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home is very very soothing. (i sound like i have said it before lol) 
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<br>it’s the one cue i can listen to a zillion times and never get tired of. i hope upcoming movies will give Hans or whoever in remote control an opportunity to do similar cues. elisabeth in inferno is the closest but is so short.
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<br>i have mellowed. i love these mellow cues.John Powell stated on his Instagram that the album will have 19 tracks, and be over an hour!Its not a film, its an album. This was still during the days of Hans' involvement with 'The Buggles'.I don't think you have listened to the Star Trek scores properly. Giacchino has a main theme that he uses a lot, but also a theme for Spock, themes for the bad guys of each movie and even a theme for the city of Yorktown in the third movie.<br><br>Another great example of this is LOST, where almost all the characters had a theme that played through all the series and there were also themes for locations or even situations.<br><br>So I don't think Giacchino is out of the use of themes.I mean sure, but I can't think of many Giacchino scores that actually match that description. The Star Trek reboot scores for example, where he has a (pretty good) main theme that he plays the same way roughly sixteen thousand times over and over again. :p
For me, a theme is a distinguishable motif or piece of music that is related to a specific location, event or most commonly character, and that the viewer notices as such. If your score contains 20 themes that are never repeated in a similar form and are so uncharacteristic that they all sound the same, I'm just calling that orchestra noise. And I don't see any appeal in that kind of scoring...Ds, am I reading that correctly that you're using the fact that JJ works with Giacchino as evidence that the score might *not* be melodic or thematic? Because say what you want about Giacchino (and I'm far from his biggest fan either), it's an objective fact that he writes film music that is almost exclusively thematic/melodic. Whether you like those themes and melodies is another question, but they are undeniably themes and melodies.Yeah, totally agree IMO Mad Max is over rated, this is JunkieXL's best score as a solo outing, especially Tom's Sketchbook is so awesome & Batman v Superman is a perfect score in itself but yeah some pieces will fit perfectly. On another note Justice League (2017) could've benefited from Tom's presence but the movie failed from every point of view.Now released: http:/ /filmmusicreporter.com/2018/04/19/soundtrack-album-for-sky-h unter-to-be-released/<br><br>https: //www.amazon.com/gp/product/B07C26S729/ref=as_li_qf_asin_il_ tl?ie=UTF8&tag=filmusrep-20&creative=9325&linkCode=as2&creat iveASIN=B07C26S729&linkId=18cb85bfc0aaee3094cdba507fe05649I hope Balfe delivers but he has not done a score that I really listen to more than once so I hope this will be it.
I agree with Edmund for the most part, except that JJ Abrams usually works with Giacchino, and Cruise's recent productions include Jack Reacher 2 and Edge of Tomorrow. So I wouldnt exactly take a melodic or thematic score for granted...<br>That being said, at this point I expect something like Penguins, but I secretely hope for something really amazing and surprising that would explain why McQuarrie broke up with Kraemer.BOOKLET CREDITS (From The Album):<br><br>Score Composed, Produced And Mixed By<br>TOM HOLKENBORG<br><br>Additional Music By<br>ALJOSCHA CHRISTENHUB<br>ANTONIO DI IORIO<br><br>Orchestra Conducted By<br>JOHN ASHTON THOMAS<br><br>Technical Score Engineer<br>ALEX RUGER<br><br>Additional Programming By<br>EMILY RICE<br>JACOPO TRIFONE<br><br>Music Editor<br>SIMON CHANGER<br><br>Assistant Music Editors<br>BEN SMITHERS<br>ARABELLA WINTER<br><br>Music Consultant<br>BOB BADAMI<br><br>Score Orchestrated And Copied By<br>JONATHAN BEARD<br>EDWARD TRYBEK<br>HENRI WILKINSON<br>TOM HOLKENBORG<br><br>Librarian<br>JILL STREATER<br><br>Orchestra Contractors<br>ISOBEL GRIFFITHS<br>SUSSIE GILLIS<br><br>Orchestral Recording Engineer And Mixer<br>NICK WOLLAGE<br><br>Orchestra Recorded At<br>AIR STUDIO<br><br>Air Studios Managers<br>ALISON BURTON<br>CHARLOTTE MATTHEWS<br>LUCY MATTHEWS<br><br>Music Production Services<br>MICHIEL GROENEVELD<br><br>Agent<br>AMOS NEWMAN<br><br>Legal Representation<br>DAVID ALTSCHUL<br><br>Music Recorded <br>6-7 January 2018<br>At<br>AIR STUDIOS, London<br><br>Score Published By<br>UNITED LION MUSIC, INC. (BMI)<br><br>Booklet Editing & Design<br>WLP LTD<br><br>Soundtrack Acquisitions<br>MARK CAVELL<br><br>Sony Classical Product Development<br>KLARA KORYTOWSKA<br><br>Special Thanks To:<br>ROAR UTHAUG, GRAHAM KING, SASKIA, JULIAN and DARREN, ANNE COBB, SHANE GLASSThe Stark theme always left a big impression on me, but the way it plays when Jon Snow dies gives me the chills<br><br>Andrew Kawczynski scored the movie Sky Hunter. The score is available on Spotify now. <br><br>The score is probably the most melodic/heroic that I heard from him.wtf is this? did zimmer score a porno?
why hybrid when lorne himself confirmed it? <.<@Hybrid, can you confirm Lorne is scoring MI6?I feel like the only way I could be excited about this would be if they adopted the sound of M:I-2, which I find very unlikely. Primarily because the sound is very dated, but also because Fallout is likely to be a more serious movie than II ever will be. Still, I'm cautiously optimistic, especially if it was true that he did the trailer music.<br><br>And it was Rogue Nation that Kraemer worked on, not Ghost Protocol.It's sort of been implied here before that Lorne Balfe worked on the "Bumblebee" suite... Is that correct (as far as anybody knows, at least)?Both scores are absolutely masterpieces, personally I prefer the second one. Outstanding. <br>This story deserves a perfect close also musically.
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Additional Music - Orchestrator
Mark MancinaDave MetzgerChuck ChoiDon Harper
ComposerAdditional MusicScore ProducerConductor
Training Day (Complete Score)
Label: Promotional Release
Length: 100'00
HZimmer.com rating:        4/5
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 (2999 votes)
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CD1
  1. Welcome To The Jungle (4:41)
  2. Homes, Play With Us (5:39)
  3. Life's A Trip (2:36)
  4. Chase On The Roof - Fight With Alonzo (Alternate) (3:00)
  5. Jake's Fatigue (1:35)
  6. Crackin' Nuts (1:59)
  7. Roger (3:14)
  8. As The World Turned (1:54)
  9. Drive To Smiley (1:19)
  10. Car Surfing (1:02)
  11. Going After Sandman (1:29)
  12. Death Is Certain (Alternate) (1:27)
  13. The Appointment (1:12)
  14. Death Is Certain (1:10)
  15. Training Day (2:41)
  16. A Little Ambush (2:22)
  17. Wolf Against Dogs (3:32)
  18. Wolf Against Dogs (Alternate) (3:20)
  19. End Titles (2:58)
  20. Interrupting A Ditch - Party (1:54)
  21. Alonzo (2:35)
CD2
  1. Alonzo (Reprise) (2:34)
  2. Alonzo (Reprise Alternate) (2:34)
  3. Father & Son (1:20)
  4. The Scenario (5:46)
  5. Green Light (3:26)
  6. Green Light (Alternate) (3:25)
  7. I'm Here For Alonzo (2:48)
  8. Preserve Life (3:43)
  9. This Is The Game (Fill-In) (0:30)
  10. This Is The Game (Conclusion Alternate) (0:31)
  11. This Is The Game (Conclusion) (0:33)
  12. Death Is Certain (Alternate II) (1:22)
  13. Scoring Sessions I (1:42)
  14. Scoring Sessions I (12 Reprise) (0:34)
  15. Scoring Sessions II (1:01)
  16. The Office (0:49)
  17. Smiles & Cries (2:02)
  18. This Is The Game (4:04)
  19. Traffic Jam (Alternate) (0:54)
  20. Money (2:43)
  21. Timeless (0:29)
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takehiro reply Replies: 0 || 2011-02-07 00:00:00
Sadly, NOT the complete score. I think four cues are missing (by another composer?) and Fight with Alonzo has the end crudely cut off.

daniel reply Replies: 0 || 2009-03-09 00:00:00
tanks

Hybrid Soldier reply Replies: 0 || 2007-01-27 00:00:00
CD 1 :

1. Welcome To The Jungle (4:41)
2. Homes, Play With Us (5:39)
3. Life’s A Trip (2:36)
4. Chase On The Roof – Fight With Alonzo (Alternate) (3:00)
5. Jake’s Fatigue (1:35)
6. Crackin’ Nuts (1:59)
7. Roger (3:14)
8. As The World Turned (1:54)
9. Drive To Smiley (1:19)
10. Car Surfing (1:02)
11. Going After Sandman (1:29)
12. Death Is Certain (Alternate) (1:27)
13. The Appointment (1:12)
14. Death Is Certain (1:10)
15. Training Day (2:41)
16. A Little Ambush (2:22)
17. Wolf Against Dogs (3:32)
18. Wolf Against Dogs (Alternate) (3:20)
19. End Titles (2:58)
20. Interrupting A Ditch – Party (1:54)
21. Alonzo (2:35)

CD 2 :
1. Alonzo (Reprise) (2:34)
2. Alonzo (Reprise Alternate) (2:34)
3. Father & Son (1:20)
4. The Scenario (5:46)
5. Green Light (3:26)
6. Green Light (Alternate) (3:25)
7. I’m Here For Alonzo (2:48)
8. Preserve Life (3:43)
9. This Is The Game (Fill-In) (0:30)
10. This Is The Game (Conclusion Alternate) (0:31)
11. This Is The Game (Conclusion) (0:33)
12. Death Is Certain (Alternate II) (1:22)
13. Scoring Sessions I (1:42)
14. Scoring Sessions I (12 Reprise) (0:34)
15. Scoring Sessions II (1:01)
16. The Office (0:49)
17. Smiles & Cries (2:02)
18. This Is The Game (4:04)
19. Traffic Jam (Alternate) (0:54)
20. Money (2:43)
21. Timeless (0:29)

Hybrid Soldier reply Replies: 0 || 2007-01-26 00:00:00
Antas, I have the tracklist for this one, I'll give it later...

;-)

Zedman reply Replies: 0 || 2006-02-20 00:00:00
"--Training Day"-- marque la maturité sinon artistique de Mark Mancina - l'un de mes compositeurs préférés issus de la Media Ventures avec entre autre Harry Gregson-Williams - qui contrairement a ces scores bourrins mais non moins interessant et reussis pour "--Speed"--, "--Bad Boys"--, "--Fair Game"-- ou encore "--Con Air"--, sait limité niveau musical, nous offrant un score amer, tragique et parfois entrainant.
Ce score est surtout mené par un théme amer et tragique pour evoquer surement cette journée que l'on sait trés bien en fin de compte qu'elle se finira dans la violence.
Ce théme facilement reperable et meme memorisable pour certains beophiles, s'achevera de maniere traqique a la fin du film, synoyme de la fin d'une journée memorable pour les protagonistes interpréte par Denzel Washinton et Ethan Hawke.
Ce score prouve donc la maturité d'un compositeur qui malgré son depart de la boite de Hans Zimmer continue de nous surprendre et ceux meme pour des films a l'interet douteux ou trop sous-estimes comme "--The Haunted Mansion"-- et "--Brother Bear"--.
Training Day est donc se chef d'oeuvre de Mark Mancina a classé dans les b.o. fait avec reflection comme "--The Thin Red Line"-- de Hans Zimmer.
Parfait!!!

Herman reply Replies: 0 || 2005-05-11 00:00:00
un score trés sombre et different de SPEED, BAD BOYS ou encore CON AIR, Mark Mancina à ecrit une excellente musique qui termine brillament laissant un cote gangsta a l'excellent film de Antoine Fuqua
du grand art

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Training Day (Complete Score) soundtrack - Mark Mancina 2001