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@Edmund <br>I still stand by my opinion that Holkenborg scoring Avatar 2 could be pretty interesting. Pairing him up with a director who is known to be strict with his musical choices and continuing on from James Hornerís classic might produce something really good. And seeing his gradual progress as a composer with Mortal Engines and Alita have personally given me some hope (2 years ago I would have said hell no).<br><br>And Iím not surprised by the choice for T6. Not looking forward to this project at all but we did get a cool score from Balfe for the last one so maybe there is some hope for the music at least.I think Terminator is a decent match for JXL's talents (listen to "The March" from Divergent), but this feels like further evidence that James Cameron is grooming him for Avatar 2, which I really hope ends up not being the case.Yes, Tom will be scoring the new Terminator movieChill out Bayhem, if you read my first sentence you can see I dismisded this rumor as crap.<br>But seeing people from his team ivolved and considering the fast and furious situation, I canít help but wondering if thereís some truth to that rumor.<br>Now for a guy talking about haters, saying that Lorne scores 36million projects and B movies (forgetting mission impossible) I think youíre pushing it a bit.<br>Anyway no hate I donít care who wrote it Iím just curious about the behind the scenes stuff.You're reaching there a bit Bayhem, I see no one in this thread trying to undermine Steve's work or the score. Hell the first poster was just asking if Lorne worked on it and if so, to what extent. And the "rumor comment" is a logical extension of Lorne's whole regular team being credited on the score, therefore it is possible that he did additional work on it.
Again a "rumor" comment that's trying to undermine Steve's work. And in this case, an entire score. Lorne fans, please stop trying to constantly undermine other composers in favor of your guy. It's childish and extremely disrespectful. You've done it multiple times on these boards. What's next? You gonna claim that Lorne secretly scored the entire Transformers franchise? And Lord of the Rings. And Harry Potter. <br><br>Seriously, it's getting really old, really fast. <br><br>Not to mention the fact that Steve, as a composer, is much, much more experienced and established than Lorne. He's got nothing to prove. Steve takes his time when it comes to scoring. He's choosing carefully. He's got more than enough time to focus on his projects. While Lorne's name is attached to 30 million different projects, some of them cheap B-movies like Hurricane Heist. And you think he's scoring them all by himself? The irony of it all is that if anyone is using ghostwriters most of the time, it's Lorne. Not Steve. And I'm saying that as a Lorne fan as well. I'm not just a Jablonsky fan. I appreciate Lorne's work as well. But I'm not undermining other composers in favor of him.Bay has Lorne scoring his films now cause they established a relationship on 13 Hours, and Bay didn't even want Lorne for that; he wanted Hans but he didn't want to go through the exhausting process of another Bay blockbuster so he brought in Lorne instead.<br>And even then, Hans still worked together with Lorne very closely on the project (Hybrid said he was there for all the meetings, helped with synth programming, etc)Of cause Balfe worked on it .That is why Bay now uses Balfeyou can absolutely hear the 13 hours temp track in Battlefield and We Have to GoNot to mention that Steve and Lorne structure their power anthems differently.<br>To me this score sounds like 100% Steve
I wouldn't say so, Lorne stacks his ostinatos and rhythms on top of each other (see Blackwood, Last Man on the Moon) and shotguns piano writing all over his scores in addition to using it for almost any kind of emotional scene (see Manny, Duck Shoot, Brothers Theme from Hurricane Heist)Well, if all we're using to distinguish Lorne is ostinatos and piano writing, then in that case, he's all over this film!The interesting thing is, that if Lorne did work on it, his work is indistinguishable from Steve's cause I hear none of his ostinatos or extensive piano writing.@Hybrid, a while ago I saw a rumor stating that Lorne Balfe ghostwrote this score and dismissed it as crap.<br>But looking at the credits I see some people from his team have been involved( his assistant Queenie Li as music coordinator, and Max Aruj and Steffen Thum did arrangements..)<br>Do you know why and to which extent he was involved or why his team worked on the score?This little gem of a score is one of my favourites of Lorne's smaller projects.<br>Got a great main theme and varying instrumentations of it throughout, plus he's using a real orchestra which is always good. (Check out The Heist, very upbeat jazzy piece)
Balfe - for anything than bad TV? How much did you smoke tonight? The Mission score must have been a studio decision but Balfe should not be allowed anywhere near a (any) franchise - the dude is a headcase and a total copycat. Tell me one piece that Balfe did that is original?Balfe - for anything than bad TV? How much did you smoke tonight? The Mission score must have been a studio decision but Balfe should not be allowed anywhere near a (any) franchise - the dude is a headcase and a total copycat. Tell me one piece that Balfe did that is original?Looking forward to what Ben's going to do with that movie.Hellboy coming by Sony Classical at 4/5/19Kung Fu Fighting (Celebration Time) on KFP3 also has a HZ credit despite again the booklet not crediting him for anything on it.
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Hans ZimmerNick Glennie-SmithFiachra TrenchMalcolm Luker
ComposerAdditional MusicConductorMusic Scoring Mixer
The House Of The Spirits
Label: Milan Records
Length: 43'33
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 (5227 votes)
  1. The House Of The Spirits (10:02)
  2. Clara (6:31)
  3. Coup (9:34)
  4. Pedro And Blanca (9:50)
  5. Clara's Ghost / La Paloma * / Closing Titles (7:24)
*Written by SebastiŠn Yradier & Michael Jary, performed by Rosita Serrano
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Zimson reply Replies: 7 || 2014-07-10 22:14:35
Lol, the times when Hans needed less than 10 people to do a score. :D This one's a very fine soundtrack, though.


Hybrid Soldier2014-07-10 22:38:41
Why is that an issue ?

Back in the days you might have had one guy (in most cases, Nick) but he was doing the same amount ALL the additionals nowadays combined do, so where's the difference ? :)


Zimson2014-07-10 22:53:39
My comment was actually not meant to be judgemental. It's of course not an issure. I just find it interesting how things evolved over the years and I'm glad they have. ;)


Hybrid Soldier2014-07-10 22:56:04
And I was no replying with any animosity... lol


Zimson2014-07-10 23:22:57
I didn't get it that way but it seems we got us both a little wrong, lol. :D It wasn't a critique on the amount of people working nowadays on his scores. I just wanted to point out how the team grew bigger along with the movies. ;)


e2014-07-11 10:23:59
This has probably been asked hundreds of times but is there anywhere where Hans himself talks about, in detail, the additional music process (not the PR crappy interviews he gives to sycophantic magazines and sites), or could you explain it Hybrid. I think the casting of it as "he writes a theme and then says 'okay guys write my score'" is a lazy analysis. I don't care who did exactly what note, I'm just interested in the process, and how involved Hans is at each step.


Zimson2014-07-11 14:52:08
As far as I know for scores like Dead Man's Chest the process is something like this: Hans writes suites inspired by the film. This often starts before the movie is even shot and he also likes to hear the story from the director rather than reading the script. This can take a few months or so. Hans worked a month on the Jack Sparrow theme for example.
After that, when film material is available Hans and his additional composers work together and score the scenes. They often sit down and discuss, sometimes also including the director and other crew members. So, basically Hans is always involved in the process and thus it's absolutely justified that he gets top credits at the end. He's like the director of the score (and also the screenwriter in some way), someone who looks at the big picture rather than the details.
On other scores like Sherlock Holmes or Inception Hans and Lorne worked more separately, as far as I know. Lorne stated in an interview that he sees in which direction Hans is going and then tries to mimic the style or capture the vibe.
Of course I can give no guarantee that this is correct, but it's how I understood it.


Lambegue2014-07-11 17:50:48
I'd be more curious to know how Zimmer gives his directions for the movies he doesn't even see completly (as it is the case with all the Michael Bay movies he worked on). Not a critic at all, I'm just curious.

About "The House of the Spirits", I agree, it's a very fine score. I especially love the two last minutes or so of "Clara"

Olaviu reply Replies: 0 || 2008-10-24 00:00:00
You are the best composer ever; I just love your music. I purchased several of your soundtracks and stored them on my iPod. Unfortunately, the soundtrack from ďThe house of the spiritsĒ was not available. If I donít ask too much, please advise where from can I purchase the soundtracks that iTunes are missing.
Keep up the fantastic good work. Your music is balsam to the soul.

dssf reply Replies: 0 || 2008-01-20 00:00:00
good

Anonymous reply Replies: 0 || 2007-11-18 00:00:00
this is one of the best soundtracks ever

Thank You Mr. Zimmer For your beautiful music

You Are The BEST Composer Ever No Doubt

hushanhu reply Replies: 0 || 2006-12-12 00:00:00
i am a fans for Hans ,come from china,i find this soundtrick so long,and imporssible,so a want to download,can i??i love this film very very much!!

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The House Of The Spirits soundtrack - Hans Zimmer 1993