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After watching the movie, I just have to say it was okay. It had some great moments but for me it had also many problems. And one of them was the music. For most of the part it wasn't even noticeable and when it was, it was like random background music with no really emotion or heart.<br><br>BvS and MoS movies can be criticized for some things but the score is not one of them. The movie gave the movie a strong and powerful side, as well as a heart and emotion into it. In this movie there were so many moments that needed different score. <br>***SPOILERS***<br>Superman's resurrection needed the MoS in full epic form. Wonder Woman at the bank at the beggining needed her theme with the electric cello in full power.<br>The Batman theme at the beginning when he is after that Parademon.<br>We should have a really memorable theme for the whole Justice League as well as for each individual member.<br>The scenes with Clark and Lois at the house in Kansas and when his mother sees him, this needed the piano theme from This Is Clark kent or something like that.<br>And that final moments with Superman opening his shirt showing the Superman logo and then flying to the sky, we needed something like "What Are You Going To Do When You're Not Saving The World?" or "Flight" and not that unmemorable music we got.<br><br>I really hope that the petition of the Extended Cut of the movie made by Zack with Junkie's music gets to be released someday, but for now, I'm disappointed.Sounds fun!!<br>Thanks for the linkAny ideas on the Chronological Order of the Tracks?<br>I made a start here...<br><br><br>Logos<br>Batman On The Roof<br>Everybody Knows - Titles<br>Wonder Woman Rescue<br><br>...<br>Icky Thump<br>Aquaman In Atlantis<br>...<br>1m1a Krypton (from Man Of Steel)<br>Spark Of The Flash<br>Friends And Foes<br>...<br>Come Together - Credits<br>Anti-Hero Theme - CreditsNo, they are the full score cues- as presented in the film. The presentation of the final three tracks on the first disc are edited down for timing.* I posted this at filmtracks and wanted to share it here as well. <br><br>Danny Elfman's comments are very disrespectful and so disappointing for a creative person to hear, especially for composers. Nostalgia is a big problem with Hollywood and it's a simple Jedi mind trick. It's slightly different, but the same meal over and over with different seasoning. Imagine if James Horner didn't get to write the score he wanted for Spider-Man? Or Zimmer had to use Elfmans Batman theme for the DK triliolgy or BvS? Or Shirley Walkers incredible Batman theme for Batman: Mask of the Phantasm. Or Giacchino just used the original star trek theme, or the original Star Wars themes for Rogue One and created nothing new at all? How boring and uninspiring for the composers not being able to challenge themselves to create new original music.<br><br>Whether you like these scores or not isn't important, the pursuit to create something new is what drives a creative person and gives us freedom in choosing something to enjoy and not enjoy. I love the original Batman theme by Elfman but I love it in the Burton films. I love Zimmer scores for both the DK trilogy and BvS. I am happy I can enjoy both types of scores and films but there are those who don't and that's a great thing because that means we are not all the same and that brings variety of opinion and taste which creates real conversation and most importantly gives an identity to a project.<br><br>It's easy to go back to original ideas, but I respect the creators who actually take the risk and want to try and do something new. If Danny Elfman stands by his words he should have just used the original Batman theme from the Tv Show and film or the original Spider-Man theme. Oops he didn't and we got a whole new Batman theme and Spider-man theme which most of us love. Thank god he didn't stick to using the original themes. The Batman reboots and superman and Spider-man reboots are completely different takes on the characters and that's why they deserve their own new themes and soundscapes. The only time I think an original theme from a film should be used in a new film with the same characters is if it's actually a sequel or prequel connected to that actual original film. Re-boots should always have new original music.<br><br>In the end the comments from Elfman are simply stupid and uninspiring and it's definitely a hidden ego coming through I never new he had which is a shame. I remember what Zimmer said about Danny Elfman's Batman theme being a bit jolly, but that's not attacking Elfman at all, it's how he felt and heard the music and felt that that style wouldn't fit in the new batman films ect.. I have always found the original Batman theme a bit on the jolly side too and I love it because it nails Burton's take on the character and world. That theme is for Keaton's Batman, no one else's.<br><br>One final point, if we keep wanting to just revisit the past and hear and see the same thing over and over and not be challenged with new ideas, what a damn uninspiring and boring world of creativity we will live in.<br><br>All the best to you all!<br><br>
so...based on what junkie says here, Elfman is basically just rehashing old shit, as well as other people's old shit....Unless you want to say he's taking his Batman theme into a whole different direction that he didn't really have a desire to do before...until now....<br><br>In that case, "whatever" is all I have to say.Nice stuff! I still can't believe this score hasn't gotten a release.That's unfortunate. With this score, I think it's obvious that the majority is Jablonsky, as it has a ton of elements from scores he's composed exclusively, but it would still be nice to know who did what, especially with the first and second films. Not sure why there's rarely any proper additional music credits for a lot of the RCP guys, especially considering Zimmer's credits are almost always complete. <br><br>However that cuesheet of the extended score is very interesting. Hopefully if it leaks, all those cues remain there.Damn that sounds different from Elfman's commentsThe funny thing is an interview he gave 1 months before being replaced... Saying pretty much the opposite of Elfman !<br><br>"Itís a massive undertaking. And I canít say anything about Justice League specifically, but Iíll tell you this, and this was exactly the same experience that Hans and I had when we did work together on Man of Steel and Batman v Superman: Itís like when you see a movie like that, these iconic superhero movies, some of them have a 60 to 80 year legacy, multiple composers had a go at their themes, multiple filmmakers did their version of these charactersóitís very scary. You watch a movie and itís like, ďHoly shit, now I have to come up with something.Ē Youíve got sweaty hands and youíre nervous, and you talk about it over and over againóand I have exactly that relationship with Zack Snyderóand then Zack said, ĒThereís only one thing you can do, and that is embrace this character as if itís your own, keep it close to your musical soul, and just do whatever you feel is the right thing to do for this character.Ē Thatís the only thing we can do. Thatís what all these great directors did back in the day, and thatís what all these great composers did back in the day. It makes no sense for me to do extensive quoting of Hansí score of the really amazing Batmans. It makes no sense for me to quote Superman from John Williams. Because all fantastic composers, they all did the same thing, they did something that was close to their heart, and I have to do exactly the same thing on this movie. You know this is Movie Number 4 that Iím doing with Zack, so you build a friendship and itís built on trust and loyalty. You know how to challenge each other, you know what to expect on the other side, and itís this really open, amazing dialogue about where to take this franchise."
I can confirm that he had already worked on it quite a bit, because he said so in one of his Studio Time episodes.I wouldnít be surprised if he wrote another long sketchbook for it...I honestly have no idea... But I can't believe back in June when he left he hadn't done a bunch of the score already...The thing is with Jablonsky scores composers rarely get cuesheet credits, so you can't really draw conclusions out of it. Here's a small part of the cuesheet :<br><br>QUINTESSA PT 1<br>QUINTESSA PT 2<br>QUINTESSA PT 3 OPTIMUS REDEMPTION<br>KNIGHTED<br>WE HAVE TO GO ZERO GRAVITY<br><br>OPENING BATTLE<br>MERLIN<br>MERLIN GETS THE STAFF - BATTLE WON<br>TROUBLED TIMES<br>CADE DRIVING - AMULET<br>WE HUNT - DECEPTICONS HUNT<br>KEEP A SECRET - VIV ARRIVES CASTLE FOLGEN<br>WITWICCANS<br>ROUNDTABLE ORGAN SOURCE<br>COGMAN CHOIR<br>STAFF<br>BETTER GET CRACKING<br>PLANETARY VAMPIRISM<br>TOO OLD<br>SUBMARINE<br>TWO MOONS<br>MERLIN'S TOMB<br>SPACE STATION<br>CLAIM THE STAFF<br>SHIP RISE<br>YOUR VOICE<br>SOLDIERS TAKE POSITION - BURTON DIES<br>FALL AND GRAB<br>ENDINGrumor has it Lorne Balfe did this score<br><br>I guess if we do not get any credits then that proves it
Any chance of proper artist credits for this score?@Hybrid <br><br>Did Tom actually record anything for the film or did he just do demos?It's the same 24 tracks divided on two CDs. I'm truly hoping for a nice numbered digipak that separates the limited editions from the regular release otherwise it would be quite a crappy move from the record label. <br><br>"Joss said, ĎLetís do it [Batmanís theme] on the nose. Fans love this kind of stuff.í" Why do you have to ruin everything, Joss?This film is atrocious. Suicide Squad was a mess but that film was forgivable. What WB decided to with JL is embarrassing, to say the least. Forcing Zack to change the tone and add forced childish humor and quips, demanding a less than 2-hour runtime, extensive reshoots with Whedon in charge... wtf were they thinking?<br><br>It's interesting to note that Zack hasn't even seen this abomination yet.
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 LATEST RELEASES
 NEWS
  2006, October 27
UCLA WIND ENSEMBLE TO PERFORM WORLD PREMIERE of ACCLAIMED 'MARS UNDERGROUND' SCORE as a SUITE-to-PICTURE



Multi-talented composer of "When a Stranger Calls", DreamWorks' "First Flight" short, SOCOM video game series and contributor to "The Da Vinci Code" and "Pirates of the Caribbean" also to appear


  2006, October 26
A new interview from Jim DOOLEY

Our Friends from Scoremagacine.com released an interview from the composer, from Wallace and Gromit to Chicken Run and the Jerry Bruckheimer / Media Ventures sound up to the modern trends in film music, composing techniques, game scores and even score rejections, read about it all in the pleasant chat they had with him a while back.


  2006, October 25
Ultraviolet
Klaus Badelt


The Texas Chainsaw Massacre: The Beginning
Steve Jablonsky




  2006, October 23
JOHN POWELL ; Press conference in Ghent

We released the first part of the press conference the composer John POWELL held in Ghent on october the 14th for the World Soundtrack Awards, with text, pictures and videos.

Read the article


  2006, October 21
CHILDREN OF GLORY

Check the official website from the movie to get the main title from the Nick GLENNIE-SMITH' score.

Thank you Levente !


Comments (3)

  2006, October 20
Harry GREGSON WILLIAMS records DEJA VU

Soundtrack.net released pictures from the recording sessions from the new Harry GREGSON-WILLIAMS' score, for the Tony SCOTT's next movie.


  2006, October 17
John POWELL at The World Soundtrack Awards 2006

The sixth edition of the World Soundtrack Awards (WSA) held on October the 14th. 2006 in Ghent (Belgium) was once again a pre-eminent event for film music lovers.


Download our video (wmv - 56 Mos - 10mn)


The spanish composer Alberto Iglesias won Best Soundtrack and Best Composer Awards for The Constant Gardener and the argentine composer Gustavo Santaolalla sang and played a live guitar rendition from Brokeback Mountain.
The Flemish Radio Orchestra, conducted by Dirk Brossť, performed music from Michael Giacchino, Peer Raben, Piet Goddaer and John Powell, who joined in the orchestra for The Bourne Identity, Endurance, X-Men: The Last Stand, Two weeks Notice, Mr. & Mrs Smith and Ice Age: the Meltdown.

Hans-Zimmer.com wishes to thank the Flanders International Film Festival from Ghent and the World Soundtrack Academy for their amazing ceremony and concert.

More Infos on the official website


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  2006, October 15
Blood+ Vol2
Mark Mancina


   
Haven
Heitor Pereira




  2006, October 08
A new Hans ZIMMER's interview : part II.

(...)"Well, once I've done the next Batman movie, which will finish in early 2008, I thought I'd take a year off from writing film scores and just go and do some concerts. I only started thinking about this recently, that I have these complete pieces lying around, like The Ring, Gladiator, Thelma & Louise, Crimson Tide, and they all exist as proper concert pieces. One of the reasons they've never been performed is that the percussion parts mostly exist as a bunch of samples in the films, so Bruce never had to write it into the score. So we just need to sit down, add the percussion into the score, and things like that.(...)"

Read more on soundtrack.net


  2006, October 01
A new Hans ZIMMER's interview.

Soundtrack.net released the first part from an interview dedicated to Hans ZIMMER's work on The Da Vinci Code & Dead Man 's Chest.


  2006, October 01
A non-Italian Job

John POWELL has been commissioned to write the original music for Horton Hears a Who, an animated feature produced by 20th Century Fox for release in 2008. Itís based on the book by Dr. Seuss and will feature the voices of Jim Carrey and Steve Carell. The movie is directed by Jimmy Hayward and Steve Martino, who both worked on Robots.

Source :Filmmusicworld.com


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  2006, October 01
METAL GEAR SOLID 4 : GUNS OF THE PATRIOTS



Harry GREGSON-WILLIAMS is composing the score along with Toda NOBUKO who will be in charge of the in-game music while HGW will score for the cut-scenes. Release date for the video-game is announced for the year 2007.

Visit the official website HERE
Download the trailer HERE


Thank you Aggelos Tsompanidis !


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