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I LOVE this score, it's like Nine Inch Nails, a mix of industrial/rock ambient sounds. This and the dark-ambient music of Blair Witch (2016) by Adam Wingard, two of my favorite scores of this month.I think Steve just seemingly confirmed he's scoring Transformers 5 on his Instagram. Not that i was worried. :))))And on that note, this is actually one of the more emotionally-driven sound design scores I've heard.Well said, Edmund. And ultimately, the final decision really does come down to the director and his preferences. It must be hard being a film composer right now. Write a score that sounds great on its own but doesn't fit with the tone of the film, it gets bashed. Write a minimalist, more sound-design oriented score, it gets bashed.I don't really see how the movie's subject dictates that the score be dark and electronic either. I think both approaches have possible merits and possible disadvantages. You might say that an orchestral, thematic score is tasteless because it would play tragic deaths for "cheap" drama...but if that's your case, then isn't the entire movie also guilty of the same thing? You might just as easily say that by going the electronic route, Jablonsky is neglecting the human cost of the disaster and focusing too much on its mechanics.<br><br>I don't agree with either line of thinking, though. A good score is a good score no matter what it's made of. I *personally* don't much like listening to sound-design scores, and I wish Jablonsky had gone for something a bit more expansive for purely selfish reasons. But that doesn't mean I think his approach was an invalid one, and I don't think you should say that an orchestral approach would have been invalid either. It's all about the execution.
Thanks.Hahaha no, I haven't done any cover at the moment. I'm searching the score from the vocal version (there's a version in youtube, I don't know if you know it) from "now we are free" and the orchestal score of "Chevaliers de Sangreal". I really love that theme!<br><br>And also sorry for my bad english, I'm spanish studying english :DThere is some "Incredible Hulk" reprise in "Not that sort of bank"The movie is about a disaster with real people, don't fit a orchestral epic dramatic score, more a electronic, dark, gritty score.<br><br>Everyone expect orchestral when don't fit in every movie...Looks like it's digital only :(
People here seem to forget that scores and soundtracks are made for a movie. They are not made as a music album in the first place. Some composers make like more than 2 or 3 scores a year. That's not the same like an artist or band who makes an new album once in 2 or 3 years). <br><br>Scores are a really nice extra thing you get from a movie and yes some albums are great to listen to, others with more like an ambient and underscore type of sound can be seen as disappointing and boring.  I think it's wrong to give Jablonsky a hard time here because he made a score that will fit this movie, but when listening to it without the movie it can be kind of boring... Composers don't make this music just to bring out a new album for us! They make music for movies and afterwards they can share it with us. <br><br>About the movie, I don't think this movie needed some kind of memorable heroic themes. It's a serious thriller and giving this some theme's like Transformers would look and sound ridiculous. I was expecting a score like this.Steve said in an interview that they didn't want a orchestral score, so he made it completely on his computer. Check interview here: youtube.com/watch?v=Glr-dgumGgoLove this Score Great Work!!!!Don't always blame the composer. More often than not, it's a combination of director, producer(s) and studio.I realize there are some harsh tracks akin to Battleship but if you just skip to the end you will find the final cue is one of the most gorgeous and emotional of Jablonsky's career :)
...or more likely the director/producers wanted something more akin to sound design than melody.Well...John co-wrote the main themes from KFP 1/2.... :PSo then why is John mentioned on every cue ? Surely he contributed something to these view also ?ggggrrrrrrrrrr, tictictictic, ccrrrrrrrrrssssshhhhhhh ... that's all I heard listening to the Deepwater Horizon. The movie makes me want but compsition Steve Jablonsky is unbearable listen-only. Gone is the time of the first Transformers. Jablonsky disappoints me more and more to serve us sound design. to believe that he knows more compose MUSIC ...Bit late to the party but IMO you're absolutely right. If you listen to these pieces back to back with the Crimson Tide score, which is phenomenal, you'll notice how present Zimmer's influence is.
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Jim DooleyJim DooleySteve JablonskyGeoff Zanelli
ComposerComposerComposerComposer
Music For Film And Television
Label: Promotional release
Length: 44:12
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 (1876 votes)
  1. Live In Bagdad - After The Bombs (1:11)
  2. Live In Bagdad - Going To War (1:46)
  3. Pearl Harbor - The Attack Infamy (3:57)
  4. Pearl Harbor - Battle Of Britain (0:59)
  5. ESPN Sportcenter - Highlights (1:43)
  6. ESPN Sportcenter - Jackie Robinson (0:55)
  7. ESPN Sportcenter - Innocence (2:32)
  8. Equilibrium - Hall Of Mirrors (1:28)
  9. Equilibrium - Sacrifice (1:38)
  10. Equilibrium - Withdrawls (0:54)
  11. Equilibrium - Kata Fight (2:54)
  12. Lost Subs - Darkness (2:19)
  13. Hannibal - Bring Him Home (1:29)
  14. Hannibal - Scent Of Lecter (1:07)
  15. Hardwired - End (1:52)
  16. Hardwired - Combat 1 (1:10)
  17. Hardwired - Gameplay 1 (3:06)
  18. Hardwired - Main Theme (1:36)
  19. Passionate - Flirting (3:17)
  20. Road To El Dorado - Friends / The Storm (1:36)
  21. The Time Machine - The Abduction (2:16)
  22. The Time Machine - Moorlocks Attack (4:04)
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Music For Film And Television soundtrack - Jim Dooley - Jim Dooley - Steve Jablonsky - Geoff Zanelli 2000