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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
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Lorne BalfeMax ArujSteffen ThumSteven Davis
ComposerAdditional MusicAdditional MusicAdditional Music
Ad Astra
Label: Deutsche Grammophon
Length: 126'48
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 (972 votes)
  1. To The Stars (3:30)
    Max Richter
  2. Encounter (5:18)
    Max Richter
  3. Cosmic Drone Gateway (2:57)
    Max Richter
  4. I Put All That Away (3:27)
    Max Richter
  5. A Trip To The Moon (4:36)
    Max Richter
  6. Terra Incognita (2:49)
    Max Richter
  7. Ex Luna Scientia - Requiem (5:17)
    Max Richter
  8. Journey Sequence (3:20)
    Max Richter
  9. The Rings Of Saturn (2:57)
    Max Richter
  10. The Wanderer (4:50)
    Max Richter
  11. Erbarme Dich (3:38)
    Max Richter
  12. Forced Entry (2:27)
    Max Richter
  13. Preludium (4:02)
    Max Richter
  14. Resonantia (3:00)
    Max Richter
  15. Let There Be Light (2:18)
    Max Richter
  16. Ursa Minor - Visions (3:14)
    Max Richter
  17. Event Horizon (6:13)
    Max Richter
  18. Musurgia Universalis (3:05)
    Max Richter
  19. You Have To Let Me Go (5:57)
    Max Richter
  20. Tuesday (Voiceless) (21:07)
    Max Richter
  21. Opening (2:37)
    Lorne Balfe
  22. Briefing (2:32)
    Lorne Balfe
  23. Space Journey (2:39)
    Lorne Balfe
  24. Rover Ride (2:51)
    Lorne Balfe
  25. Pirate Attack (2:48)
    Lorne Balfe
  26. Orbs (3:44)
    Lorne Balfe
  27. Underground Lake (2:15)
    Lorne Balfe
  28. Trip To Neptune (5:02)
    Lorne Balfe
  29. Says (8:17)
    Nils Frahm
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scoregod96 reply Replies: 0 || 2019-11-08 00:09:43
Beautiful Score!

Cercei reply Replies: 17 || 2019-10-19 17:19:10
"The Wanderer", "Event Horizon", "You Have To Let Me Go" and "Tuesday (Voiceless)" = WOW WOW WOW!!!


Cercei2019-10-19 17:19:25
i haven't understood the fact, that Lorne was involved in this. Can someone explain it for me? Was the director not satisfied with Richters music? Was the deadline too near? Or what was the reason why they have brought Lorne to this project?


MrZimmerFan2019-10-19 17:21:12
Was the producers


Cercei2019-10-19 17:59:45
thanks for your information. but i actually don't understand why they have done that. i've heard now Lornes cues and Richters cues. all those cues from Lorne, they sound very similiar to that what Richter composed, but somehow with less melodies. And you really have to work hard to not use fewer melodies then Richter, as he's a minimalist at its best ^^ with that being said, i can't hear any groundbreaking differences from Lornes part, so what was their idea on hiring it and getting the same style of music, but in a more "light" version? :/


mills2019-10-20 06:03:44
Richter did his recording in january and june 2019. The Director himself is a fan of Richter, so the deadline and director are not the reason.
It seemed that producers were not satisfied with Richter's music and they wanted something new, that's why they got Lorne. It turned out Lorne brought a very limited new...


Anonymous2019-10-20 06:56:11
I really liked Richter’s score over balfes


Thomas2019-10-20 15:47:11
Balfe’s part is the best I think.
It also seems written to picture instead of just long suites.
My understanding is the Balfe wrote half of the score but the album doesn’t seem to represent that for some reason.


Anderson2019-10-20 16:40:30
I can't imagine how someone likes Balfe's part over Richters. As you said Thomas, Richters work sounds more like suites, and Balfes work is written more to picture. BUT, it sounds to me also like a typical RCP-work with Hans. While Hans gives the direction with his suites and melodies, Balfe and co are adapting those suites to the specific scenes and writing some "new" stuff to fill any gap if there is any need of it, so they become additional composers in the credits.

And here, we have the same. Richter shows the direction and some cues are real intense and beautiful. Balfes parts sounding like a gap-filler. I don't want to talk bad about Balfe, he's a composing machine, but still i can't find anything remarkable on those parts and so i can't understand how Richters work hasn't been used but instead the more colorless cues from Balfes part :/

Again, don't feel insulted guys, it's just my sensation


Aplusle2019-10-21 02:25:52
Don't feel bad. You've just summed up why Hans and Lorne make a good team. Lorne is by all accounts a fantastic arranger and can bring out the best in others' ideas but I sometimes find his own compositions are a bit basic or leave me cold. Hans on the other hand always nails the theme and the concept but his scoring to picture to me feels clunky and a bit amateurish, especially when the music is dense.

Both super talented in their own ways. :-)


Edmund Meinerts2019-10-21 10:07:09
Aplusle, that's really well put actually.


PaulH2019-10-21 14:38:58
Balfe is a great arranger but an even better composer.Beyond Two Souls is still one of the best game soundtracks.



Anderson2019-10-21 15:11:56
No one is mentioning "Says" from Nils Frahm. What a masterpiece of music. Love how it develops and getting so emotional even with that futuristic sound-effect. One of the highlights of this score, with those tracks Cerbei mentioned.


PaulH2019-10-21 16:10:33
The Nils Frahm track was released years ago


Aplusle2019-10-21 19:32:30
Thanks Edmund.

@PaulH I am not meaning to say that Balfe cannot compose good music. There are compositions that I like: the Picasso theme is creative and well-written. Just that I find his arrangements of others more compelling usually than his own material.

An example that is good of this is kung fu panda. His arrangements of themes are really fun and energetic. In the third one he writes the "father and son" theme, it's okay but it's harmonically basic and the melody is unmemorable. Contrast to Hans: the Po theme and Spirit theme are precise, fun, harmonically clever, and memorable. But his score cues sometimes feel lacking: his transitions are clunky, the bridge material is uncreative and basic.

It must be so much fun to work on those projects together. Coming up with idea and hearing what someone can turn it into, or getting to play with someone's idea without the pressure of starting from scratch.


Hybrid Soldier2019-10-21 19:43:13
"In the third one he writes the "father and son" theme, it's okay but it's harmonically basic and the melody is UNMEMORABLE"


Aaaaaaaaaaaaand your whole analysis falls flat right there ! :P


jaa2019-11-06 23:21:32
The reason Lorne Balfe was recruited late was to supplement the movie's new cut opening after the poor test screenings last year. Everything that Lorne scored was the revised act within and prior to the moon sequence in which in the original cut, Jaime Kennedy's character Peter Bello was there but there was no real contribution on his character's part to Pitt's character or the pace of the movie so adios Peter in the released version. Thus now we have in the final cut a new moon scene with the lunar pirate chase sequence, more Ruth Negga scenes, and that sneaking into the ship part. Also the ending was revised to be more hopeful. Lorne did well with was workable as always!


HunterTech2019-11-07 01:52:10
Where did this information come from? I see no recent articles discussing it. All I read besides the changed ending was that Pitt wasn't involved with the reshoots, so I'm not sure if any of that would contradict the one bit of info we had prior.


Jaa2019-11-07 21:36:21
Reddit as always delivers this info. People who saw the test screening compared it with the released version. As I mention, before Jaime Kennedy's character was in the original cut however like I said there was no contribution to his part in the story so he got cut out of the film. The ending was changed in the reshoot with a stand-in however as of yesterday the 4k bluray will have the original ending as part of the 2 deleted scenes. Ruth Negga's character was a better opinion to connect to Pitt's character and as such the interaction was what gave a quicker pace to the story. To be fair, viewers mentioned that the original cut was more BORING and the re shoots were done to put some type of action to gain the audience's interest. The music was nice though so at least there was something right!

Mr.Unbreakable reply Replies: 0 || 2019-10-29 03:59:22
I have the feeling that Lorne's parts in Ad Astra and Gits share to some extent the same soul. (Ad astra is more astral while Gits is more commercial)

Yous reply Replies: 2 || 2019-10-21 14:01:07
I'd be very interested to hear the supposed Balfe complete score to picture where he apparently sought to elevate it, as someone here put it. The Richter is pitch-perfect and works massively well to picture and, not dissing Balfe at all, his stuff is literally 'additional music' to fill the gaps.


Mr.Unbreakable2019-10-21 14:16:20
Last night I was talking to Lorne, and he told me that in principle there is intention to release the full score.


Michea2019-10-21 14:31:43
I must have watched another movie in regards to Balfe filling in the gaps - that makes no sense?The soundtrack released seems not to relate to what was actually used in the film.Balfe “gap” music is featured much more and works brilliantly

mpolonest123 reply Replies: 5 || 2019-10-19 17:34:10
Really surprised at this album, I’ve never really heard anything from Max Richter but I really like what he ended up writing for this score. It surprisingly flows well for a stand alone listen. It’s funny that the producers wanted a different approach, I think Richter nailed it.

Balfe’s contribution is excellent as well, I particularly like that repeating chord progression (which is starting to become one of his trademarks considering how many times he has used it). It’s disappointing that they didn’t include more of his contribution though, since he apparently rewrote the entire score.


Cercei2019-10-19 17:56:14
i really admire Max Richters work, he isn't that new in this scene. his style is that repeating minimalism. maybe you've heard once the cue "on the nature of daylight" which was used a lot by many other movies. his last score which knocked me out was "Hostiles". such an emotional and intense score, you need to hear that, and probably see the movie as well (with Christian Bale).



Cercei2019-10-19 18:03:33
btw, you're saying Lorne recomposed and reworked the entire score. as i haven't seen the movie yet, did the producers end up with not using richters score for it at all and just used the score from Lorne?


mpolonest123 2019-10-19 18:05:54
I do know that piece, it’s very pretty. I’ll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His “Music For Airports” and “The Lovely Bones” are excellent if you like more introspective music.


mpolonest123 2019-10-19 18:08:28
@Cercei
Hybrid can definitely answer that best. Richter’s score is used (alongside Balfe’s material) as well as some source pieces. If I remember correctly it’s a mish-mash of the two.


mills2019-10-20 06:26:36
I listened Max Richter for years. He is the kind of select or minority composer who does his solo works and soundtrack for movies not so famous.
His solo works are really really good with quintet and piano and voice. "on the nature of daylight" is definitely the best.
His sountrack is not good as his solo, to be honest. I think "the Leftovers" (2014-2017, HBO series), "Miss Slaone" (2016) and "Mary Queen of Scots" (2019) are cool.
If you need some peaceful music for meditation or good sleep, listen to his work.

HunterTech reply Replies: 4 || 2019-10-18 03:29:01
Can anyone confirm if "Prayer" is on the OST? Since the video has been deleted, I'm not sure if anyone has a saved copy to check.


Paul2019-10-18 03:51:15
I think prayer is private video from Lorne Balfe's YouTube Channel. Also, there have prayer video still here by YouTube Search by another channel posted the video


Ahmad2019-10-19 03:12:18
It’s not included and I’m very confused. I think there’s a good amount of unused tracks or the way the score was used was so terrible that only few tracks were memorable to me.

There’s a theme that plays during two tragic moments - I thought it was “Prayer” but it isn’t. I think it’s by Lorne as it’s closer to the direction he took.

I wish they gave us more Balfe :(


HunterTech2019-10-19 05:45:55
I suspect that the release was just what they had originally planned, with a couple of bonus tracks thrown in to appease Fox. They likely didn't put too much thought in what they added, since people who have spoken with Lorne said he wasn't aware of the release and was surprised Prayer wasn't on it. I'm just glad anything got released at all after everything that has gone before.

Regarding that theme you mentioned, is it one that sounded like the personal motif Ethan has in M:I Fallout? Because while I did initially assume that was Balfe too, it seems it was actually Richter. Haven't gotten to hear Lorne's parts yet, so who knows he if he also did a similar thing.


Ahmad2019-10-19 13:59:44
It’s definitely Balfe. I’ve seen the film for the second time two weeks ago so my memory is kind of hazy but luckily I decided to record the end credits for reference and I think it plays in Balfe’s section / variation of one of his themes played on a solo string instrument.

I think we got most of Richter cues as it was mainly his release. I feel that Lorne has moved on from this project - he didn’t even mention the release so an extended release of his material seems unlikely to happen :(

For those interested the credits suite plays as follows:


“A Trip To The Moon” (synth part)
“I Put All That Away”
Variation on the theme in “Underground Lake” at 0:14
Variation on the theme in “Trip To Neptune” 0-1:00
“To The Stars”

Spencer Mitchell reply Replies: 1 || 2019-10-18 16:18:21
Is a CD release being planned?

If so, when is it coming out?


Tomasz2019-10-19 00:41:18
11.22.19

MrZimmerFan reply Replies: 10 || 2019-10-17 12:06:56
The score is coming tomorrow... and it's the only thing i'm going to say :P

And there are three composers acredited in the cover.


1232019-10-17 12:27:00
how the frick do yo know that


MrZimmerFan2019-10-17 12:28:07
Sources... ;)


1232019-10-17 12:29:42
alright keep your secrets


Iamtommie442019-10-17 12:30:12
Tracklist of Ad Astra

01. Max Richter - To The Stars (03:30)
02. Max Richter - Encounter (05:18)
03. Max Richter - Cosmic Drone Gateway (02:57)
04. Max Richter - I Put All That Away (03:27)
05. Max Richter - A Trip To The Moon (04:36)
06. Max Richter - Terra Incognita (02:49)
07. Max Richter - Ex Luna Scientia - Requiem (05:17)
08. Max Richter - Journey Sequence (03:20)
09. Max Richter - The Rings Of Saturn (02:57)
10. Max Richter - The Wanderer (04:50)
11. Max Richter - Erbarme Dich (03:38)
12. Max Richter - Forced Entry (02:27)
13. Max Richter - Preludium (04:02)
14. Max Richter - Resonantia (03:00)
15. Max Richter - Let There Be Light (02:18)
16. Max Richter - Ursa Minor - Visions (03:14)
17. Max Richter - Event Horizon (06:13)
18. Max Richter - Musurgia Universalis (03:05)
19. Max Richter - You Have To Let Me Go (05:57)
20. Max Richter - Tuesday (Voiceless) (21:07)
21. Lorne Balfe - Opening (02:37)
22. Lorne Balfe - Briefing (02:32)
23. Lorne Balfe - Space Journey (02:39)
24. Lorne Balfe - Rover Ride (02:51)
25. Lorne Balfe - Pirate Attack (02:48)
26. Lorne Balfe - Orbs (03:44)
27. Lorne Balfe - Underground Lake (02:15)
28. Lorne Balfe - Trip To Neptune (05:02)
29. Nils Frahm - Says (08:17)

Totaltime : 02:07:00


Jean-Luc2019-10-17 13:11:52
That tracklist is so LIT!! I'm so excited to hear Max Richter and Lorne Balfe too.


adam2982019-10-17 13:31:55
why max richter and lorne balfe in one single album? because we talked about it previously, that they are supposed to be released separately.And what's wrong with the "20. tuesday", 21:07, that long?


adam2982019-10-17 13:35:37
why max richter and lorne balfe in one single album? because we talked about it previously, that they are supposed to be released separately.And what's wrong with the "20. tuesday", 21:07, that long?


Knight2019-10-17 14:05:58
Tuesday is taken from Max Richter's album Three Worlds, and the vocals that were in it originally were removed.


David2019-10-17 15:17:29
Yay! Someone make a chrono order pls


Ahmad2019-10-17 15:29:29
Wow! I almost lost hope :)

Ahmad reply Replies: 0 || 2019-10-07 19:36:40
So I just came out after seeing the film for the second time and I enjoyed it much more this time. Now, I missed about five minutes but here are some observations about the score and the main themes:

-There’s a theme that starts on pulsating synths and long sweeping strings and it’s probably my favorite part of the score. It plays during most of the emotional scenes (father and sun). Most likely to be Richter’s.
It is included in the end credits suite.

-A very grand brass theme plays at least two or three times + an interpretation at a very important scene at the end. Probably Balfe’s.

-A sparkly piano theme - plays during the moon sequence and another scene. I think it’s Richter’s.

The rest is... unmemorable.

-“To The Stars” which plays right before Mars and at Neptune.

-“Prayer” by Balfe was used twice.

The rest is

MrZimmerFan reply Replies: 7 || 2019-10-02 17:35:33
In other matter of things... Gemini Man score is coming by LLL!



Jean-Luc2019-10-02 20:11:26
I can't wait to hear the soundtrack soon!!


Der Profl2019-10-03 02:02:59
I've seen the movie an hour ago and I have to say that the soundtrack sounded really much like Lornes score for Geostorm. But I wasn't disappointed or anything, I really liked it and looking forward to the soundtrack release. Does anyon know when it will happen?


MrZimmerFan2019-10-03 11:58:26
@Der Profl: Presumably, same day as the movie opens


Der Profl2019-10-03 22:32:45
@MrZimmerFan: So tomorrow? Or when does it open in theaters in the US?


MrZimmerFan2019-10-04 10:33:25
@Der Profl: Digital release expected 11th October (same day as the movie), CD at 17th October.


Der Profl2019-10-04 13:54:04
@MrZimmerFan: Ah, okay. I was a bit confused, because the movie has opened 3rd October in Germany.


MrZimmerFan2019-10-04 14:40:55
The digital releases (many of them actually) comes the same day of the oening of the movie

Der Profl reply Replies: 0 || 2019-10-04 13:55:39
Does someone know somthing about why Lorne deleted Prayer? Or can give a reasonable explanation? I'm not that into the whole world behind releasing soundtracks and so, so I would love to hear, why it is that way right now.

Scorefan reply Replies: 0 || 2019-10-03 04:46:57
To The Stars from Max Richter reminds me a mix from The coral atoll/journey to the line from Zimmer and Sunshine from John Murphy

Maxime Jean reply Replies: 1 || 2019-10-03 00:44:23
Just seen the movie, beautiful and poetic, like 2049 in a way, same type of slow storytelling with gorgeous visuals, and interesting questions about humanity... good SF movies.
Lorne is actually credited for additional score, Richter for the "main" music and... you do ear the difference, mainly orchestral for Richter and the synths stuff for Lorne I guess. The score is very soothing, mainly slow strings or pads, but nothing really noticeable, I don't feel the music helped to tell the story, but was nice though.


Der Profl2019-10-03 02:01:24
Hahaha. That's funny. I thought it was mainly the other way around: Richter was synthy stuff und Lorne the other with the exception for the leitmotif "To The Stars" I guess. Maybe it's because I heard so many synths in Richters Scores for other movies which sounded like the ones from Ad Astra, but I'm no expert.

So. I'm really looking forward to the soundtrack release. Then we have the certainty (is it spelled that way?) for which track is from whom. (Oh God, my English, sorry...)

Bayhem reply Replies: 5 || 2019-10-01 10:54:53
Finally! The SIX UNDERGROUND trailer comes out in a few hours. According to Mike Bay himself. Can't wait! Balfe and Bay are a good team and the last time they worked together we got the powerful 13 HOURS score.

I really have high hopes for SIX UNDERGROUND.

Any news on the score, folks? Anything on Lorne's social media? (I'm asking because I'm not on Twitter and Facebook).


Jean-Luc2019-10-01 16:07:03
Netflix released six underground trailer today! It's an amazing trailer!!


mpolonest123 2019-10-01 17:28:25
Can’t believe this is going straight to Netflix hahaha

For me personally Mike Bay is one of those directors whose films I either really like (The Rock, Armageddon, TF1, Bad Boys, Pain and Gain) or outright dislike (TF2-5, Pearl Harbor, Bad Boys 2). The trailer looks hella fun though, so I’m definitely on board for this.

Hopefully Lorne Balfe gets to go all out with the music here, with Bay I’m sure he’ll get the chance...


MrZimmerFan2019-10-01 18:30:40
Bad Boys 2 is the pinnacle of Bay's action and craziness

And i f***ng love it!


mpolonest123 2019-10-01 20:02:09
@MrZimmerFan
To be fair it’s been a bit since I’ve last seen BB2, so I’ll definitely give it another go. I just remember being so worn out by the last third of the film, which is just one long action set-piece with Bay’s machine gun editing.


Ds2019-10-01 21:09:42
@MrZimmerFan: exactly, Bad Boys 2 is basically "Michael Bay: A Summary". Over the top, borderline humor, no shit given, lengthy AND funny AND thrilling action sequences (yes that's possible to combine all 3, despite what Kevin Feige has to say about that). And a visual masterclass, the way each shot is framed is a delight for the eyes. And from that perspective, Six Underground looks breathtaking.

Now... 2,5 months to wait :-p

Der Profl reply Replies: 5 || 2019-09-25 03:21:01
Has anyone heard anything about a soundtrack for Ad Astra? I didn't like the movie much from the story persepctive, but the imegary und music created an immersive experience. Even if Lornes music will be released in a GITS kind of way, will there be the Max Richter soundtrack for the movie? I know that it is the wrong place to ask here, but maybe somebody knows something.


Bast2019-09-25 10:17:39
Hi, Max Richter released a single with the song "To the stars". You can find it on youtube and on every music streaming platform.


MrZimmerFan2019-09-25 11:53:11
Deustche Grammophon will release the soundtrack, my bet is only Max Ritcher


Paul2019-09-26 19:42:45
@MrZimmerFan source?


Der Profl2019-09-26 23:10:05
@Bast Thank you. I found it some days before.

@MrZimmerFan I've heard that too and yes, my bet was only Max Richter as well, but then I found this post on Balfes Twitter in which he states that there will be a soundtrack release. (@Paul Yeah, that's the source I guess.) Why would he say, that a soundtrack is coming if there won't be his tracks on it? But we have to see, I guess.


Der Profl2019-09-27 01:18:03
What if they just release a soundtrack with the music heard in the movie?

ThePhantasm reply Replies: 0 || 2019-09-26 22:52:39
when will they release info on Gemini man?! Very excited for that score

Stargazer_21 reply Replies: 6 || 2019-09-22 05:54:03
Well, I heard only Balfe's "Prayer" and Richter's "To the stars"... All I can say is we need to wait for the full release, hear both composers and only then talk about who better coped with this. (and watch the movie of course)
I don't think Balfe is a bad composer. He does pretty good as an additional composer but not as a leading (mostly). The only soundtrack that I consider the best to date in his solo career is "M:I-Fallout" and "Assassin's Creed III". (imo)
Who knows what will be this time. But for now I like Richter's track more.


Michael Fields2019-09-22 18:18:12
As always with unused pieces of music. There are always be more interesting. Like with Dark Phoenix.


Stargazer_212019-09-23 04:48:59
@HybridSoldier

Hope so. Will see the movie this thursday.


Mr.Unbreakable2019-09-26 02:57:30
You will like his music more or less but at least he doesn't leave anyone indifferent, or you love him or hate him. I love Balfe, he is tremendously skilled and I think that if they gave him more stable and more author jobs, he would develop better music.


Edmund Meinerts2019-09-26 11:00:55
That's not true at all. I'm pretty much indifferent to Balfe. :p


MrZimmerFan2019-09-26 11:26:36
Balfe, for me, is 'Mr. Average', have a good scores (Genius, for example) even entertaing ones (Geostorm o Terminator Genisys), but for the most part, is average as hell.


Edmund Meinerts2019-09-26 22:28:24
That's how I'd define him as well. Prolific and competent.

Hybrid Soldier reply Replies: 1 || 2019-09-21 19:59:10
So I created a page for it, move away from Ghost In The Shell !! :P


mpolonest123 2019-09-22 06:29:17
Taking in the movie now after having seen it. The cinematography is brilliant, and there are some interesting concepts that really will have you thinking long after walking out of the theater. Still, I couldn’t help but feel like the film dragged throughout. Coupled with the voiceover the movie has a very ‘Terence Malick-y’, “Thin Red Line” feel throughout.

I’m definitely not familiar with Max Richter so I can’t comment on what he might have written, but Balfe’s broad-chord style is pretty recognizable throughout. There are also some interesting electronic pieces used throughout, possibly might be Balfe but hard to say as of now. The rest of the music is pretty contemplative, ranging from slow/emotional string pieces to more ambient droning.

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Ad Astra soundtrack - Lorne Balfe 2019