antovolk

FTFY Now I listen to it again and the U93 one, yeah the similarity is a bit striking - do wonder if that's what Chazelle temped onto the sequence when editing.

Some of the score here. clip obviously quite cut down. Would say don't watch it because it's something else on the big screen

Yeah, Universal ended up blocking it... You can hear it (and the last minute or so of the Apollo 11 Launch cut) at the start here: Official cover art:

Sorry, *another* bump. Firstly - Secondly, thanks to the powers of Shazaming this preview (it was from the Paris premiere livestream , also has a short snippet of the Apollo 11 launch cue) got the full tracklist for the album (although it does look more like the 'complete score' cue sheet) out of order. Looks like we'll be getting an almost-complete 2CD release...

Sorry, third time bumping this - some of the score in first 20 seconds of this - As well as throughout these:

TINY bit of the main theme from Hurwitz at the start of this

Now available to pre-order. Looking the UPC up on other sites seems it will come in a digipak edition also https://www.amazon.com/gp/product/B07GRLVRYG/?tag=gnugk-20

https://variety.com/2018/film/awards/how-neil-armstrong-biopic-first-man-achieved-lift-off-1202925131/amp/?__twitter_impression=true

No

Here's the new trailer that arrived today btw. If you guys go back to Trailer 1 - that first bit before the Universal logos, that's from the score.

A lot of it functional but a good number of memorable cues for sure, once we get to the moon mission itself especially. Hurwitz definitely isn't phoning it in with the electronics like some have been fearing, it's just that Chazelle evidently didn't want the music to be the driving force of the entire film like his previous ones, just in a few select sequences.

Just out of screening. Let's talk score - it's gonna piss quite a few of you (or at least the FSMers) off because fully orchestral this is not. In fact this film is a lot less music driven than all of his previous ones. The feel overall is very Gravity in that mix between electronics and orchestra, and there's a little bit of that theremin in there too! (You think it's a choir boy but....very nicely done). There are a few fully orchestral cues though which are highlights and there are moments in the film that the score takes center stage Potential musical spoiler: The film is quite brilliant too. Perfect balance between focusing on Armstrong the man and the space programs

Someone on another forum said that apparently Hurwitz's name on the end credits got the second loudest applause at the press screening this morning.

Now up on Amazon with Oct 12 date, no pre-order though. https://www.amazon.com/First-original-Soundtrack-Justin-Hurwitz/dp/B07GRLVRYG/ Seeing this tomorrow at the Lido...cannot wait.

Isolated score is coming - McQuarrie and Balfe will also be doing a podcast on the score

Huh, so I guess the question is whether he was just splitting time and just recording additional cues, or re-did the score following the test screenings (apparently most people at that first screening didn't like it).... And yeah, he was due to conduct the La La Land Live to Projection performances here that week, I remember.

Hurwitz is recording the score this week. Seems all the theremin stuff from test screenings was temps

Back Lot Music will be releasing the score - Also, 4-minute preview (extended clip from film + short sizzle) is screening in North American IMAXes with Mission Impossible. No score in that snippet.

EDIT: finally got a chrono order down for this

Interview and video feature with Balfe - https://variety.com/2018/music/news/mission-impossible-theme-score-fallout-1202887006/

The producers and Cruise always saw MI as a playground for different directors each time, they never wanted to stick with one person. Until McQuarrie did so well with Rogue Nation that Cruise asked him back. There was a bit of apprehension from people at the time about his decision to return as, sure, RN is great but people had come to expect a different director for these films every time. And I keep banging on about this, see the damn film before jumping to conclusions about whether McQuarrie doing that and ditching most of his collaborators is bad or not. Or are creative partnerships more sacred over anything else?

Had a go at putting together a chronological order after seeing the film again today...looks like also a lot of editing was done in the film versions of the score cues. As per the norm with Zimmer stuff I guess.

That's really the thing with the FALLOUT score for me. Without the moments from the film in mind and how well it works in those moments in the back of my mind I wouldn't enjoy listening to the score nearly as much.

I'll concede this point - maybe he could have tried asking Zimmer himself to return? (or maybe he did and then, like Zimmer did to Villeneuve with 2049, directed him to Balfe/Wallfisch)