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damn it would be kinda awesome and hilarious if Lorne Balfe got Lorne Balfe’d LOLYeah 100% fake... And there was HJ rumor on Black Widow sometimes last year, so if you do the math...Henry doesn't have an official Instagram. It looks like you are referring to the account "henry0262020" which appears to be a fake account, to the best of my knowledge.Henry Jackman is now Black Widow's composer, apparently in his instagram, posted a photoHah! Knew it. FYI, I'm not smoking anything. I don't smoke, and I abhor anyone who does.
Oh interesting. When I said "refined his sound," I didn't mean that he was still trying to find his voice. This score absolutely exudes the qualities that make his work so appealing. You simply managed to put what I was trying to say in better terms. I'm definitely happy to give this one more goes in the future, but I remain more partial to some of the other installments.This is easily my favorite X-Men score, but I do agree there is a bit of an...*odd* feel to it sometimes. The impression I get is that Powell was reeeaallly pushing himself to write the most dense and complex and ambitious score he could, and I think he may have overreached a tad. There's definitely a big contrast between this score and the much tighter, more focused sound he was bringing in his action music from a couple years prior, like Paycheck or The Bourne Supremacy. I wouldn't say he "hadn't quite refined his sound yet" - this isn't Face/Off, his voice was pretty well established by this point - but he was trying to develop it a bit faster than it was naturally going to go.<br><br>At the same time, I love how this score goes for broke, and I hate to fault a composer for too much ambition. "Phoned in" is the LAST thing this score is. But Powell would iron out the kinks and by How to Train Your Dragon he was writing a score that was just as complex, but wore the complexity a bit more naturally than X3."There is nothing musically interesting in [Ottman's] X-Men scores except the main titles."<br><br>As if I didn't need a reminder that this place can house some ludicrous opinions sometimes (no offense intended there).<br><br>The Last Stand barely cracks the top 5 of X-Men scores for me, if only because I love the themes and it carries a lot of nostalgia for me. It's pretty clear imo that this score was at a point when Powell hadn't quite refined his sound yet. I wouldn't call it phoned in whatsoever, but it's easy to get lost at points when I'm listening to the full thing. But the highlights are too great for me to call it middling either, so it barely gets a solid grade in my book. <br><br>I'm likely in the minority when I say I actually prefer Dark Phoenix. It's much more solid as a whole product.I like the tracksWow!!!
Still my favorite score from the X-Men series.Not too stoked on Powell, but the way Ottman's able to squander a good theme makes him close to the bottom of the barrel in my book. There is nothing musically interesting in his X-Men scores except the main titles.I don't know what you're smoking but you need to get off it. In the way is this phoned in, the orchestration and everything about it is perfect. No score for X-men has come close to this one except maybe X2That recording footage makes it all the more baffling to me why the end product sounds the way it does.I understand the comments about the orchestra sounding like samples by some of the comments?<br><br>If you follow his Twitter you see the BBC orchestra recording the soundtrack.Season two is cool and Balfe’s music is bigger that season 1.Bit choirs also.
I love Hillbilly also but it sounds very familiar just with different guitar instruments.Paradise is so emotional and sonically more interesting to me at leastI find Hillbilly more engaging than Paradise, even much interesting dramatic cues.Memorial is heart wrenching.<br>Definitely up there for this years scores.Fantastic music but Balfe and Zimmer.You can hear their different styles in this music.<br>Very beautiful soundtrackCouple of interesting things. <br> <br>Williams in the film cuesheet seems to have been credited only for "his" cues but never for others' cues (even if they use either old Star Wars music or new JW Solo material) : <br> <br>OPENING (JP) <br>ENFYS STANDOFF (JP) <br>FAILED HEIST (JP) <br>KESSEL RUN PT 1 – TIE CHASE A (JW) <br>KESSEL RUN PT 1 – TIE CHASE B-1 (JP) <br>KESSEL RUN PT 1 – TIE CHASE C (JW) <br>KESSEL RUN PT 1 – TIE CHASE D (JP) <br>KESSEL RUN PT 1 – TIE CHASE E-2 (JP) <br>KESSEL RUN PT 2 – TIE CHASE F (JP) <br>KESSEL RUN PT 2 – MAW (JP BS) <br>KESSEL RUN PT 3 – LIFTOFF (JP) <br>KESSEL RUN PT 4 – LANDING (JP) <br>L3 & FALCON PT 1 (JP) <br>L3 & FALCON PT 2 (JP) <br>L3’S SACRIFICE (JP) <br>SKYPE SHOWDOWN (JP) <br>CHEWIE UNTAMED PT 1 (JP AW) <br>CHEWIE UNTAMED PT 3 (JP) <br>LANDO’S CLOSET (JP AW) <br>SAVAREEN TENT A (JP) <br>SAVAREEN TENT B (JP AW) <br>CORELLIA CHASE (JP BS) <br>DRYDEN FIGHT (JP AW) <br>DRYDEN FIGHT PT 2 (JP) <br>DRYDEN YACHT DUET (JP) <br>ENFYS NEST ARRIVES (JP BS) <br>MINES PT 1 – HEIST (JP PM) <br>MINES PT 2 – FINDING COAXIUM (JP) <br>MINES PT 2 – CONT’D (JP) <br>MINES PT 3 – BREAK-OUT (JP) <br>REAL THING DOUBLE CROSS (JP PM) <br>SPACEPORT (JP AW) <br>THE BEAST (JP BS) <br>BECKETT DEPARTS (JP) <br>BECKETT LEAVES (JP) <br>BECKETT SHOWDOWN (JP) <br>CRAWL (JP) <br>CRAWL (FROM 1M04-05) (JP) <br>CRAWL (FROM 2M13) (JP) <br>CRAWL (FROM 4M28) (JP) <br>CRAWL (FROM 4M30B) (JP) <br>LANDO (JP) <br>MAIN ON ENDS (JP) <br>MAIN ON ENDS (FROM 5M32) (JP) <br>BACK TO DRYDEN’S (JP) <br>BLACKMAIL (JP) <br>BUNK – PROXIMA (JP) <br>CAMPFIRE (JP) <br>CONVEYEX PT 1 (JP) <br>FAMILY STORIES B (JP) <br>HAN & QI’RA REUNITE (JP) <br>JUNGLE CANTINA SOURCE (JP) <br>MEET DRYDEN (JP) <br>MIMBAN BATTLE PT 2 (JP) <br>MIMBAN BATTLE PT 3 (JP) <br>SABACC GAME (JP) <br>SABACC REMATCH (JP) <br>SURVEYING CONVEYEX (JP) <br>TESTING DRYDEN’S PATIENCE (JP) <br>TO TATOOINE PT 1 (JP) <br>TRUST NO ONE (JP) <br>WALK TO DRYDEN’S PT 1 (JP) <br>WALK TO DRYDEN’S PT 3 (JP) <br>YACHT PARTY SOURCE (JP) <br>YOU DON’T KNOW EVERYTHING (JP) <br>THE HAN SOLO THEME (JW) <br> <br>This is what I could find. Some of the cues I couldn't find at all like Family Stories A, Gonna Be A Pilot or To Tatooine Pt 2 probably have all one thing in common : I guess they're 100% credited to JW. <br> <br>That cuesheet matches in fact with the credits I posted above that come from JP's team. <br> <br>Interestingly, the 2018 Album does credit Williams very specifically on every cue any of his material is used (The % come from the fact Powell & Mounsey are ASCAP, Williams, Willis & Sener are BMI) : <br> <br>ADVENTURES OF HAN (HAN SOLO THEME) <br>JW 100% <br>MEET HAN <br>JP 28% JW 72% <br>CORELLIA CHASE <br>JP 50% JW BS 50% <br>SPACEPORT <br>JP 55% JW AW 45% <br>FLYING WITH CHEWIE <br>JP 48% JW AW 52% <br>TRAIN HEIST <br>JP 92% JW 8% <br>MARAUDERS ARRIVE <br>JP 55% JW BS 45% <br>CHICKEN IN THE POT <br>JP 100% <br>IS THIS SEAT TAKEN? <br>JP 77% JW 23% <br>L3 & MILLENNIUM FALCON <br>JP 86% JW 14% <br>LANDO’S CLOSET <br>JP 100% <br>MINE MISSION <br>JP 98% JW 2% <br>BREAK OUT <br>JP 78% JW 22% <br>THE GOOD GUY <br>JP PM 74% JW AW 26% <br>REMINISCENCE THERAPY <br>JP 30% JW 70% <br>INTO THE MAW <br>JP 47% JW BS 53% <br>SAVAREEN STAND OFF <br>JP 94% JW 6% <br>GOOD THING YOU WERE LISTENING <br>JP 100% <br>TESTING ALLEGIANCE <br>JP 51% JW AW 49% <br>DICE & ROLL <br>JP 65% JW 35% <br> <br>It's not unusual to have different credits for an album VS the same music in the film, depends on the deal that was made. <br> <br>Also, some incoherences here, like Willis credited for Lando's Closet in the cuesheet but not in the OST for the same track. But you can't take the cuesheet for absolute truth, additionals did a bit more than that, not necessarly credited, cause it's not as significative to program some percs on a track VS writing 90% of it ! :) Like Willis isn't officially credited for L3's Sacrifice (very end of Extra Deluxe Mine Mission) but has it on his website. Same for Batu with L3 & Falcon. So they had more to do than just what they are credited for... :) <br> <br>Also, if you want a breakdown of the Deluxe VS 2018 OST : <br> <br>THE ADVENTURES OF HAN => SUITE (NOT IN DELUXE) <br>MEET HAN => 1M1 MEET HAN <br>CORELLIA CHASE => 1M4-5 CORELLIA CHASE <br>SPACEPORT => 1M6-7 SPACEPORT <br>FLYING WITH CHEWIE => 2M13 CHEWIE UNTAMED <br>TRAIN HEIST => 2M15-16A-B-C DELUXE TRAIN HEIST (FIRST HALF) <br>MARAUDERS ARRIVE => 2M15-16A-B-C DELUXE TRAIN HEIST (SECOND HALF) (EDITED) (ALT END) <br>CHICKEN IN THE POT => 3M18S CHICKEN IN THE POT (ALT VOX) <br>IS THIS SEAT TAKEN ? => 3M25 SABACC GAME <br>L3 & MILLENNIUM FALCON => 3M26 L3 & MILLENNIUM FALCON <br>LANDO'S CLOSET => 4M28 LANDO'S CLOSET <br>MINE MISSION => 4M30B-5M30C-31 EXTRA DELUXE MINE MISSION (FIRST HALF) <br>BREAK OUT => 4M30B-5M30C-31 EXTRA DELUXE MINE MISSION (SECOND HALF) <br>THE GOOD GUY => 6M34 SAVAREEN TENT + 6M36-37-38 QI'RA KNOWS A BIT MORE THAN THAT (EDITED) + 6M39-40 DOUBLE-DOUBLE CROSS (EDITED) <br>REMINISCENCE THERAPY => 5M32-33A-B-C KESSEL RUN IN LESS THAN 12 PARSECS (FIRST HALF) <br>INTO THE MAW => 5M32-33A-B-C KESSEL RUN IN LESS THAN 12 PARSECS (SECOND HALF) <br>SAVAREEN STAND-OFF => 6M35 ENFYS' STAND-OFF <br>GOOD THING YOU WERE LISTENING => 7M43-44-45 MAUL'S CALL – PARTING WAYS (EDITED) (ALT) <br>TESTING ALLEGIANCE => 6M41-42 DRYDEN'S LONG, LONG FIGHT (EDITED) <br>DICE & ROLL => 7M47-48 SABACC REMATCH – TO TATOOINE
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