000 BC' score. Now THAT is a rip-off.


Hybrid Soldier2018-01-01 22:10:53
Very interesting read... :)


Too bad there's a couple of key elements here I unfortunately can't really discuss to analyse all of this more accurately, but interesting read nonetheless !


superultramegaa2018-01-01 23:39:48
Well when I say a Jablonsky score everyone will remember, I mean one that anyone on the street could hum/recognize. I'm sorry to say this, but most people wouldn't recognize Autobots/Optimus. Sure, fans of the movie would recognize them. Fans of film score might (which in and of itself is a very unpopular music genre in comparison to other ones). The general public only recognize Jablonsky's music as epic/dramatic. Most people don't remember it the way they do Pirates of the Caribbean.

Also, reading/listening to critics help you understand criticisms against them so you can properly respond to them, or at the very least, understand it and respect their opinion. You can't just shut yourself out and say "My opinion is the only one that matters." Also Transformers 1 being a great film is up to whether or not you can tolerate Bay's obsession with barely legal women, over the top/perverted humor, and shaky cam making the action difficult to understand.

My criticism of the music volume is based on me sorting through audio files in Sony Vegas. The Autobots' voices are ingrained into the music tracks a good portion of the time so those can't be isolated with high quality, and the action scenes are impossible to isolate because the SFX are overlayed over the music. Why do you think there's no SFX version of We Have To Go (film version)? The sound effects are edited in, in such a way that the music never takes priority so general audiences don't notice it so no one not into film scores hears it!

It's infuriating to me because I feel Jablonsky could create one of the greatest scores if given the proper film/director. Now I haven't seen Deepwater/Lone Survivor yet, but if you're right about the director, then that's part of my point. No one lets his music carry a moment. It's always interfered with or drowned out. I certainly didn't notice the Transformers score when I first watched it. It wasn't until I listened to it on YouTube did I realize how great it was.

As for The Island, I think it has the problem that Desplat's "The Imitation Game." Great main theme... rest I can't sit through. It's just not interesting to me. But I'll say once again, Steve is one of my favorite composers. His scores are the most entertaining and digestible to me, and he's never made a score that I had nothing good to say about. The more I've delved into his scores, the more unique I realized his style is. Your Highness, Steamboy, D-War, Transformers 1, 2 , and 5, are close to perfect scores to me. They almost never have a boring moment. That's something not many scores can achieve is making every track interesting.


Bayhem2018-01-02 07:43:07
superultramegaa, fair enough. I see your point and I understand where you're coming from. I'm certainly not here to change your views or just argue for the sake of arguing. I just wanted to share my views. At the end of the day, we both admire and support Steve and that's what matters.


There is one thing in your comment I want to address though:

=======================
Also Transformers 1 being a great film is up to whether or not you can tolerate Bay's obsession with barely legal women, over the top/perverted humor, and shaky cam making the action difficult to understand.
=======================


I think it's pretty obvious that I'm a huge Bay fan, but I'm not one of those fans who praise everything and attack those who criticize. I'm always objective and I always use facts to support my views. So, in regards to your statement: "Bay's obsession with barely legal women" in Transformers. First: Megan Fox was 20 years old when she shot this movie. Far from being a jailbait. Rachael Taylor was 22. Keep in mind: models and porn stars start their careers even younger. 18 for porn, way younger for models. Second: this was, after all, a movie about young people for young people. So of course he would cast beautiful young people. This is Hollywood after all. Sadly, I think you've fallen victim to the very common misconception among some old achool TF fans who hate the live-action movies and live under the impression that Bay sexualizes 12 year old girls. Which is, if you look at the facts, simply not true. It was never true. Nicola Peltz was 18 when she shot TF4, her parents are close friends with both Bay and Wahlebrg. Rosie Whitely was 25 when she shot TF3. The only really young girl in the TF films is Isabela Moner (15), but she's not in any way, shape or form sexualized. Her parents were often on set and she's barely in the movie anyway.

As a straight young guy, I sure as hell don't complain when Bay shoots a 22-25 year old female performer in a beutiful, sexy way. What's there to complain? He makes them look good. Same thing with his male starts. He shoots them like heroes. If it was a bad thing studios would simply tell him to stop doing it.

In a world where barely legal Kardashian girls - Kylie Jenner, I'm looking at you - dress, behave and photograph themselves like absolute sluts, it's almost comical that there are still people who complain about Bay's way of shooting some of the female stars in Transformers.


As for the humor in Bay's movies, that is completely a matter of personal opinion. I've been following Bay's career for 20 years now and I know his sense of humor. I know what to expect and I have no problem with it. And since I'm always objective and fair, I will say that there are some comedic bits in the TF films that I don't like, but that certainly doesn't take away my overall enjoynment of the films. If we let small bits and pieces overshadow entire (almost 3-hour) movies then we could easily dismiss even some of the greatest movies ever made. Example: I, and apparently plenty of other people, don't like the wedding sequence in The Godfather. I don't like how long it drags. I think it's boring as hell. But that doesn't mean I'm writing off the entire movie. Exactly the opposite: I love the movie, despite this sequence. Same with the Dark Knight movies: Christian Bale's Batman voice is ridiculous. It's really bad. A lot of people hate it, including me. But I'm not letting that take away my enjoynment of the flicks. I simply focus on the stuff I like. Instead of constantly dwelling on the stuff I don't like.


As for the shaky-cam, you really need to see a Paul Greengrass or a Daniel Espinosa movie. Now THAT is shaky cam. If you look at Bay's entire filmography you'll realize that he barely uses shaky-cam. And when he uses it in films like Transformers, it actually makes sense. You can't have a completely steady camera work when you're put in the middle of a giant, intense robot action. It would look ridiculous. So it makes sense to have little shaky-cam. And it is little. Watch the movies again and you'll see. Watch the forest fight in TF2.

The problem with shaky cam is when you shake it in normal scenes with nothing but conversations between the characters. Paul Greengrass does that. Bay does not.

Bay, just like his pal and mentor Spielberg, uses shaky cam to enhance some of the battle sequences. Spielberg did it in the opening battle sequence in Saving Private Ryan. So, just like any other thing, there is a right way and a wrong way to use shaky-cam. In my opinion, Bay knows how to use it properly.

Of course, you don't have to agree with that. You have your opinions and that is fine. We are entitled to our opinions.


Backbiter2018-01-02 16:26:30
My dear Bayhem:
"You do realize that I can do the exact same thing with EVERY single MV/RC score"
Yes, of course.

"Because a few bits and pieces that remind you of other scores do NOT turn the entire score into a rip-off."
Im not saying that is a complete rip-off, but that is directly inspired by the scores that I point out.

"And by the way, "ROTF= King Arthur + Angels & Demons" is an utter nonsense."
I have to disagree with you there. "Prime" is almost the same as Woad to Ruin (9:54).

"Might wanna keep that in mind the next time you decide to undermine entire scores just because they contain a few recognizable bits from other scores."
Im not undermining anything. I love this scores, but thinking that they are not inspired by some of Zimmer's Works is an utter nonsense.

"Maybe I should do the same with Balfe, HGW and Badelt, huh?"
Absolutely yes, it's always good to know from where somo RCP composers tooks inspiration from.

"(Balfe fanboys perhaps, lol) "
Nop, not at all. I can't understeand why people think that Batman Lego and Ghost in the Shells are perfect.


delen.de.dene2018-01-02 18:51:42
Lorne Balfe one of the worst composers from RC! I hope he didnt the score for bumblebee!


Olive2018-01-02 19:15:48
In the name of peace and good manners in this site ignore this guy, please!


Bayhem2018-01-03 20:17:27
Lorne Balfe one of the worst composers from RC!
..............................

Well, Lorne is my Facebook friend, he likes my posts, and his '13 Hours' score is, in my opinion, one of the best MV/RC scores of the last few years. So yes, I have to disagree with you there. Just like Jablonsky, he's a good, down-to-Earth dude who is very approachable and nice to his fans.

Granted, I'm a Jablonsky fan first and foremost, but Lorne is a talented guy as well. He's still very young, so sadly for his haters he will be in the game for quite a while.

Now, you have the right to not like him. You are entitled to your opinion and you have the right to share your opinion. Just don't force your opinion down people's throats and don't think that your opinion is a fact. Your opinion is just as valid as the opinion of a person who loves everything Lorne Balfe does.

P.S. Who knows, maybe one day Lorne will surprise you with a score that you actually like....


Olive2018-01-03 20:42:46
13 hours is a good score, but... = Thin Red Line + Black Hawk Down and Prince of Egypt. ;)


Bayhem2018-01-03 21:43:31
13 hours is a good score, but... = Thin Red Line + Black Hawk Down and Prince of Egypt. ;)
========================


Yes, you're right. But that's not a bad thing if you ask me.


A smart man once said: "There is nothing original left in the world. Everything's been done before."

And that's the ultimate truth. Especially when it comes to music and movies. So instead of trying to pinpoint which scores the '13 Hours' score reminds me of, I've decided to simply enjoy the music that Balfe created.


BT's score for 'Stealth' is literally "The best cues from Hans Zimmer and Trevor Rabin". It really is. But I don't hold that against it. As long as the score works and delivers on what it promises, I'm cool with it.

And it's not that I can't or don't want to pinpoint the parts that sound familiar. Trust me, I can. I've been an MV/RC fan for almost 20 years now. I know that sound extremely well. But even if some of their scores sound very, very similar I'm not angry or disappointed. Not at all. I'm literally like "Oh, this bit here sounds like the bit from 'Chill Factor'. Cool!"

And that's it.

I don't dwell on these things, I don't complain about these things. And that is because I know how difficult it is to create something totally original. Almost impossible nowadays. And I also see these similarities as nice, little connections between all MV/RC scores. As a fan, I think it's cool :)


Oliver2018-01-03 22:04:07
My comment was a response to the comparison they made with the last Transformers and 13 hours, which one was inspired by the other, when not even 13 hours is original. Like you, I agree that originality is and always has been a challenge, especially when it comes to composers of MV / RCP. They often look at each other's work very often (after all, they spend a lot of time together and share the same "mother" studio and the same resources). And I'm ok with that, too.


Andrew2018-01-04 05:56:32
delen.de.den Listen to Balfeís Beyond Two Souls and tell me that isnít good !!!!its my favourite games soundtrack

BrianP reply Replies: 3 || 2018-01-03 05:43:23
delen.de.dene : you are stupid to say that.Listen to Churchil and Genius and try and explain what is wrong with those scores. Just give it a go and try!!


Backbiter2018-01-03 06:02:46
Ignore him, he's just a troll


Andreas2018-01-03 07:13:56
delen.de.dene ALSO he is very loyal to his fans . Balfe always takes time to respond to social media and releasing Ghost in the Shell for the fans was really amazing.a great composer and a good person .


Olive2018-01-03 15:31:28
Meh.

1. He is a troll. It's good to ignore comments like that.
2. Churchill and GITS are not perfect. If you like it, okay, no problem. But not everyone has to agree.
3. Ah, stop fighting for Balfe all the time. Give us some time off.
4. I agree with Andreas.
5. Again, TROLLS should be ignored

delen.de.dene reply Replies: 0 || 2018-01-01 18:49:50
Steve Jablonsky is the Best for Transformers!

superultramegaa reply Replies: 1 || 2017-12-16 19:57:16
One last topic I want to cover for this score, and that's the references to past films. I've found quite a few new ones that may be interesting.

"Today We Hunt" - Reference to "Bumblebee" at the end of the track.

"History of Transformers" - Reference to "Bumblebee", the end of "Are You Ladiesman 217?", and a sort of rebuilding of the Autobot theme using it's main notes.

"Two Moons" - Contains the main 2 notes of "Decepticons" repeated through the entire track, and of course elements of "We Were Gods Once".

"Prime Versus Bee" - Contains the drum beat featured in "Optimus vs Megatron"

"Your Voice" - Reference to "Optimus", the escalation of notes featured in scenes where Optimus is almost defeated ("Optimus vs Megatron" and the beginning of "I Claim Your Sun"), the 3 notes of "We Were Gods Once" when Optimus is about to be killed, and of course "Arrival to Earth/There Is No Plan".

"Battlefield" - Basic notes of the end of "You're A Soldier Now" and the Autobot theme in the 3 note horn section.

"Did You Forget Who I Am" - Autobot theme plays in the build-up before the "You're a Soldier Now" reprise. (Also maybe a hint of "Skorponok" at the end?)

The rest has already been pointed out on this website.


Bayhem2017-12-31 15:19:56
Wow, that's interesting, superultramegaa. Interesting observations. Thanks for sharing.

SPECTER reply Replies: 1 || 2017-12-24 20:47:14
Does anyone think the beggining half of "Sir Edward Burton" sounds like part of "All of Them!" From the King Arthur (2004)


Bayhem2017-12-31 15:19:31
Wow, that's interesting, superultramegaa. Interesting observations. Thanks for sharing.

superultramegaa reply Replies: 20 || 2017-11-26 16:21:14
Here's something that might cause controversy. Steve Jablonsky as a Star Wars composer? The Autobot theme is fairly similar to Star Wars in a lot of ways, and if he went all orchestral like he did with Steamboy, I think he might pull it off.

I think people like James Newton Howard, John Powell, or Alexandre Desplat are more qualified of course, but Jablonsky might be an interesting choice. I think his style could work in Star Wars considering I hear a lot of John Williams in his scores.


Macejko2017-11-26 16:38:17
I'm in.


James2017-11-26 17:01:18
Well, if he knows how to respect the sound of the franchise I see no problem with that. Now if his desire is to make a "revolution with the outdated sound of it", let him stay well away.


superultramegaa2017-11-26 17:06:58
I don't think that would ever be something to worry about. In an interview, Jablonsky said that his first musical memory was holding the vinyl of the Star Wars score. Plus I think he even met John Williams, so the guy obviously had a huge influence on Jablonsky, and he probably wouldn't disrespect the style.


Macejko2017-11-26 17:12:41
Err... the sound of Star Wars is already stale as fuck, personally I would cheerfully welcome some "revolution".


Bayhem2017-11-26 19:54:46
Well, it's no secret that Steve is a huge, huge, huge fan of John Williams's work and if given the opportunity I'm sure that he would deliver something truly amazing. No doubt in my mind.

And honestly, the way they're expanding the Star Wars film universe I wouldn't be surpised at all if some day they announce Steve (or some other MV/RC guy) as a composer. There will be people who will bitch and whine of course, just like there will be people who will bitch and whine because Steve is not the composer for the next Transformers movie - Bumblebee. That's just how it is. You can't please every person out there.

But, speaking for myself, I would honestly be more excited if we have a Jablonsky-composed Indiana Jones movie! Would be awesome. I think they're making another one for 2019 and Steve was already involved in Spielberg productions (the TF movies). So if it's between Indy and Star Wars, I would pick Indy.


James2017-11-26 20:40:53
They do not give up of the franchise, eh? 6 movies...

Particularly I do not want Jablonsky with Indiana or SW, as well as I do not want to Balfe in any of these projects. Not that it's of great importance, of course. Not even is a high point of any of their careers. I just don't believe they can change the water to the wine.

Still, In a competition between Jablonsky and Balfe to SW and/or Indiana I would vote for Balfe, which has more than one score with orchestral scope, while Jablonsky stayed behind long ago with Steamboy.

Many composers already work following films previously worked by John Williams, but none has gone far beyond what he has left predetermined. There's a lot of respect for his work. If Williams had worked in the current Superman films, Elfman would never have changed the themes, just as Henry Jackman would never have changed the theme to Captain America, or Brian Tyler changed the themes for Thor and Iron Man, or Elfman to Hellboy (who enjoys continuity but did not respect the theme of Beltrami) or even Giacchino with his Homecoming today. Realize that all the other composers fight one with the other to bring their work to light, except when John Williams has the hands in the project.In these substitution cases, they prefer smaller composers, not so competitive, but with clear skill with the orchestra. Nowadays, however, they are present-renowned composers such as Silvestri and Newman.

But with so many reboot these franchises is capable of Spielberg and Williams to detach and let the directors, producers, composers who arrive have the freedom to do whatever they want. Have you ever imagined an Indiana directed by Michael Bay?


Bayhem2017-11-26 21:27:11
Not that it's of great importance, of course. Not even is a high point of any of their careers.
------------------------

Not sure I understand what you mean exactly. The way I see it, having a Star Wars project in your resume would be a high point of anyone's career. I'm sure all composers out there would kill for the opportunity to score a SW movie.


-------------------
which has more than one score with orchestral scope, while Jablonsky stayed behind long ago with Steamboy.
-------------------

What do you mean by "orchestral scope"? Because in terms of scope and "epicness", Jablonsky is, in my opinion, heads and tails above Balfe. And you know what they say: it's not about quantity, it's about quality. Just because Balfe did 50 movies this year, doesn't mean they're all memorable scores. And the other side: just because Jablonsky chose not to do 50 movies a year, doesn't mean he's not capable of recreating the Steamboy sound again.


======================
But with so many reboot these franchises is capable of Spielberg and Williams to detach and let the directors, producers, composers who arrive have the freedom to do whatever they want. Have you ever imagined an Indiana directed by Michael Bay?
======================

You can never have complete freedom, unless you're a hugely successful "name above the title" director like Spielberg, Cameron, Zemeckis, Bay, Jackson or Lucas. And sometimes even they feel pressure. It's even tougher on already established franchises like Star Wars and Indiana Jones. There are always producers and studio suits who follow every step you make. If you do something they don't like, they will fire you on the spot. We saw it a couple of times on the Star Wars franchise. As for Bay and Indiana Jones, one of his favorite movies of all time is actually the first Indiana Jones. But, even though I'm a huge fan of Bay's work I don't think he would be the right guy for an Indiana Jones movie. Star Wars movie, yes, I can see him directing that, but Indiana Jones is more "old fashioned". In a sense that it's not fast-paced, kinetic franchise. It's not in Bay's wheelhouse. Still, I'm sure if his pal Spielberg says "Mike, I want you to do the next Indiana Jones", Bay will absolutely do it.


James2017-11-26 22:38:41
he way I see it, having a Star Wars project in your resume would be a high point of anyone's career. I'm sure all composers out there would kill for the opportunity to score a SW movie.

----------------------------------------------------

Not necessarily. Jurassic Park 3, Superman returns and Harry Potter are not the best works of Don Davis, John Otman, Alexandre Desplat or Patrick Doyle. I think any one of them could live very well without ever having worked in those films and that would not change the state of their careers today.

-----------------------------------------------------

What do you mean by "orchestral scope"? Because in terms of scope and "epicness", Jablonsky is, in my opinion, heads and tails above Balfe. And you know what they say: it's not about quantity, it's about quality.

-------------------------------------------------------
Exactly. Balfe is credited with the Imdb as a composer of almost 100 projects, more than Silvestri, Desplat, Elfman, Otman, David Arnold has done in over 20 years of work. Does that mean he's better than them? Not in any way. However, Balfe still has the animations in his defense. He simulates a good Powell. Jablonsky, since Transformers, has been stuck to the epic sound and rarely comes out of the comfort zone.

---------------------------------------------------------
But, even though I'm a huge fan of Bay's work I don't think he would be the right guy for an Indiana Jones movie. Star Wars movie, yes, I can see him directing that, but Indiana Jones is more "old fashioned".

-----------------------------------------------------------

We've reached a common point. The feeling you have by Bay working on SW is the same as I have by Jablonsky or Balfe entering in the franchise. At least not today, not now, perhaps in the future. However I think under the control of a studio as firm as Lucas Film any director manages to drive a Star Wars that resembles Star Wars, even Bay. It's the same as Marvel these days: You have to follow the formula.


Edmund Meinerts2017-11-27 01:20:22
There's part of me that would be super curious to hear what Jablonsky would do with Star Wars, and part of me that would be terrified. Even at his orchestral best (a la Steamboy), Jablonsky's style just isn't...old-school Romantic symphonic enough to suffice, being more of an ostinato/percussive-driven affair, albeit in a much brighter register than something like Bourne. It still has those RC modern influences flickering in around the sides. Not saying he couldn't do it (like a lot of people might), but I'd be apprehensive.

Macejko, I can't agree with you less. Certain things should never be touched and the Star Wars sound is one of them. Stale? Fuck no. Timeless.


superultramegaa2017-11-27 02:08:10
Seeing all the points here, I still think Jablonsky would do amazing things with Star Wars if given enough time to work on the score. His themes/suites always struck me as more Williams than Zimmer (meaning they're an idea that evolves rather than escalates), his action tracks on scores he works on mostly alone (D-War, Steamboy, IDEA), reminded me of the much more melodic composers, and when he does do almost entirely orchestral (D-War, Steamboy), I think the sound is perfect.

I think you guys underestimate Jablonsky. He's demonstrated that he knows how to adapt his scores for different films with scores like Your Highness having a lot of Fantasy score elements with a modern twist (like the movie was supposed to be), and TF5, pulling back the electronics a lot for the emotional suites, and using a lot of classical techniques (as the movie's about Old European stories).

So imagine how he'd adapt his style for:
1. A franchise he probably loves
2. A respected composer's style who we know he loves
3. A franchise known for having some of the best music ever created.

I personally think it may be one of the most interesting Star Wars scores we'd have and Jablonsky would definitely work his hardest for it. Rogue One's score was serviceable, but none of the in-film themes stuck with you at all. Jablonsky's had a lot of problems before, but memorability was never one of them, at least for me. Plus, Steamboy for me is already a very Star Wars-like score with a hint of Pirates of the Caribbean. So I think he'd pull it off, and in an interesting way. That's my pitch for the idea.


Mike (OTM)2017-11-27 02:08:58
Sorry, but the Star Wars sound, if anything, is underutilized today. Few composers right now have orchestration and writing similar to Williams (except Giacchino, and look - he scored a Star Wars film).

To borrow from Han Solo: "Bring it on! I'd prefer a straight symphony orchestra to all this electronic messing around!" I don't mind the synthesized additions or simpler orchestrations, but if anything, that's what's stale.


Mephariel2017-11-27 03:09:34
The problem with Steve Jablonsky is not his themes. He is fully capable of writing some interesting themes. The problem is, 9 out of 10 times, he can't write complex underscore in between his themes, which is what Star Wars requires. You can't just power anthem your way out of Star Wars.


james2017-11-27 04:54:37
Jablonsky certainly knows how to write complex themes, or very close to it. He's an educated musician after all. I think it's more of a matter of experience than anything else. Jablonsky is a guy who works well with technology, Williams is a good conductor, former jazz musician, was orchestrator of several composers of the golden era of cinema (Alfred Newman, Max Stenier and Franz Waxman). There's no way to expect one to do the other's work.


James2017-11-27 04:57:11
And frankly, that's not necessary.


Bayhem2017-11-27 10:26:51
The problem is, 9 out of 10 times, he can't write complex underscore in between his themes, which is what Star Wars requires. You can't just power anthem your way out of Star Wars.
===============================

Now, whether they're "complex" or not is up for a discussion, but Steve absolutely can write a very effective underscore. I think the best examples are The Island and the first Transformers. I own the complete scores and it's exactly the subtle bits that are my favorites.

Yes, Steve is famous for his power anthems, but I would argue that he's equally as good with the more intimate, contained stuff. Hell, I'm sure that if you put some of his more contained cues on an emotional scene from Star Wars, it would actually be a pretty good mix. I can already see it :)


Bayhem2017-11-27 10:52:27
Jablonsky, since Transformers, has been stuck to the epic sound and rarely comes out of the comfort zone
=====================


Well, Hans himself said in an interview that Steve is one of the few composers he knows who can successfuly jump "from big to small". Yes, the epic sound is what Steve is known for, but let's not forget that he also did the exact opposite of a big, epic score. I'm talking about Desperate Housewives, Your Highness, The Sims and Keanu, among others. His tracks for Desperate Housewives are all over YouTube and I highly recommend them. I was very impressed that the guy who did the big, bombastic Transformers scores also wrote these beautiful, romantic and at times very relaxing tracks. My point at the end of the day is that just because he's "stuck" with the epic sound, doesn't mean he's not capable of doing something intimate and contained. Something outside his comfort zone. He certainly can, and the examples are out there for all to see.



=======================
the same as I have by Jablonsky or Balfe entering in the franchise
=======================

I'll be honest: in terms of the Star Wars movies, if I have to choose between Michael Giacchino (or someone like him) and an MV/RC guy, I would go with MV/RC. I don't understand the appeal of Giacchino and I was never a fan of his work. Might be an unpopular opinion, but that's how I feel. Now, if they get David Newman, then I'm gonna be a very happy camper :)


Macejko2017-11-27 11:11:24
I don't know, Edmund. Even Williams himself couldn't quite match the memorability of the older themes with his latest output in Force Awakens, and if he doesn't completely overhaul some of the themes, I cannot see The Last Jedi being that much better. Like, come on - was that really a Snoke's "theme"?

I really, strongly believe that nothing should be so sacred. Personally I'm only lukewarm on SW, but there are franchises I hold on a much higher pedestal and I have zero problem with a new musical direction for them. That new LotR series from Amazon? I love Shore's score, but I'm also first one in line for something new.


James2017-11-27 13:46:42
@Bayhem When I talk about SJ's work, I don't mean his ability to produce intimate music or a great power anthems. I mean his ability to write good themes, to make good use of the orchestra. Any theme of the 5 Transformers film has similar orchestration, even Pirates of the Caribbean vary from one movie to another, even if not all the scores succeed. And about Giacchino, I agree with you, David Arnold in the decade of 90 in a SW film would make a better work than he did in Rogue one or Star Trek. Listen to "Stargate: Overture." It's what kind of music I hope a composer produces for a SW movie.

However, in a spinoff, such as Han Solo or Rogue One, anything is possible. No one will need to develop the same amount of themes that Williams did in 40 years. Powell will probably create an atmosphere somewhat different from that created by a Williams (he says he wants to keep his signature on the final product). Then other composers will also be able to do it. Jablonsky one day maybe will be one of them, who knows? Disney will try to take everything it can with these films, a lot of new material is developed. The doors are open to everything and everyone.


James2017-11-27 13:59:23
@macejko I'm also in favor of change, but as long as it happens to something really new. What the guys are proposing here is SW have a score that resemble the of Transformers (epic, powerful, synthesized like the actual music for the new trailers of the franchise).


Bayhem2017-11-27 17:32:32
Any theme of the 5 Transformers film has similar orchestration,
========================


The first and the second, yes. But I would say that Transformers 1 and Transformers 3 are actually very different scores. The third TF score has a more synthetic sound, different themes, different approach, and Steve barely used choir. While TF1 and TF2 are chock-full of choir work and vocals (which is why they're my personal favorites of the bunch).

My point is this: Steve is very good with melodic scores - cues with a clear beginning and a clear end - and it certainly wouldn't hurt if a Star Wars movie has a more melodic and less operatic score. Kinda like the Indiana Jones scores.

superultramegaa reply Replies: 1 || 2017-11-27 04:26:01
Jablonsky has underscore all the time. The strings in Autobots, the supporting woodwinds in Isabel the Strong, the supporting strings in Seglass Ni Tonday, the strings and organ in History of Transformers, the choir and strings behind the flute in Optimus, etc. I'm guessing that's what you mean by underscore is background music. If that's the case then Jablonsky's had that done for years.


superultramegaa2017-11-27 04:29:24
(Replying to Mephariel in comment chain by the way)


superultramegaa reply Replies: 27 || 2017-11-18 20:44:58
Any chance of proper artist credits for this score?


Anonymous2017-11-18 21:29:55
rumor has it Lorne Balfe did this score

I guess if we do not get any credits then that proves it


Hybrid Soldier2017-11-18 21:40:48
The thing is with Jablonsky scores composers rarely get cuesheet credits, so you can't really draw conclusions out of it. Here's a small part of the cuesheet :

QUINTESSA PT 1
QUINTESSA PT 2
QUINTESSA PT 3 OPTIMUS REDEMPTION
KNIGHTED
WE HAVE TO GO ZERO GRAVITY

OPENING BATTLE
MERLIN
MERLIN GETS THE STAFF - BATTLE WON
TROUBLED TIMES
CADE DRIVING - AMULET
WE HUNT - DECEPTICONS HUNT
KEEP A SECRET - VIV ARRIVES CASTLE FOLGEN
WITWICCANS
ROUNDTABLE ORGAN SOURCE
COGMAN CHOIR
STAFF
BETTER GET CRACKING
PLANETARY VAMPIRISM
TOO OLD
SUBMARINE
TWO MOONS
MERLIN'S TOMB
SPACE STATION
CLAIM THE STAFF
SHIP RISE
YOUR VOICE
SOLDIERS TAKE POSITION - BURTON DIES
FALL AND GRAB
ENDING


superultramegaa2017-11-19 00:29:19
That's unfortunate. With this score, I think it's obvious that the majority is Jablonsky, as it has a ton of elements from scores he's composed exclusively, but it would still be nice to know who did what, especially with the first and second films. Not sure why there's rarely any proper additional music credits for a lot of the RCP guys, especially considering Zimmer's credits are almost always complete.

However that cuesheet of the extended score is very interesting. Hopefully if it leaks, all those cues remain there.


Bayhem2017-11-21 18:09:20
rumor has it Lorne Balfe did this score

I guess if we do not get any credits then that proves it
======================================

Oh, absolutely! I'm sure we will soon find out that Balfe also scored Star Wars and Titanic. And Harry Potter. And Indiana Jones.


Edmund Meinerts2017-11-22 12:54:38
^ hahaha :D

I think you're forgetting that Balfe also ghostwrote The Lord of the Rings?


Andrew 2017-11-22 13:25:43
Of cause Balfe worked on it !!! His whole team are credited !!!!!!!


Bayhem2017-11-23 12:21:52
I think you're forgetting that Balfe also ghostwrote The Lord of the Rings
==================================

Hahaha, but of course! Howard Shore and John Williams are actually Balfe alter-egos. He's actually 155 years old and he's solely responsible for all of these iconic scores. Hell, I heard he did some additional work on Psycho as well. And Gone with the Wind. lol!


Now, let me say something else in regards to the claim that Balfe did this score. All kidding aside, it would've (I guess...) made sense to make such a claim if this score was done by someone UNtested. But this is Jablonsky we're talking! He's one of Balfe's mentors. Look back and you'll see that Balfe started working not only on Zimmer scores, but on Jablonsky scores as well.

So yes, Balfe is good and all, but let's not act as if he's "the greatest in the world". And let's respect and NOT undermine the more senior MV/RC composers who gave the guy a shot. Thank you.


Miguel2017-11-23 14:11:33
Bayhem - your wrong on a couple of points . Balfe never worked for Jablonsky .In a recent podcast he was asked about Transformers and he says he was brought in by the studio.seems the same with the lastest Film also.its pretty obvious the temp for the end is 13 Hours also.


james2017-11-23 15:59:19
he says he was brought in by the studio.

-----------------------------------------------

Studio = RCP = Hans Zimmer credit as producer of the score.
In end of day is the same thing.


Bayhem2017-11-23 18:13:07
Balfe never worked for Jablonsky =========================================

By "worked for Jablonsky" I meant he worked ON Jablonsky scores. And as James said, it's all MV/RC anyway. They all know each other and help each other. The first Transformers movie started post-production at the end of 2006. Back then no one knew who Balfe was (aside from the biggest MV/RC fans). His big break arguably came in 2009-2010. Years after the first Transformers movie. So no matter how we spin it, he still came after Jablonsky. Jablonsky is his senior and obviously has much more experience. And we have to respect that.

That was my point.


Miguel 2017-11-23 18:48:32
Studio = Paramount and he worked on the first transformers . And did a lot. Why not ask him on twitter . I did !!!!!!


Bayhem2017-11-23 20:14:56
he worked on the first transformers . And did a lot. Why not ask him on twitter .
.....................................


I've asked him a lot of stuff. We're Facebook friends. And yes, I know he worked on the first one. I clearly said it a couple of times in my replies here. He worked on the first one and the second one as well. But if you try to imply that Balfe deserves the credit for these scores, you are way, way off the mark. And it's very disrespectful to Jablonsky. Very.

Now, clearly you like Balfe a lot. Fine. But please don't undermine a far more experienced and successful composer like Jablonsky, just because Balfe is the "hot MV/RC composer" at the moment. We, the Jablonsky fans, certainly didn't act that way in 2007 when Jablonsky's name was everywhere and people were going crazy for the Transformers score. No one denies that Balfe worked hard on the Transformers films. But he's not the "main guy". Just like a lot of MV/RC composers have worked on HIS scores and they're not the main composers. You think Balfe scores all of his movies alone? Nope. Like any other successful and busy composer out there, he's supported by a small army of ghostwriters.


James2017-11-23 20:26:12
You say Balfe worked on the last Transformers(2017). Okay. He may have been called by the Paramount. However, his involvement with the franchise in 2005 and in the following years happened because of the RCP and Zimmer's direct involvement in the project. There in 2005, 2007, 2011, 2014 he was a guest of RCP/MV and no received no call for help of the Paramount. There is no other way.


Steve2017-11-23 20:38:59
Bayhem - Balfe is one of the few that hasnít got additional writers though.which films has this small army of ghostwriters ???!!!!!!


Edmund Meinerts2017-11-23 22:08:29
"Balfe is one of the few that hasnít got additional writers"

As if. Just look through this site and you'll see additional guys credited for lots of his scores. Max Aruj, Steffen Thum, Thomas Farnon, Andrew Kawczynski on some projects...he's a very busy guy but I promise you he doesn't do every single second of his 15 scores a year on his own.


Bayhem2017-11-24 05:41:58
Balfe is one of the few that hasnít got additional writers
=================================


Even composers who do one or two movies a year receive help. So it's very, very hard for me to believe that Balfe - with the amount of movies he works on now - is out there by himself, scoring it all by himself. It's simply not possible. And this is the MV/RC world after all. Composers help each other all the time. And many of these collaborations don't even make it to this site. It's very hard to keep track of everything.


seidne2017-11-25 00:10:22
Lorne Balfe didnt work at this score!!!!


superultramegaa2017-11-25 02:29:45
I like how this debate about Lorne Balfe started from me politely asking for artist credits. This is a cool place.


Everan2017-11-25 04:45:20
Oh if you liked this one, you should see the one way below with Bayhem, Meta and Macejko going at it like crazy

Pretty sure saying this will make another situation like that.


Bayhem2017-11-25 06:22:09
Lorne Balfe didnt work at this score!!!!
========================


Correct.


Peter2017-11-25 06:24:26
Bayhem - why are you so worked up about him working or not working on the film ?the fact he did seems to annoy you


James2017-11-25 14:27:43
Where did the rumor come from? Has an "anonymous" planted this idea here or was it said somewhere?

The fact is that this anonymous said that the score was composed by Balfe. He did not say he only made a cue or two. That's point.

If you read the above messages you will realize that no one took this guy's comment seriously.

I do not think anyone gets upset with Balfe working on Transformers. It is because there simply is not because Balfe work with Javlonsky and does not receive any credit since he always had those credits.

Is there such a possibility? Maybe yes. Transformers is still a Dreamworks project. Balfe hastily replaced Mansell earlier this year in Ghost in The Shell, another live action of the studio. Could it be that the producers of there are in love with his work? Likely. But I repeat, if the situation were this, no one would deny Balfe credit. Mostly a guy of the Remote Control as Jablonsky


James2017-11-25 14:30:56
There is no reason*


Bayhem2017-11-25 14:37:57
why are you so worked up about him working or not working on the film ?the fact he did seems to annoy you
...................................


Uhhhh, yes, when people spread false rumors and praise one composer at the expense of another, that tends to annoy me. And all other reasonable people for that matter. I answered your question. Now you answer this: why are the Balfe fans so eager to put him above all other MV/RC composers and claim that not only he worked on Transformers 5 (not true), but that he actually wrote the entire score (not true and it's extremely disrespectful to Jablonsky and his team).

If we go down that road, then I can easily start saying that it was actually Jablonsky who wrote the 13 Hours score. Not Balfe. But I would never do that, because I respect facts and I respect both composers.


Meta2017-11-25 18:04:57
Rumor has it that my farts stank so bad at work, and could be smelled by so many, Balfe himself was credited as being the sole whistle blower who got me relocated to a different FLOOR of the building as a result!


James2017-11-26 00:31:52
Inappropriate


Meta2017-11-26 03:46:01
Par For The Course along with this argument, I would say, Jimmy.

LS100 Studios reply Replies: 2 || 2017-11-21 00:28:35
Just realized that the drums in "Battlefield" fit with the beat of "We Have To Go". Awesome to see a connection between the two tracks!


Edmund Meinerts2017-11-21 01:59:52
Almost like this was a film score or something! ;)


LS100 Studios2017-11-21 02:58:00
Haha - honestly though, before I realized this I felt Jablonsky didn't really bind the score together that well with themes and motifs. This is a pretty cool connection and I'm glad he made it.

Bayhem reply Replies: 41 || 2017-10-22 19:56:18
Too much Lorne Balfe talk on this site. He'll never be as good as Steve, so let's talk about Steve!



Relaaaaax, I'm kidding. They're both awesome. The best, aside from Hans.

Let's discuss this thing though .....When, for the love of God, we will finally see an MV/RC composer working on a James Bond movie. Just imagine the Bond theme, BUT done by Steve Jablonsky! It will be beyond EPIC. I know the Bond producers are very strict when it comes to the scores, but after listening to the Skyfall score, I have a feeling that an MV/RC composer can really do great things with Bond. And by the way, unlike some other Bond fans I love Eric Serra's score for GoldenEye. It's freakin awesome!


Edmund Meinerts2017-10-23 15:06:44
The only MV/RC composer I ever would want to see work on James Bond is John Powell. He's more than capable of doing the sort of cool, suave, jazzy sound that Bond needs. Beyond that...maybe if Zimmer was able to go way, way, *way* back to A League of Their Own mode, that could be neat, but otherwise MV/RC style is simply not a good fit for Bond.

The Goldeneye score SUCKS. The Thomas Newman ones are only OK. Bring David Arnold back. I have spoken.


Mike2017-10-23 17:43:19
Edmund ! Thatís a surprise you would only choose John Powell. Amazing you have the nerve to talks about the Balfe fanboys !!!!!


rockhound2017-10-23 17:57:10
if the bond producers would let the rcp guys write an orchestral score, then balfe or jackman would be a good fit. but also a bond score by harry gregson-williams would be interesting for me.


Edmund Meinerts2017-10-23 18:13:15
What in Balfe's filmography points to him being a good Bond choice? Powell's back catalogue is littered with cues that prove he'd be good with Bond. "Escape from the Dragon" from Shrek is basically a David Arnold Bond action cue already. "The New Plan" from Italian Job. "Hog Chase Part 2" from Paycheck. "SUV Chase" from Hancock. Has Balfe ever written anything with that much style and verve? Penguins of Madagascar is the only thing that really comes to mind but that feels more like parody than the genuine article.

Call me a fanboy all you like, but at least I give reasons for why I support Powell, and am not just clogging threads with "omg POWELLLL BEST COMPOSER OF THE WORLD !11!1!!!11oneone1"


James2017-10-23 18:14:42
This is sacrilege! haha

Jablonsky or any other MV/RCP composer has never been able to write a good, classic jazz score worthy of 5 stars. As quoted above, Powell and Zimmer were the closest to this, but frankly there are sacred projects, such as Bond, which should have their music universe respected.


James2017-10-23 18:22:50
And David Arnold needs to get back on track for the blockbuster's game. His work on Sherlock is wonderful, but I do not see television as a safe path to his career.


rockhound2017-10-23 18:23:39
balfe composed great orchestral actionmusic for Home and the Kung Fu Panda scores. all 3 scores have not the typical rcp actionmusic, so why shouldn't it be possible for him, to write an orchestral bond score? and if u wanna hear jackman in orchestral action mode, then listen to his Captain America scores. give both composers the bond theme and they will write you at least a more bondian score than thomas newman with Skyfall. but of course john powell would be also great.


Bioscope2017-10-23 19:33:41
I think Henry Jackman will nail it as a Bond composer. Henry would have the audacity, as he likes to parody. Note the Barry heavy flute work on Kingsman Golden Circle.


James2017-10-23 20:03:45
well...

Home and Kung Fu Panda = Mimic of Powell's style.

We know he can be either of them. Everything will depend on the hired director. My cheer will always be for Arnold.


Bayhem2017-10-23 20:46:11
Reading the comments, I see two things happening here - we REALLY underestimate the MV/RC composers and we REALLY overestimate the Bond sound as a whole. Yes, I get it, it's a decades-old franchise with an established "jazzy sound" and a Zimmer-like composer doesn't really make sense. And look what happened when they DID try to experiment with Eric Serra. The Bond fanboys went nuts and they can't stop trashing the GoldenEye score. Though IMO it's a great, great score.

But then again, we've never really heard an MV/RC composer doing a Bond-like score, so we really don't know what will happen. I mean, they replaced John Williams on the Harry Potter films, and not only that, but he was replaced by some TV composer (Nicholas Hooper) with no previous blockbuster experience! Isn't that a sacrilege?

Yet, they did it.

So if they can do that with Potter, I'm sure they can hire an MV/RC guy for Bond. And come on, you think Hans is not gonna be able to create an awesome Bond score? I bet my freakin' car that, if given the opportunity, he would create a Bond score that people will talk about for years and years and years.


James2017-10-23 22:04:32
Is different. Williams did not continue in the series for personal reasons. He is already at an advanced age and is looking to conserve his health. Already Arnold was removed from the Bond franchise because the director of Skyfall wanted to work with Newman, the composer he trusted. Give Arnold the opportunity to make the decision to return or not that he will certainly choose the return.

And I honestly do not underestimate the talent of MV/RCP guys. But today, even with so many names on the market, the scores they offer follow the same line, the same style. With rare exceptions all mirror the work Zimmer did in the 90s and 00s for action movies and even comedies. I point out good works by Jackman (Wreck it Ralph) and all the others, but there is nothing in the discography of any of them that shouts "Bond". None. I may have my mouth shut in the future if one day Bond falls into the graces of the RC/MV, but honestly, I find it very difficult that this mixture works.



Ds2017-10-23 22:35:22
Anyway, is this notion of a "Bond score" still relevant after Skyfall and Spectre? As far as I remember they were quite generic, apart from a few highlights and a few quotations of the Bond theme. So a composer from RCP would certainly not hurt...


Mephariel2017-10-23 23:43:09
I think the problem with Edmund is that he thinks all Bond scores should sound like David Arnold's Bond scores. I love David Arnold's Bond scores but I am totally ok with a composer doing something different.


Everan2017-10-24 05:34:24
Sooo, the Kingsman scores don't count as Bond-like sound? Cause last I checked, Jackman and Margeson are RCP


Edmund Meinerts2017-10-24 12:01:52
I like the Kingsman scores and I wouldn't be against Jackman and/or Margeson on the basis of them. They wouldn't be my first picks but rather them than more bland Thomas Newman.

And Mephariel, it's not that I would insist on Bond scores sounding specifically like David Arnold, but I do think that his Bond scores strike the perfect balance between a modern action sound and the old jazzy John Barry style. Casino Royale is practically the platonic ideal of a modern James Bond sound. I don't necessarily ask that all Bond scores sound that way, but I do think they need to find a way to reconcile the old and the new without neglecting either (i.e. pure Barry pastiche would be as bad to my ears as ignoring Bond traditions altogether). Thomas Newman tried to do that, to his credit, but his instincts as a composer are just too subtle and low-key to really work for Bond.

But better him than Eric Serra. The Goldeneye score, I reiterate, SUCKS. That synth timpani version of the Bond theme's rhythm...*facepalm* (Also, using Nicholas Hooper as some sort of triumphant counterexample falls a bit flat considering Hooper's Potter scores are almost universally seen as weak and a missed opportunity)


Ando2017-10-24 13:16:36
Balfe would be he best . He has a unique voice and make it different .


Waymann2017-10-24 16:47:25
Rumor has it. Thomas Newman will be scoring the new bond film again. I'm not complaining.


Edmund Meinerts2017-10-24 17:11:41
Yeah, I saw that rumor today as well (they were shooting in Croatia or something and Newman's name was on the cast and crew list, which was subsequently leaked). I'm irritated. Even Balfe would be preferable to even more low-key Newman "action" writing and Skyfall rehash.


Michael2017-10-24 17:37:02
Balfe did say in an interview last week that he was working on a film that was one of his favorite franchises ???????


james2017-10-24 17:37:09
Newman unfortunately is not a chameleon like his others peers.


mpolonest123 2017-10-24 18:24:58
As much as I liked Skyfallís music, it was definitely one of those ďone-and-doneĒ things, much like Goldeneye. Spectre was beyond bland, and this is coming from someone who likes Thomas Newman.

Ideally the best choice would be David Arnold, but if they really had to go with an RC composer either Lorne Balfe, John Powell, or Henry Jackman would work. Hans could probably write an amazing Bond score, but Iíd rather him stick to smaller films as opposed to another big franchise. And definitely no Jablonsky....


Hybrid Soldier2017-10-24 18:52:21
Yes Michael but that's not Bond.


Joshua2017-10-24 19:04:09
My money is on Balfe writing additional music for Powell on Howards Han Solo film.


Bayhem2017-10-24 20:05:27
And definitely no Jablonsky....
..........................................

Please elaborate. Because I'm ready to give reasons why he would be a good choice. Example: his work on Pain & Gain. There are tracks in that score that would fit Bond perfectly.


mpolonest123 2017-10-24 20:32:56
For the same reason I wouldnít want Trent Reznor scoring a Star Wars film. Alone I love Jablonskys style, but I definitely canít see that fitting with Bond. Goldeneye and Skyfall were both attempts at doing something experimental with the franchise, but the heart of the Bond music definitely strays within the David Arnold/Monty Norman territory. If Jablonsky could write a score that fit in that mold then definitely.... but his current power anthem style doesnít fit.


mpolonest123 2017-10-24 20:34:28
And I do think Pain and Gain is a great score, but once again I canít put that with Bond.


AndrewP2017-10-24 20:38:11
Hybrid - do you know what franchise Balfe is working on?? You could take his call of Duty soundtrack and put that on any Bond music


James2017-10-24 23:46:44
"You could take his call of Duty soundtrack and put that on any Bond music"
--------------
This is the point:

No one wants to hear the music style developed for Call of Duty in a James Bond movie.
Any composer will be welcome as long as he respects the sound that Barry created for Bond. Newman, Balfe, Jablonsky, Beltrami, Reznor, Pemberton,Beck...


JBSO992017-10-25 10:17:53
@James Now that you mention him, Daniel Pemberton could fit very well in the franchise. He is really versatile and could adapt himself to develop the Bound sound.

About Balfe as well as Jablonsky, I don't think they would fit well in that world, even I like a lot their style. On the other hand, Powell wouldn't be a bad choice, but then, it's just my opinion.


Edmund Meinerts2017-10-25 10:38:52
Pemberton would be a great choice!

@AndrewP - you seriously think Call of Duty is a good model for James Bond music?


Bayhem2017-10-25 14:07:38
Let me throw another name in the mix. A name a lot of people seem to have forgotten: Elliot Goldenthal.

He's been pretty quiet in the last few years (why??), but when I think of him and his work, I can definitely see him creating a solid Bond score. But that's me....


James 2017-10-25 14:57:32
Goldenthal suffered a home accident 12 years ago. He hit his head in the ground of the kitchen, the blow partially damaged his brain. He's fine today.


AndrewP2017-10-25 15:33:40
@edmund your confused (again) . What I ment was the music from Call of Duty is an example of how amazing balfes action music can be.also the filmmakers would not book a composer simply because they can write in that Bond style.Inregards to Pemberton- he could do a good job - of the film was temped with amazing music for him to copy!!!!!!


Edmund Meinerts2017-10-25 15:57:09
You're so sold by the generic could-be-from-a-hundred-different-scores action music from Call of Duty that you immediately want to give him the keys to the Bond franchise? I mean, if you're going to push Balfe, at least push with his best.


Hybrid Soldier2017-10-25 19:37:44
Guys don't worry, there's 2 projects I know of with RCP guys attached to that will make the film score world absolutely freak out ! lol

And no I can't tell (or they will kill me), you'll see in the next few months, it will be funny when they announce it... :x


Scorefan2017-10-25 20:12:31
@ Hybrid, could be the Han Solo Movie? Star Wars Franchise.
Ron Howard taking the direction of the movie.


Edmund Meinerts2017-10-25 20:16:57
The Han Solo movie already has John Powell attached, so no. At least I hope not. If they take that one away from me I think I'm giving up on film scores for good. :'(


Scorefan2017-10-25 20:32:37
Ok Edmund, so the next franchises are: Marvel and DC movies. Both franchises have movies in the next years.


James2017-10-25 20:41:36
My bets:

* Dune of Villeneuve
* Some new DC movie (Aquaman, Justice League 2, Flash, etc).
* Nolan as Bond director as announced some time ago.
* Lorne with Sherlock 3
* Silvestri dropped Avengers again and will be replaced
* The Lion King and/or Mulan


JBSO992017-10-25 22:53:44
If Nolan takes on a Bond film, do you think Zimmer would be in charge of the score? I would be interesting to see him in a Bond movie. And also, I would love him to return to the Lion King, but if its not him, take John Debney. His score for the new Jungle Book was amazing!

Lorne wouldn't be a bad choice since I think he collaborated with Zimmer on the first two scores , but Zimmer would also be a good choice (again).

And about Silvestri, I don't really care that much because I don't like that much his scores in the Marvel Universe, so if someone more interesting took over, it would be great.

And talking about DC, do you imagine a film scored by James Newton Howard in his good epic days like Atlantis, The Last Airbender or Fantastic Beasts. How about Aquaman? It would be great!


James2017-10-25 23:37:30
t's my bets as possibilities for the two projects that Hybrid has pointed out.

* Villeneuve will hardly be forgiven for Johansson after of BR2049.
* I speak of Nolan with Bond because of the rumors of the beginning of the year and because soon soon he will launch a new project.
* Warner sympathizes with the RCP guys like XL, Rupert, Balfe and Djawadi. Even with Elfman with JL, one or other project will still be MV/RCP.
* If Zimmer does not want to return with Holmes, Balfe will be a strong candidate, just like Pemberton who made the King Arthur.
* Silvestri's work for Marvel is not very impressive, but I am happy to see him return, as he was responsible for the first theme that was sustained throughout this universe (Doctor Stranger is the second). I hope he seizes the opportunity.
* Zimmer's return for The Lion King is welcome news for all the film lovers

LS100 Studios reply Replies: 8 || 2017-10-21 16:22:16
Does anyone remember around when the TF2 and TF3 complete scores were leaked? I know TF4's was around November 2014, I figured that might give an idea of when TF5's will get out.


Score God2017-10-21 19:10:29
Oh my god. It's time to put an end to this. There is NO timeline as to when complete scores are leaked. They leak when the person in possession of them feels like leaking them. TF4 was November of 2014 because that's when the files were uploaded to Paramount's guilds/FYC site for academy members to listen to. Same with interstellar. It has absolutely nothing to do with time. I have some scores that haven't leaked yet. And I'm not going to. Why? Because I was asked not to. Not because I feel the time is right. K? Glad we cleared that up.


superultramegaa2017-10-22 01:09:28
Dude, no need to be harsh about it. Not everyone knows how these processes work. It was a reasonable assumption that there might be a specific timeline for leaks.

With that said, thanks for the info.


meta2017-10-22 06:53:16
Im sure there will be a DVD rip at some point before any kind of complete score is leaked...

but then again, I don't see much that needs to be leaked from this score?


LS100 Studios2017-10-22 16:53:15
@Score God - I'm not entirely sure on how this process works, but since you obviously are, I'm glad you tried to clarify it. With that out of the way - I agree, there's no need to be harsh about it. You can't expect everyone to have a clue about how this works.

What I really want to see from the complete score is the film version of We Have to Go.


Bibi2017-10-22 21:18:47
Dudes, the score is 2h10 long, I think it is yet a lot much complete than usual !


Meta2017-10-22 23:06:15
Seriously, I didn't catch very much at all that was left out of the soundtrack....I DID hear alot of repeated tracks in the movie, however...So I can't say what would be notably absent. Anybody got a good example?


Everan2017-10-23 04:39:05
All i'd say its worth it in a complete score is We Have To Go film version, and maybe some snippets of Seglass and Merlin's Staff variations.

Other than that, we got more music in the soundtrack than in the film since most was cut off.


LS100 Studios2017-10-24 04:52:13
Like I said Meta, the "We Have to Go" film version is definitely worth hearing.

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