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I don't think everybody thinks it's bad you just have to look at the development of the franchise. In the first pirates we got very nice melodys and tunes that are still legendary and so they set the tune for all the other pirates movies. In the second one we got a much darker yet very good developed score that has again new themes for new characters but uses themes from the first one as well. Then the third movie came along and everybody can think about the film what he wants but the music... man the music from the third one is really the cherry on the top of the entire franchise cause here we got all themes in new majestic versions plus one of the most beautyful love themes ever. So now you would think "Ok, I guess by judging by the development, the next one will be at least as great as the last one" but instead of this case we just got old themes in flat versions and the music is not bad but it just has not this kind of drive like the others. For sure if this score would have been the first one, the crowd would have reacted differently but hey, the movie wasn't that good as well so I guess it all equals out :DBecause they mixed several passages of past scores into scenes completely disconnected from those for which the music was composed at first. There is a chase scene with the music for the maelstrom. The love theme for Will and Elisabeth comes up without either of them being in the movie or in scenes that nerver mention their names. The same with the theme for Beckett. And half of the commercial CD was remixes of DJsCan I ask why everybody is so negative about this score.<br>I actually really love it. New themes for Spaniard, Mermaids and Blackbeard are good.<br>Okay, Hans re-used stuff from the previous 3 but it's still a great score.<br><br>Why does everybody else think it's bad? Would somebody please explain this to meWell said. Itís not a terrible score by any means, but the lack of continuity is incredibly disappointing. There were so many times in the movie that practically screamed for Hansí themes. The only point I heard one was the Krypton theme for (maybe) 15 seconds and that was just an insert from a previous film. Iíd love to do a fan project once the movie is released and insert music from Man of Steel/BvS and see how it changes the feel of this film.YFM, your work is awesome. Long time lurk-listener. Looking forward to this,
Bah leave me alone, I still need a few years to overcome the fall of House DC... What a horrible movie that JL was, I can't get over it... lolIf you love these peoplegeneral zod : )After listening to this score a few times, I am starting to enjoy it. It's not fantastic, but it's not absolutely horrible, either. While I am very disappointed that Zimmer didn't score the film, and that Elfman didn't preserve the series' music continuity very well, I feel the score does hold up fairly well on its own. It introduces some nice motifs, and honestly, hearing the old Batman theme again is awesome, especially in tracks like "Then There Were Three" and "The Final Battle". Some may think it's out of place, but I feel it fits this iteration of the character. But then, Elfman gets lazy with some of the tracks. The opening of "The Amazon Mother Box" sounds like Elfman's theme for "Hulk", while the motif for the Justice League team is very reminiscent of the Avengers theme motif. <br><br>On the other hand, hearing the original Superman theme feels a bit odd - I love that theme, but the joyousness that Williams put into it doesn't fit this version of the character. Zimmer's amazing theme means so much in this series, and Elfman didn't reprise it once. Elfman did briefly reprise a trumpet rendition of Wonder Woman's theme, which was nice, but I personally expected to hear it a little more. And it made me even more confused as to why he didn't reprise other themes. <br><br>Personally I don't think Elfman was the best choice to score the film, but I don't think he did a horrible job. I would've loved to have heard Zimmer's score, considering the amazing work he's done for the series. Hopefully in the future, the themes he composed will be reprised more.Instant (corrector problems)
For one intance I really thought it was lorne balfe disguisedI really hope we get the FYC! The score needs to be heard in full<br><br>Great work btw!the fyc is comming soon ;-)<br>maybe we get the "film version"The above "Anonymous" is just me. I forgot to type the name.LOL@George, Lorne has been retweeting all the SkyDance's tweets on Mission Impossible movies. And they never really announced that Kraemer is returning to compose MI:6. Everybody just assumed he would. So, I'm pretty sure Lorne's doing it. I could be wrong, though.
I'm working on my own version of "The Mole", "Escaping The Mole", or whatever the long warped/over music edited tension cue is named.<br><br>nightly demos will be posted every day until I finish it, but it sounds fine now if you "must have" it.<br><br>soundcloud.com/yourfavoratemusic/hans-zimmer-dunkirk-escapin g-the-mole-nightly-demoExcept that Zimmer's "happy jolly" comment was completely off the mark. That's now how I'd describe the tone of Elfman's Batman theme at all. It's brooding and dark, but in more of an old-school Gothic orchestral kind of way that still allowed for some bursts of heroism. I still maintain the theme itself could have worked in Nolan's films, albeit with substantially changed orchestrations and tone (and doesn't Zimmer kinda-sorta quote it at 7:18 in "A Dark Knight" anyways?).I do not know ... MI6 is a "Bad Robot" production, JJ Abrams's company. They often work with Kraemer, Trapanese, Beck... But isn't impossible.Hybrid's silence can mean something.Thanks!John Powell is doing open messaging on Facebook for another hour or so. (He had to clarify - send him a message on his page, don't comment on his post. And no, he can't say a word about Han Solo....I already asked a general question. No surprise. :P)
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