HunterTech

I actually knew Daft Punk prior to any score listening I did, and I do credit them for leading me down this rabbit hole. That being said: I never did bother with the OST as a result of my purist nature with them. Why go with the incomplete thing when I can listen to the raw set? As such, I have a hard time being convinced to throw out any tracks, even if there is trimming one can do. They actually eventually released an EP that collects most of the extra tracks. However, the iTunes stuff isn't included, so you'd have to still buy those in their AAC form (or FLAC if you have Tidal in a small foreign country). Doesn't excuse the initial shoddy management, though.

Quite frankly: didn't even notice that they were in the film. That's embarrassing for something that got some degree of mention in the marketing.

Probably my favorite final cue to a score currently. The transition at 2:02 never fails to give me goosebumps.

I feel like the only way anyone is actually going to acknowledge the whole "getting sole credit for a group effort" claim is if someone steps up and complains about it. And in the history of film scoring, has anyone actually done that? Because if not, then what are we doing here arguing about something the "ghostwriters" ultimately don't give a shit about? I definitely agree with the notion that Zimmer's practices still has branched out quite a few people that work pretty much independently from him now. And I do believe that's what he aims for, considering how he likes getting a new crop of collaborators for his next projects. You can yell all you want about how bullshit it seems, but it definitely produces results.

I still found it odd how everyone had such different perceptions over how the music was mixed in the final film. I was able to hear a lot of it fine, while some claim that SFX regularly drowned the score. I'm sure that the more expansive mixes like the Dolby Atmos one puts more emphasis on the "immersion," while the normal 5.1 set ups are more balanced in general.

Alternatively, it'd sure be nice to break down the cues that have been merged to 10+ minute tracks so that the titles don't look so crammed.

Quite frankly, would anyone actually give a shit if they were more upfront about who did what? We're talking about people who only seem to care about film music when it's trying to take Marvel down a peg and nothing more. Haven't seen much that would suggest any casual moviegoer could really get into a score besides the most notable pieces for whatever popular film there is. I've seen cases of some bringing the subject up (one instance being an Amazon review asking how much Philip Glass really did Fant4stic), but that's only like once or twice. And once again, it's a heavy case by case basis on whether a score of Zimmer's actually warrants the solo credit on the front. Though I can certainly respect the few times he gives others the spotlight (TASM2, Xperiments).

Mission: Impossible III is probably one of the dullest things I've heard thus far, but the love theme is probably one of my favorites from Gia. Plus the Humpty Dumpty cue is probably one of the only ones that keeps me invested in its low key spy shenanigans. And this one should be obvious on the MCU front, since IM3 really gives me absolutely nothing besides its main theme and some neat stylings in spots:

Are we ignoring the fact that there's places like ASCAP and HZ.com that break down more of what each person on the team did? Or does it matter more that he's upfront about it publicly than on websites and resources that only a few will ever bother to look? About Pirates 4: he had to have been involved enough for him to swear off doing 5, since I hear he had a miserable time on 4. And you can certainly hear it, in just how temp tracked the whole thing basically is. Besides, I think Zanelli only did 5 because he was the only other one involved in all the previous installments, as opposed to doing any more particular legwork in 4. At least his credits there aren't any more than those of 1-3.

Regarding Madagascar: I believe Hybrid said that Zimmer had to leave the first one halfway through to focus more on Batman Begins, so the rest was handled by Jim Dooley. And the sequels do have celebrities like will.i.am involved, so it's certainly done by quite a few folks. I believe it really depends on the project if its indeed being primarily handled by the minions and HZ was just there to give the base ideas. Let's look at 2007 for example. It's pretty likely The Simpsons Movie was a work of the team, as he would've been more heavily focused on At World's End that same year.

That does remind me of something I thought up of while I'd heard a couple of RC scores months ago. A lot of the time, I never actually really get a good feel for what the house style really is. Sure, a lot of them involve similiar techniques and structures, but they never really jump out to me as having been done by a particular vision. Jablonsky's Bayformers series in particular is nothing but copying whatever is popular at the time, and thus there's no real cohesion in-between each installment. Heck, even Zimmer, as much as one can decry his works as being lazily the same for a while, never felt particularly consistent to me. I might like some of their stuff more than most here, but the manufactured nature is one that I have a hard time getting past.

Actually haven't listened to that one, and don't feel too inclined to after "Time" left me pretty underwhelmed. Though yeah, it probably makes sense he'd be involved with that from the other bits I'd heard.

Jesus, how is it that even who they pick to play the freaking guitar gets harped on? Sure, it's part of the iconic sound, but would any generally competent player really screw it up? Feel however you want, but this is getting ridiculous. That being said, Marr is a pretty predictable pick. Though I can't recall if he did anything else with HZ besides TASM2.

I get the feeling that the smaller the sound mix is, the more likely the score is actually going to be present in the mix. The speakers at the theater I went to were pretty crappy, but I found that the music jumped out at me a lot of the time. Since some here have mentioned SFX taking over the mix in spots, I get the feeling that's done with the fancier set ups like Atmos to try and emphasize how "immersive" the 7.1 is. As for the score in the film itself, yeah it's been edited to hell. It's only really at the end that I actually heard any of the new stuff. So much of the older themes were prioritized that I'm not particularly surprised when some say that it was completely underwhelming. The OST I found to be far more of an intriguing listen, since I did get to feel more of what Williams was aiming for. The final film edit isn't too bad overall, but there's no real definitive identity I could get from it in a way I feel I could with previous films. As such, I'm much more interested in hearing everything Williams originally wrote instead of a possible isolated score.

"The Ninth Beginning" gives me real Harry Potter vibes.