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Hans Zimmer and Harold Faltermeyer‘s TOP GUN: MAVERICK (2022)


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Are we sure that Balfe was not involved from the beginning as Zimmer’s +1?

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Lorne probably wrote most of that score, whatever his credit is (quote from hybrid soldier)

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Balfe's been hinting at this on his social media for a while. I think this is a job where Zimmer and Faltermeyer did the basics on an initial spur of nostalgic excitement back in 2019-2020, got bored, then handed to Balfe, so literally anything in the film is Balfe. Or more accurately Balfe's crew. Whatever. Not massively excited. It's interesting to see the hans-zimmer.com guy not be excited about this......dismissing it as only 30 mins of music on album but not discussing anything more, especially with HZ's penchance for releasing sketches.....

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I may not like Balfe's music, but in a way his career always intrigued me.

 

During the 2000s and the 2010s, he ghostwrote a lot of scores credited to Zimmer, including movies that his fans loved (like The Dark Knight trilogy), a whole bunch of animated stuff (Kung Fu Panda, Megamind, etc) and, of course, several movies for which Zimmer was Oscar nominated: Sherlock Holmes, Inception, Dunkirk...

 

Still, he always seemed very... comfortable in this role. He didn't mind writing music that garnered critical acclaim and awards nominations for his boss. Didn't he ever thought "Gee, I worked hard on Sherlock and Inception, why I was not nominated alongside Zimmer"?

 

Sure, eventually he left Zimmer's shadow and managed to score some blockbusters "alone" (plus his team). But he never seemed to be mad at HZ for getting acclaimed for movies he partially scored. 

 

Then again, Oscar nominations are a very complicated matter. Zimmer credited Badelt and Gerrard on Gladiator, but he was the only composer nominated for that movie.

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The more "ghostwriter" is thrown around for people that absolutely got royalties for their work from all the repotoire credits they have, the more I'm just convinced it's a term used purely out of spite than from any real attempt to actually understand the MV/RCP methodology.

 

I have to ask once more: what solo RCP composer managed to fully replicate Zimmer? And I don't mean the quick tricks and FX. Everything.

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In this context, "ghostwriter" makes no sense, a term usually applied to people who compose in the background, without proper credit. Co-composer would be more accurate as the main composers are all properly credited here.

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97% RT score based on 90 reviews

 

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81 on Metacritic (a far more useful site for gauging the sentiment of critics from "respectable" publications)

 

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Yes, a few colleagues I've spoken to have also been very enthusiastic. Looking forward to seeing it on Wednesday.

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On 15/05/2022 at 2:29 PM, Thor said:

Yes, a few colleagues I've spoken to have also been very enthusiastic. Looking forward to seeing it on Wednesday.

So... what's it like?

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3 minutes ago, Gibster said:

 

Three additional composers on top of Zimmer, Faltermeyer and Balfe, meaning that at least 6 composers worked on it, plus arrangers. For a score, which if the album is anything to go by, is not very long. :mellow:

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All the arrangers being the entirety of Balfe's regular crew, so I guess that rumor of him getting involved partway through isn't particularly far fetched now.

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Saw the movie yesterday, in IMAX. It was okay, but not quite as visionary as I had hoped, given Kosinski's track record. Loved all the aerial sequences, of course. Best part of the score was the old Faltermeyer stuff; the rearrangement was nice. But also a lot of non-descript tropes. The romantic bits weren't particularly noteworthy either -- certainly nothing on "Take My Breath Away"'s level, which - granted - might have been a bit too on-the-nose to begin with. I would be curious to read a breakdown at some point, that lists who did what.

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On 19/05/2022 at 9:39 AM, Thor said:

I would be curious to read a breakdown at some point, that lists who did what.

 

Should be fairly easy to spot when you saw the film. Not because of any subtle analyzing of styles, but type of scene. Important scene (narratively speaking) or introduction of a new theme or style = Zimmer, wall-to-wall stuff that now and then bluntly inserts the Zimmer/Faltermeyer stuff = Balfe.

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On 11/5/2022 at 9:10 PM, Edmilson said:

I may not like Balfe's music, but in a way his career always intrigued me.

 

During the 2000s and the 2010s, he ghostwrote a lot of scores credited to Zimmer, including movies that his fans loved (like The Dark Knight trilogy), a whole bunch of animated stuff (Kung Fu Panda, Megamind, etc) and, of course, several movies for which Zimmer was Oscar nominated: Sherlock Holmes, Inception, Dunkirk...

 

Still, he always seemed very... comfortable in this role. He didn't mind writing music that garnered critical acclaim and awards nominations for his boss. Didn't he ever thought "Gee, I worked hard on Sherlock and Inception, why I was not nominated alongside Zimmer"?

 

Sure, eventually he left Zimmer's shadow and managed to score some blockbusters "alone" (plus his team). But he never seemed to be mad at HZ for getting acclaimed for movies he partially scored. 

 

Then again, Oscar nominations are a very complicated matter. Zimmer credited Badelt and Gerrard on Gladiator, but he was the only composer nominated for that movie.

This is such an ignorant tone deaf post. 

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3 hours ago, Koray Savas said:

This is such an ignorant tone deaf post. 

Really? Geez, that's disappoiting. I wrote it specifically thinking about you. When I posted it, it was with the only objective of pleasing you and others, not expressing my opinion. :(

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I really like the idea of having an old fashioned 80s style OST.... as long as there's also a more normal score release alongside it....

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12 minutes ago, Stu said:

I really like the idea of having an old fashioned 80s style OST.... as long as there's also a more normal score release alongside it....

I saw the movie, there ain't much score, this release  is probably all

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29 minutes ago, Stu said:

I really like the idea of having an old fashioned 80s style OST.... as long as there's also a more normal score release alongside it....

 

For cases where the accompanying songs are important to the story, I agree - one can make a nice album from songs and the odd bit of score where it fits. Back to the Future is the textbook example.

 

But that's 100% conditional on the lion's share of the actual score (i.e., not 'interpretations' or re-recording) being available on a separate release. I can live with this one receiving zero marketing, or digital-only (pretty much a given now).

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In all seriousness, how do 6 composers work on a score and come up with... that? It's just half an hour of string ostinatos.

 

I try to find the positives with Zimmer & co, but unless they basically recut the entire film with 5 minutes to go, it's hard to see where the work went.

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On 19/5/2022 at 3:39 AM, Thor said:

Saw the movie yesterday, in IMAX. It was okay, but not quite as visionary as I had hoped, given Kosinski's track record. Loved all the aerial sequences, of course. Best part of the score was the old Faltermeyer stuff; the rearrangement was nice. But also a lot of non-descript tropes. The romantic bits weren't particularly noteworthy either -- certainly nothing on "Take My Breath Away"'s level, which - granted - might have been a bit too on-the-nose to begin with. I would be curious to read a breakdown at some point, that lists who did what.

Kosinski might as well have gotten his go-to composer, Joseph Trapanese, to work on the score. He's a huge fan of the original film's score and is pretty good at mixing orchestral and electronic elements together that feel both consistent and unique at the same time.

 

If I had to bring Faltermeyer out of retirement for anything, I'd have done it for Beverly Hills Cop IV. He already worked on the first two films in the series with both its score and soundtrack all drenched in his DNA that's (arguably) way more vital to capture than Top Gun. Plus, he's one of the most memorable elements of the series that define them in terms of tone and how they fit in with the movies proper.

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6 hours ago, dyemery said:

Kosinski might as well have gotten his go-to composer, Joseph Trapanese, to work on the score. He's a huge fan of the original film's score and is pretty good at mixing orchestral and electronic elements together that feel both consistent and unique at the same time.

 

If I had to bring Faltermeyer out of retirement for anything, I'd have done it for Beverly Hills Cop IV. He already worked on the first two films in the series with both its score and soundtrack all drenched in his DNA that's (arguably) way more vital to capture than Top Gun. Plus, he's one of the most memorable elements of the series that define them in terms of tone and how they fit in with the movies proper.

I think it’s pretty clear that this film started as a Kosinski project with Zimmer and Faltermayer, and ended up as a McQuarrie project with Balfe. 

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What a lost opportunity. They should have licenced this for the main theme of the sequel. Imaging a fighter jet suddenly appearing from the cloud over the mountain.

 

 

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Skimming a few tracks on Spotify now. There are some occasional moments of 'that's not bad, I guess'. But it's still got essentially all of the hallmarks of a typical RCP score where no one's gone for any sort of originality.

 

It even sounds crap, like someone's uploaded a really bad 128k mp3 transcode. (I hope to god that the artifacts causing that reaction aren't intended)

 

5 hours ago, Drawgoon said:

 

 

Very short score presentation in the age of lengthy albums - check

 

The bit I don't entirely understand is why a short album is the outcome of a troubled production. Perhaps the composer ultimately doesn't feel it's their best work so they don't want to release large sections of it.

 

But in this case it sounds like the film has little score to begin with, which begs the question even further of how it takes so many composers to produce such a small amount of music, which varies from functional to downright rubbish.

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lol

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On 27/5/2022 at 3:43 PM, Gibster said:

https://www.sueddeutsche.de/muenchen/harold-faltermeyer-top-gun-filmmusik-hans-zimmer-lady-gaga-interview-tom-cruise-1.5588676


faltermeyer interview in German talking about the issues with the score and doesn’t seem happy about the Gaga stuff

Would you mind transcribing the article here since I can't seem to load it up properly?

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2 hours ago, dyemery said:

Would you mind transcribing the article here since I can't seem to load it up properly?

I would but I wasn’t able to either 

Just now, Gibster said:

I would but I wasn’t able to either 

If you go to Hans-Zimmer.com someone did

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Yeah, this is ridiculous, sounds like they used the covid years to endlessly tinker with the score and somehow ended up with a Balfe-d product that resembles any old trailer score - by all accounts Cruise was hands-on with the music - but with this? Why would anyone want something so pointless as this score? There is no Zimmer influence at all in this score, or what is left of it. Apparently Balfe has confirmed a score release.....

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there are a lot of unreleased tracks on the Flight Simulator Marverick DLC  score

 

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