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Edmund - given the rationality you've displayed in your comments, I'm disappointed Goldsmith isn't in your top three. ;)<br><br>In all seriousness, I'd put money on Powell fucking nailing the integration of Williams's theme. While Giacchino did a solid job on Jurassic World and Rogue One (I tend to think my assessment of the latter is a bit more positive than most), frankly I just think Powell is a far better composer - a genuine A-level guy, whereas Giacchino is moreso very competent without that spark of pure talent seen in Williams, Goldsmith, Elfman, Zimmer etcI think it's worth noting that Zimmer's popularity at this point is largely under his direct control - meaning that if he were to decide to stop touring, go back to writing full-time, and return to his 'epic' thematic style, I think we'd see a surge in his popularity of the sort we saw from Batman Begins through til Interstellar. However, I just don't think he's interested, which is totally his right.<br><br>I certainly agree that the RCP proteges at this point are, frankly, shit compared to how they used to be. I mean, even a guy like Steve Mazzaro (who I genuinely like and who wrote some of the coolest cues in Chappie, and basically co-wrote BvS - a score I actually like) just utterly pales in comparison to the Powell era.<br><br>Actually, I have to take that back a bit; Wallfisch is a very, very talented guy, honestly so much better than someone like Junkie that I weirdly tend to forget he's under the RCP roof now.@HunterTech<br><br>"I only get annoyed when people decide he's suddenly the most amazing thing ever, which he really isn't. Even on his most competent scores, it's unlikely many would recognize him as one of the greats. Respect him, sure, but not think he's out of this world."<br><br>Exactly. Hans, for all the criticism he gets (much of it for good reason), has written some of the best film music of all time (seriously, having listened to huge amounts of Williams and Goldsmith, I still find Science & Religion my favorite cue ever). On the other hand, Lorne has written innumerable adequate-to-good scores, but none that I can recall are iconic. I'd say the closest he's come is in the form of his contributions to some of Zimmer's work (personally, I think his Kick It theme is the most interesting of those in Inception), but even then he hasn't done anything as memorable as Djawadi's theme from Batman Begins.Michael - reread the second half of my previous comment. And no, I don't think Genius or Churchill are no good; I wasn't impressed by the second, to be honest, but Genius is really cool - like an updated version of Frost/Nixon, one of my very favorite Zimmer/RCP scores.<br><br>Edmund - much appreciated.<br><br>Overall, I too am baffled by many of these comments; clearly there is a middle ground between "Lorne is shit." and "Lorne is absolutely amazing.", but this seems to be missed.<br><br>And by the way, I'm actually super happy for Lorne's success - I think he deserves it given the quality and quantity of his work, and he seems like a super nice guy to boot (how many composers regularly respond to people on Facebook?). However, this doesn't mean I can't simultaneously point out the fact that much of his work is very, very similar to work he's done previously. Indeed, I think this is more of an issue for Lorne than Hans, perhaps because he takes on sooooooo many projects.I agree. His Justice League theme is just a deconstruct of his Batman theme. Clever, yeah sure - he's done similar things with the Men In Black sequels and I'm sure there's others I can't think of right now - but I personally dont consider Elfman's involvement in this new DCEU to be very welcome. Zimmer paints a different canvas than Elfman, and I love both their works.
It was a missed opportunity.<br>Yeah... I'm not sure about Elfman's wave. The guy decided to bring back his old Batman theme instead of actually writing a new one. He has to re-invent himself. <br>Seven with ZimmerYeah, Silvestri, Newman, Goldenthal and JNH too. The six most popular "new" composers, along with Horner, of the  80's and 90's.I saw a few clips from the movie on youtube. The score sounded really good. Very unlike Djawadi and very beautiful fantasy music! Can't wait
I saw a few clips from the movie on youtube. The score sounded really good. Very unlike Djawadi and very beautiful fantasy music! Can't waitHonestly, I do feel bad for Elfman, because for Chrissakes hes been doing 50 Shades of Grey these days, and the last memorable scores I have of him are from 2012. But I don't think Zimmer or even Elfman for that matter are done as yet. I predict by the end of this decade Zimmer will have a new wave in popularity wash in. I'm just waiting for Elfman's wave right now...not quite seeing it yet.Glad you caught it Rockhound. Think the others were too wound up to notice !!i was trying to be funny.Pete you are funny, although u demand from others to talk about the actual soundtrack from this page, you start to talk also about another soundtrack. but ok.... i think Forgotten is a very boring track and adds nothing to the actual scene. a variation of his theme from the track Hero would have been much more intense for the ending. sadly we got 9 boring minutes of thematic development and instrumentation. Lorne can do much better as the track Hero from the same soundtrack shows.Zimmer got X-Men: Dark Phoenix this year. And I have a hard time believing he is only scoring that film this year. Zimmer always does more than 1 film a year.
No need for petty cursing .<br><br>We can discuss the soundtrack instead ! <br><br>Forgotten is cool track.It’s definitely one of Bay’s best movies. Wish he would make more drama based film obvious with some action. Can’t cope with more robots ! The ending of the film is so emotional and this track gave goosebumps at the end. Did sound very similar to the end of The Last Knight"Boring . Talk about the actual soundtrack or change the subject."<br><br>Ok, so someone else gets us on this topic, an arguement occurs, and NOW, only when you've realized you're losing the arguement, do you decide that this page is only for 12 strong. Which it's not. This is a forum we talk about whatever we want here.<br><br>But what a childish and pathetic attempt at avoiding our points. Just dismissively saying "Boring! Change the subject! My ears can't handle this criticism!!! Wah, wah, wah!" I guarantee you the next step after this is going to be petty cursing.Boring . Talk about the actual soundtrack or change the subjectUpset about success? Sounds like someone doesn't know a thing about reasonable criticism. :p<br><br>If anyone likes Balfe, then good on them. I only get annoyed when people decide he's suddenly the most amazing thing ever, which he really isn't. Even on his most competent scores, it's unlikely many would recognize him as one of the greats. Respect him, sure, but not think he's out of this world. Especially if people are still gonna be excited about hearing the work of someone else when a different person is hired (i.e. what JL might've been).Can we please change the subject !!!!!!!!it is so boring now.This page is ment to be about the sound track to 12 Strong
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 LATEST RELEASES
 NEWS
  2008, July 26
Dark Knight LIVE Score Performance Zimmer & Howard 7.14.08



Comments (22)

  2008, July 25
The Dark Knight - Let The Blood Run Cold
James Newton-Howard / Hans Zimmer interview

> www.musicfromthemovies.com


Comments (2)

  2008, July 18
Steve Jablonsky scores Gears of War 2 soundtrack
source : www.music4games.net


Comments (4)

  2008, July 17
A Wonderful, Dark Knight in New York City.
ScoreNotes interviews Hans Zimmer and James Newton Howard.



Comments (4)

  2008, July 16
Photos from The Dark Knight's Virgin Megastore signing, Kung Fu Panda premier and more here : www.jamd.com

Comments (0)

  2008, July 12
Hans Zimmer and James Newton-Howard to Perform at Dark Knight Premiere

More informations here : www.superherohype.com

Zimmer and Howard will be signing copies of the soundtrack at Virgin Megastores in New York on Tuesday, July 15, in Times Square at 7pm, and in Los Angeles on Wednesday, July 16, at Hollywood and Highland, also at 7pm.

Other news here : www.scoremagacine.com/forum


Comments (15)

  2008, July 11
JEFF RONA at Olympic Games 2008



Acclaimed film composer Jeff Rona has composed “Songs of the Sea: The Regatta Suite” at the invitation of the International Olympics Committee and the City of Qingdao, host of the 2008 Olympics Regatta. The music will be the theme of the Olympic regatta competition.

On July 16, in Qingdao at the Olympic Village, Rona will conduct a 110 piece orchestra, traditional Chinese musicians and one of the country’s top sopranos in the first ever performance of the music. Rona has tapped renown poet David Whyte and singer/songwriter Lisa Gerrard (of Dead Can Dance) to create words as part of the concert. Rona will bring the production to Beijing, Shanghai and Hong Kong following the Qingdao world premier.

"For as long as I can remember. I have truly loved the Olympics - the spirit of global friendship and competition. A chance to see the best of the best" says Rona.

"The Olympics are about being a part of the world,” he continued. “The IOC wanted music that had a universal sound, one that conveyed the scope and prestige of the games. Dongxiao Xu, conductor of the Qingdao Symphony and a musical director for the Regatta, was introduced to my film scores quite by accident. He felt that this style was what they wanted the Olympic concert to feel like. I met with him both in Los Angeles and China, along with other musical and cultural directors for the city and the games, who were given the task of commissioning a composer for the concert - and it all went very well."

Rona traveled to the seaside town of Qingdao in January to tour the just completed Olympic Village, meet with the artistic directors, and get a feel for what he might compose. During his stay he walked through small village street markets, sat in a 1000 year old Taoist monastery and looked at the harbor where the races will take place. He visited all the concert venues throughout the city, dined with the local residents, and met with everyone involved in the regatta. He also went to Beijing to see the Olympic facilities, meet with leading Chinese musicians, tour the Great Wall of China. He also traveled to Xi'an to see the Terra Cotta warriors and travel through the country side to the Famen Temple - one of the holiest Buddhist shrines in China. All to get a better sense of a country most westerners know little about outside of politics.

Upon his return to Los Angeles, he began to sketch the 12 pieces that would make up the Regatta Suite. Using the state of the art computer technology he uses for film and television scores, he composed the symphonic pieces in a way that reflected his experiences in China, and brought his own personal sense of music and culture to the Olympics. He returns to China in July to record the Suite before the big tour begins in the 2 weeks leading up to the opening of the games.


Comments (4)

  2008, July 08
Harry Gregson-Williams: Scoring the Return to Narnia!



For any film music buff, Harry Gregson-Williams is no stranger. We owe him such notable scores for all three Shreks, Gone Baby Gone, Chicken Run, Man on Fire, Flushed Away, Domino, Phone Booth, Bridget Jones: The Age of Reason, Enemy of the State, Antz and Kingdom of Heaven, among others. Such impressive credits that prove his being as comfortable in live action as in animation to provide elegant, smooth and at the same time strong scores.
> Read more at animated-views.com


Comments (6)

  2008, July 02
The Dark Knight soundclips here : www.warnerbrosrecords.com/thedarkknight/

  2008, July 02
Award-winning composers Hans Zimmer and James Newton Howard have teamed up once again to score the highly anticipated sequel, The Dark Knight. They last collaborated on 2005's Batman Begins, and this time, things are much darker. SoundtrackNet talks with these two powerhouse composers about their approach to writing music for what will be one of the biggest films of the year.

> www.soundtrack.net

Author : Dan Goldwasser


Comments (1)


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