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You're right Hybrid, remove this page, this abomination don't deserve a place here.No problem.Thanks so much!!!Nope, all you need is to go here:<br>https:// www.ascap.com /repertory#aceStupid question, but do you have to pay to gain membership into ASCAP before seeing cue credits?
Correct.Thanks! Just credits, though, I presume - no music files/sound?Dumb thing to rumour but okay...So Pinar Toprak didn't work on the Wonder Woman cue after all? That rumor was all over the place...If the time ever comes ;(
I should remove this page.<br><br>This infamy doesn't belong here. Love you Geoff but sorry... lol<br><br><br>I'll rather add the page for Zack Snyder's Justice League, when the time comes, hopefully...Composer credits for this:<br><br>Danny Elfman, T.J. Lindgren<br><br>BATMAN ON THE ROOF<br><br><br>Danny Elfman, Geoff Zanelli<br><br>THE AMAZON MOTHER BOX<br>ANTI-HERO'S THEME<br><br><br>Danny Elfman, Geoff Zanelli, T.J. Lindgren<br><br>THE TUNNEL FIGHT<br>THE FINAL BATTLE (John Williams)<br><br><br>Danny Elfman, Pinar Toprak<br><br>HIPPOLYTA'S ARROW<br>FRIENDS AND FOES (John Williams)<br><br><br>Danny Elfman (Hans Zimmer)<br><br>WONDER WOMAN RESCUEWhat about his last cover of "Wicked Games"? What a great surprise! Actually, all the themes are being updated every week. Ramin's stealing the show again!Greetings! I have a question regarding the placement of certain cues. Here, "Mycroft Is Nude" is placed where it plays in the film. However, on the sheets, it's shown as being after "Paris Bombing Investigation." Was the scene originally supposed to be later in the film? I'd be curious to know.just beautiful
This is a whole new side of his music as compared to what we normally hear.Black Widow has been moved to Nov. 6th, so we'll het Balfe's sckre at the end of the year.<br><br>Mulan has been moved to July 24th.Beautiful score! Matches well with The Lion King and WhispersBooklet credits:<br><br>"Wedding"<br>Lyrics: Joanna Wallfisch<br>Elenor Bowers-Jolley: Vocals<br><br>"Siren's Lullaby"<br>Lyrics: Joanna Wallfisch<br>Sarah Lee, Elenor Bowers-Jolley: Vocals<br><br>Yuja Wang: Piano<br>Jack Liebeck: Violin<br>Raphael Wallfisch: Cello<br><br>The Chamber Orchestra of London<br>Janice Graham: Leader<br><br>Music Composed and Conducted by Benjamin Wallfisch<br><br>Score Recorded at Air Studios, London, September 2012<br>Piano Recorded at Avatar Studios, New York, September 2012<br>Music Mixed at Squadron Sound<br>Music Producer: Benjamin Wallfisch<br>Additional Orchestration: Ben Foskett<br>Orchestra Contractor: Gareth Griffiths<br>Score Recorded and Mixed by Jake Jackson<br>Scoring Co-Producer: Alexander van Ingen<br>Assistant Engineer: Chris Barrett<br>Mix Assistant: Adam Miller<br>Music Preparation: Global Music Services, Ltd<br>Publisher: Du Vinage Publishing Ltd<br>Executive Producer DG: Christian Badzura<br>Project Coordinator DG: Burkhard Bartsch<br><br>Booklet Editor: Jens Schünemeyer<br>Photos: Summer in February Films<br>Cover Design: The Creative Partnership<br>Package Design: Mareike Walter<br>Art Direction: Merle KerstenBooklet credits:<br><br>Music Composed by Benjamin Wallfisch<br><br>Music Orchestrated and Produced by Benjamin Wallfisch<br>Executive Producer: Robert Townson <br>Vocal Improvisations by Sussan Deyhim (tracks 2 & 7)<br>Additional vocals: Joanna Wallfisch (tracks 1 & 8) <br>Guitars: Owen Gurry<br>Score Performed by Macedonian Radio Symphony Orchestra<br>Conductor: Oleg Kondratenko<br>Orchestra Leader: Ana Kondratenko<br>Orchestra Contractor: Laurent Koppitz<br>Score Recorded by Giorgi Hristovski<br>Assistant Engineer: Boban Apostolov<br>Score Mixed by Benjamin Wallfisch<br>Orchestra Recorded at MRTV, Macedonia<br>Music Mixed at Fifth Street Music, Santa Monica<br>Music Programming: Benjamin Wallfisch<br>Mastered by Patricia Sullivan<br><br>Special Thanks from the composer to: Afshin Ghaffarian, Richard Raymond, Pippa Cross, Akram Khan, Bob Bowen, Sussan Deyhim, Andrew Shulman, Owen Gurry, Joanna Wallfisch, Robert Townson, Laurent Koppitz and Darrell Alexander
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Benjamin Wallfisch
Composer
The Invisible Man
Label: Back Lot Music (Digital Download Only)
Length: 49'36
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 (169 votes)
  1. Cobolt (1:42)
  2. Escape (4:28)
  3. He's Gone (3:37)
  4. This Is What He Does (2:19)
  5. We've Got That In Common (1:21)
  6. Make It Rain (2:22)
  7. Attack (2:46)
  8. Why Me (3:00)
  9. The Suit (2:15)
  10. Asylum (3:31)
  11. He's Behind You (4:42)
  12. House Fight (5:34)
  13. It's All A Lie (5:26)
  14. Surprise (1:32)
  15. Denouement (4:57)
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Jack Afrogarrix reply Replies: 0 || 2020-03-24 02:41:32
Booklet Credits

Score Composed, Produced & Piano Soloist By Benjamin Wallfisch
Score Conducted By Chris Egan
Score Orchestrations By David J. Krystal
Score Performed By The Chamber Orchestra Of London
Score Recorded By Rupert Coulson
Score Mixed By Benjamin Wallfisch & Scott Michael Smith
Score Edited By Brett Pierce
Score Synth Programming By Jared Fly
Solo Cello By Justin Lepard
Score Coordinator By Darrell Alexander
Orchestra Contractor By Gareth Griffiths
Score Recording Assistant By Jack Mills
Score Technical Assistant By Michael Dean Parsons
Pro Tools Recordist By Chris Barnett
Music Mix Assistant By Kailtyn Delle Donne
Music Preparation By Jill Streater
Assistant Music Editor By Devaughn Watts
Concertmaster By Igor Yuzefovich
Assistant Orchestrator By David Deustch
Assistant Engineer By Gianluca Massimo


Felix reply Replies: 6 || 2020-03-02 23:44:07
Great score!


mpolonest123 2020-03-03 18:21:34
I really like it as well.

Most of the music is very minimilist string/piano, ala “A Cure For Wellness”. The rest falls more into horror/electronic manipulation style ala “It”.

And of course “Denouement”, what a great cue!


MrZimmerFan2020-03-03 18:36:05
Original comment

'The Invisible Man, would be one of the most dark, hard-hearing scores by Wallfisch, by far, multiple people will hate this score -i know, is difficult listening horror scores-, but when is good, is good.

If you love Lights Out, the two ITs, speacially, A Cure for Wellness, The Invisible Man is for you: dark, unpleasing (the theme for Elisabeth Moss' character is a beautiful melodie, example in 'Denouement', constantly accosed -rightly word- with the sounds of the Invisible Man, he has not theme, more motif and tremendously agresive sound desing, you can here listen in 'Attack') and very Hermann-esque (the score was only recorded with string orchestra, say by Wallfisch).

Like i said before, is not a score for everyone, but if you love Wallfisch's writing for horror, this one is for you'


Knight2020-03-03 23:52:12
I don't know why people think they need to take such an extreme position on scores like this, it was the same on 6 Underground.

Apparently if theres any unpleasant grunge on the score album "you will either hate or love the whole thing" and ignore any of the many melodic cues as this score is almost exactly 50/50 dark melodic/horror action grunge (just like 6 Underground incidentally).

Melodic/thematic cues:

Cobolt
He's Gone
This Is What He Does
Make it Rain
Why Me?
The Suit
Asylum
It's All a Lie
Surprise
Denouement


and the horror cues:

Escape
We've Got That in Common
Attack
He's Behind You
House Fight


mpolonest123 2020-03-04 04:28:26
@Knight

Yeah I’ve never gotten that either. Personally I like when a composer can take electronic manipulation and do some f*cked up things with it. Take portions of “It” or even Zimmer’s Inferno score, crazy sound design always fascinated me.

And if you don’t like those portions you still have the more ‘traditional’ music acting as a counterweight. Same with Cure for Wellness.


MrZimmerFan2020-03-04 17:50:47
The problem would be today standars for a good score: it must be something orchestral, thematic and largely without any type of sound design.

My recommendation: be yourself.

I love the most symphonic scores ever made by the most reverend composers, like Goldsmith or Williams, but i love when the composers go something extreme, even when they go extremely sound design and experimental, like Chappie, Inferno, even Tomb Raider (yeah, unpopular opinion in there).

The case here with this score, is this, is a horror score (myself loves the material created by Chris Young in Hellraiser, such great work), but when they start hearing electronic manipulation and horror, the people always goes crazy in his opinions about that, and, ALWAYS, mentions work where there is a lot of orchestra playing themes or melodic aspects (Knight mentions It, but It has more orchestral appeling for those who dosen't want much sound design).

The Invisible Man, has melodic ideas, like i said in my comment, and believe me, when i saw the movie, the score works great in there, because, we talking about a movie score, and the principal idea is the score work in the movie, specially in horror.


MrZimmerFan2020-03-04 18:01:53
You guys, mentions 6 Underground, i don't believe is the best example, but i give this to that score: works very well in the movie.

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The Invisible Man soundtrack - Benjamin Wallfisch 2020