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I mean sure, but I can't think of many Giacchino scores that actually match that description. The Star Trek reboot scores for example, where he has a (pretty good) main theme that he plays the same way roughly sixteen thousand times over and over again. :pFor me, a theme is a distinguishable motif or piece of music that is related to a specific location, event or most commonly character, and that the viewer notices as such. If your score contains 20 themes that are never repeated in a similar form and are so uncharacteristic that they all sound the same, I'm just calling that orchestra noise. And I don't see any appeal in that kind of scoring...Ds, am I reading that correctly that you're using the fact that JJ works with Giacchino as evidence that the score might *not* be melodic or thematic? Because say what you want about Giacchino (and I'm far from his biggest fan either), it's an objective fact that he writes film music that is almost exclusively thematic/melodic. Whether you like those themes and melodies is another question, but they are undeniably themes and melodies.Yeah, totally agree IMO Mad Max is over rated, this is JunkieXL's best score as a solo outing, especially Tom's Sketchbook is so awesome & Batman v Superman is a perfect score in itself but yeah some pieces will fit perfectly. On another note Justice League (2017) could've benefited from Tom's presence but the movie failed from every point of view.Now released: http:/ /filmmusicreporter.com/2018/04/19/soundtrack-album-for-sky-h unter-to-be-released/<br><br>https: //www.amazon.com/gp/product/B07C26S729/ref=as_li_qf_asin_il_ tl?ie=UTF8&tag=filmusrep-20&creative=9325&linkCode=as2&creat iveASIN=B07C26S729&linkId=18cb85bfc0aaee3094cdba507fe05649
I hope Balfe delivers but he has not done a score that I really listen to more than once so I hope this will be it.I agree with Edmund for the most part, except that JJ Abrams usually works with Giacchino, and Cruise's recent productions include Jack Reacher 2 and Edge of Tomorrow. So I wouldnt exactly take a melodic or thematic score for granted...<br>That being said, at this point I expect something like Penguins, but I secretely hope for something really amazing and surprising that would explain why McQuarrie broke up with Kraemer.BOOKLET CREDITS (From The Album):<br><br>Score Composed, Produced And Mixed By<br>TOM HOLKENBORG<br><br>Additional Music By<br>ALJOSCHA CHRISTENHUB<br>ANTONIO DI IORIO<br><br>Orchestra Conducted By<br>JOHN ASHTON THOMAS<br><br>Technical Score Engineer<br>ALEX RUGER<br><br>Additional Programming By<br>EMILY RICE<br>JACOPO TRIFONE<br><br>Music Editor<br>SIMON CHANGER<br><br>Assistant Music Editors<br>BEN SMITHERS<br>ARABELLA WINTER<br><br>Music Consultant<br>BOB BADAMI<br><br>Score Orchestrated And Copied By<br>JONATHAN BEARD<br>EDWARD TRYBEK<br>HENRI WILKINSON<br>TOM HOLKENBORG<br><br>Librarian<br>JILL STREATER<br><br>Orchestra Contractors<br>ISOBEL GRIFFITHS<br>SUSSIE GILLIS<br><br>Orchestral Recording Engineer And Mixer<br>NICK WOLLAGE<br><br>Orchestra Recorded At<br>AIR STUDIO<br><br>Air Studios Managers<br>ALISON BURTON<br>CHARLOTTE MATTHEWS<br>LUCY MATTHEWS<br><br>Music Production Services<br>MICHIEL GROENEVELD<br><br>Agent<br>AMOS NEWMAN<br><br>Legal Representation<br>DAVID ALTSCHUL<br><br>Music Recorded <br>6-7 January 2018<br>At<br>AIR STUDIOS, London<br><br>Score Published By<br>UNITED LION MUSIC, INC. (BMI)<br><br>Booklet Editing & Design<br>WLP LTD<br><br>Soundtrack Acquisitions<br>MARK CAVELL<br><br>Sony Classical Product Development<br>KLARA KORYTOWSKA<br><br>Special Thanks To:<br>ROAR UTHAUG, GRAHAM KING, SASKIA, JULIAN and DARREN, ANNE COBB, SHANE GLASSThe Stark theme always left a big impression on me, but the way it plays when Jon Snow dies gives me the chills<br><br>Andrew Kawczynski scored the movie Sky Hunter. The score is available on Spotify now. <br><br>The score is probably the most melodic/heroic that I heard from him.
wtf is this? did zimmer score a porno?why hybrid when lorne himself confirmed it? <.<@Hybrid, can you confirm Lorne is scoring MI6?I feel like the only way I could be excited about this would be if they adopted the sound of M:I-2, which I find very unlikely. Primarily because the sound is very dated, but also because Fallout is likely to be a more serious movie than II ever will be. Still, I'm cautiously optimistic, especially if it was true that he did the trailer music.<br><br>And it was Rogue Nation that Kraemer worked on, not Ghost Protocol.It's sort of been implied here before that Lorne Balfe worked on the "Bumblebee" suite... Is that correct (as far as anybody knows, at least)?
Both scores are absolutely masterpieces, personally I prefer the second one. Outstanding. <br>This story deserves a perfect close also musically.I think we may be surprised with this one, guys. Tom Cruise and JJ Abrams both are into melodic sounding scores, amd when Lorne is allowed to go all out melodic on us he creates perfection (ie: LEGO Batman, Home, parts of Geostorm, his contributions to kung fu panda and Sherlock)... I do hope he has somewhat of a throwback sound from it, but I also want that signature RCP sound too! Not gonna lie this is good news for me.I'm sure the Balfe brigade will still find some way to tar and feather me for this, but I think he could do a decent job here. After all, you can't just write a generic action score for Mission Impossible. It has to have that throwback espionage feel, the suaveness, the sense of cool, and I think Balfe will do okay with that - look at Penguins of Madagascar. I just hope he gets to use a real orchestra for once (no excuse not to on a film of this type and size), and that he doesn't ignore Lalo Schifrin's theme.<br><br>I'd still rather have had Kraemer back considering the excellent job he did on Ghost Protocol (and the fact he never gets any assignments otherwise) but Balfe could do well here.Damn I was hoping Zimmer, Giacchino or Kraemer would do this.Ha ha! Yes again and again ! This is excellent news
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