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"More Cannons" is Bowell/Palfe. What the weighting is, I don't know, though I'd be inclined to think something like 70-30. Bits of Home sounding like it isn't all that convincing an argument, since a composer doesn't need only to rip off his own repertoire ;) I'm more convinced by the Megamind similarity towards the end of that track.Palfe? haha... btw Edmund, do you still think "More Cannons" is Powell. I'm pretty sure I hear bits of it in Lorne's (excellent, btw) "Home" score!It's official enough for me ! ;)Except that was Powell himself doing Powell in KFP 2 (well, Powell and Palfe). ;)Don't think Hans can't do anything and needs people to do so... I think it was valid 25 years ago when Shirley Walker was orchestrating & arranging his scores...<br><br>But now, not really, he can do anything... He doesn't use add. composer because he HAS to, but because he wants to. Most of the times he starts the cues, gives direction and leads his guys where he wants them to go, and always has the final say...<br><br>I'll take an example, Rush... If you check the cuesheet, it's quite a mess, you basically have 0 cue with Hans alone... And yet he wrote most the themes to picture this time, with Ron Howard & Peter Morgan in the room. No theme suites... Then the guys just arranged slightly & added stuff... But a lot of the cues are him in the first place...
No official source yet, but both Dan Goldwasser and Ford A. Thaxton have confirmed it on Maintitles and FSM respectively.Exactly, ghostwriting is very common in the industry. At least his collaborators get credited here.<br><br>"Hans is good at what he's good at, simple melodies and interesting sound-scapes."<br><br>You're making it seem as if he was some sort of second rate composer, probably unintentionally, but let's not forget that he wrote Gladiator, Lion King and Prince of Egypt almost all on his own and those are considered film score classics. The first one even made it's way into many contemporary classical selections. <br><br>It's true that he took a step back in the 2000s focusing more on his role as a producer and this one is probably the prime example. However, his theme suites, especially for potc, are already a very good representation of the score's memorable parts and I'm sure the result wouldn't be very different if he did everything by himself.<br><br>And what exactly do mean by "his limitations"? You seem pretty new to Zimmer's music. He can do Powell as well if necessary as shown in Kung Fu Panda 2.Well if you take the cue sheet every composer is credited for every cue on this score...<br><br>The name on the film credit is a contract.<br><br><br>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...Great score. But its a pity the credited composer wrote almost none of it. <br><br>I know it's a tired debate, but I don't know how people here are so comfortable with the fact he takes full compositional credit for scores like this, Madagascars etc. <br><br>Scores like this you can't even earnestly say he wrote the themes like with Pirates. At least there the core of the material is coming from him. Here, the giddy up theme is Lorne, the villain theme and Homer suite are Jackman, the Lisa theme is Alti, etc. etc. Even the main theme arrangement isn't his. <br><br>I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him, that's not the problem. Those aren't his strengths, it's not a big deal. Hans is good at what he's good at, simple melodies and interesting sound-scapes. He's also good at organising his talent. The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me.There's no news on that at all. Not on Google or IMDb. What's your source?
Powell's gonna have longer than 5 five weeks now, movie just got pushed back to October.I see now why they got Lorne to score Terminator, the guy's friggin' unstoppable.New Lorne score ! Pretty cool, check the extract I put ! :)Can you confirm this Hybrid?<br><br>With John Powell, nothing is confirmed. How in the world they can get mr. Powell? Does he want a new challenge of getting only  5 weeks to score a movie?<br><br>Anyway, i wont be surprised if this rejected rumour is true, Powell will back down once again, and the studio will seek another generic composer. I do really hope they will pick HGW or James Newton-"return to neverland"-Howard insteadThanks! A shame it doesn't clarify the nature of Jackman and Margeson's collaboration better, but it's nice to know what Dom Lewis did at any rate. He's a really good composer, often seems to contribute to some of the best moments of whichever score he's working on at the time (Cap 2).
Little "who did what" from the cuesheet... :)Yep, I'm pumped up! :DSheet music of Up Is Down, and any other arragements - private messenge here: https://www.facebook.com/JozefSwistakPianist?fref=tsI know this is a bit of a late response, but I can't find three damn hours every day to watch this movie :p lol. Still, I have watched it over various speaker sets, headphones and everything, and Alan is indeed right about the music being toned down. Especially during the mountains part, that first blow is very disappointing indeed. Still, the sound effects almost tore my windows apart, so it's definitely the way this release was deliberately mixed. I still think that, however in the theatrical the music version was incredibly loud at some points (no complaints though, loved it) they didn't find it suitable for the home release, or they wanted to avoid complaints about the music drowning out the dialogue (which was a common complaint about the theatrical version, I could understand everything just fine but yeah, we have subtitles here in the Netherlands so.....). However, there were also moments where the music surprised me a bit in volume, compared to the big swells (i.e. just after Dr. Mann says "... few men have been" and the organ kicks in or the launch/detach music) so I don't think this is a production malfunction of some sort.Agreed, Lockington is great. In all fairness, Streitenfeld is getting better with each score, so maybe he'll surprise us. Although the Goldsmith fan in me, expects to be disappointed with this one
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  2006, May 28
New Project For Hans ZIMMER & Klaus BADELT

According to the Gibraltar Films production, Hans ZIMMER would work on the next Werner Herzog's film : Rescue Dawn. Composer Richard Harvey will collaborate to the score and is using classical Asian musical instruments for the soundtrack.

Klaus BADELT would score for Heaven & Earth, the remarkable true story of the first woman doctor, who masqueraded as a man to pursue her career.




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Jacalyn reply Replies: 0 || 2011-06-14 10:39:12
Now I know who the biarny one is, I’ll keep looking for your posts.

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