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About HunterTech

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  1. The only two composers that I've seen be outright singled out as never having actually been part of MV/RCP is JNH and Daft Punk. There would've been odd projects or jobs that people like Scott Glasgow, Joseph Trapanese or Pinar Toprak would've been part of, but those are usually clarified. Otherwise, every name listed here has been consistently mentioned as having participated on HZ scores and/or worked heavily with its most prolific members. I don't think they would've been on the h-z.com website otherwise. Might actually have been interesting to ask Hybrid over what the distinction is bef
  2. Robert Charles Mann - Ad Astra (The Unused Cues) Source: composer YT videos that recently got replaced with a proper album that lacks two cues listed here 1m1 Opening Titles Theme 1m2 No Bad Dreams, Eve's Theme 1m3 First Surge, Fall from the Space Antenna 2m1 Is it Your First Flight to the Moon? 2m3 Moon Rover Pirate Attack 2m4 Don't Trust Space Com 3m0.1 Baboon Attack 3m1 The Crew is Shattered 3m2 Psyche Evaluation, I Don't Want to be My Dad 3m3 Another Surge as the Cepheus Lands on Mars 3m4 Welcome to the Red Planet, Major 4m2 I Need to Know, Are We Gonna Die? 4m
  3. This score is an absolute mess production wise. While it can be easy to assume that Richter got Balfed and apply the usual spiel about that here, it's much more complicated than that. Richter was the first hired composer, and presumably scored the original cut of the movie on his lonesome. However, once it was decided that the film needed some retooling in key areas, Balfe was brought on to do his usual thing. And yet, somewhere in the midst of that, two other composers were brought in to basically do the same job. Robert Charles Mann wrote a entire score that basically got 90% rejected, an
  4. Batman Begins is one of the few HZ & crew scores that have no proper cue credits within ASCAP. Every listing for the film credits every involved composer on each track. And while the track list from the sheets do list cues that JNH worked on, some pieces aren't indicative of the final versions that Zimmer and whoever else worked on instead for the finished score. Whilst BB was a better meld of the two composers sounds than TDK, I think it's usually fairly obvious when it is James or Hans. Here's a lengthy post Hybrid Soldier made on the original H-Z site for what he speculates the final
  5. The more interesting distinction for me is that Giacchino will now be the first composer to actually compose a whole Spidey trilogy, with Elfman only having had two entries under his belt.
  6. Is this really more memorable than anything Elfman did on JL? Because based on only this track, if this is what is supposed to contain the main theme, it's about on par with Danny's barely used team theme. The impression I have so far is that it's basically leftovers from MoS/BvS. I'd be much more interested in that rock oriented sample that Zack played in an interview, since that at least has more personality than these specific set of films have.
  7. For the music, definitely have to pick Goldsmith, with Goldenthal as a close second. I actually didn't care for much Horner's effort when I gave it a full listen, outside of a few cues. Definitely would like to listen to it again once I see the film (no matter how butchered it is in the edit). Can't say anything about the movies, as I've only seen the original. I have a bunch of friends that really defend the prequels, but I doubt I'd really bother much past Aliens.
  8. I am also in the camp that Chris Young really should've gotten the part, but I have no idea how mainstream he would've or still could be considered to even be eligible. At this rate, I'm hoping Raimi has enough interesting stuff with the material for Elfman to reignite his film creative juices. At the very least, he'll actually able to make a full score with the normal amount of production time once more. People mention the Silvestri Avengers reprise in AoU, but there is also Tyler's IM3 and Silvestri's Cap theme within his material. And given Endgame also briefly uses Giacchino's
  9. As much as GoF was my favorite for the longest time, I think I have to give it to SS. Simply perfection from beginning to end. For least favorite, I'm going to pick a potentially controversial one in DH1. No matter how fancy the writing can be in areas, I just won't be invested if there's no clear direction in place. Hooper's entries, standard and sometimes dull as they may be, have enough things happening for me to take note of the positive qualities that they do have (yes, even HBP). Hell, I'd say I liked DH2 more, since it at least fully commits to sounding like a standard 2010s Hollywoo
  10. I can pretty much say the same here. It's honestly amazing how lucky I've been to be in respectful screenings, given the horror stories I hear from time to time. The only time of note I could point to is Joker, and that's only because of how truly irresponsible the other guy in the theater was. It was a man with his two children, one of whom had their tablet out the whole duration. I had to lean forward and ask him if he was in the right screening, to which he did confirm. They weren't even noisy or distracting, but it was incredibly strange regardless.
  11. Had the rules always been like this? Because right after, I was reminded of The Color Purple, and the claim I heard about Jones not really doing much composing on the project (I don't remember the exact details). I checked the wiki page, and a whole ton of people are listed in the accolades page for that year's Oscars. Is it just an online description thing, or was it properly credited like that? Seems like a dead horse to be crying over at this point if examples like that were always the case. Definitely am newer to this subject, so I'm likely missing details here.
  12. Honestly: if Disney and the Academy were really pushing for a composer of color to get nominated and (likely) win an Oscar, wouldn't Batiste have been hired solo? The film was still reliant on a popular composing duo taking up much of the work, so those are the names that are going to stand out to most people. So if it was a win, wouldn't people be crying foul over a black man only being able to win because he happened to supplement a famous white duo? Especially ones who've already won in the past? It just doesn't quite add up, so I'm more just willing to wager it just being studios wanting t
  13. It's a score I'll always have a soft spot for, since it's one of the few I would've noticed in-film growing up. There was a point in time where I could consider it my favorite Superman score, but Williams's original is ultimately too good to beat. I do prefer it to IV, since I find it does a lot more to distinguish itself in comparison. I haven't heard any scores that you might be referring to it temp tracking (besides the plane rescue likely using a bit of HP3), so that could be interesting to discover.
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