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  1. Snowpiercer... not really for me, this one (with the exception of one cue).
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
    • CommentTimeAug 11th 2014
    • CommentTimeAug 12th 2014
    He's been busy this year! New project:

    http://www.varesesarabande.com/servlet/ … The/Detail
    Love Maintitles. It's full of Wanders.
    • CommentTimeAug 13th 2014
    cd cover now available http://filmmusicreporter.com/wp-content … image2.jpg
    Love Maintitles. It's full of Wanders.
  2. My few cents on The Giver.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
    • CommentTimeAug 18th 2014
    Southall wrote
    Review of The Giver:


    One to pass on both seeing the film and the score.
    listen to more classical music!
    • CommentTimeAug 18th 2014
    Synchrotones wrote
    My few cents on The Giver.

    Again I disagree.
    listen to more classical music!
  3. My review of THE NOVEMBER MAN, if anyone is interested:

    http://moviemusicuk.us/2014/09/04/the-n … -beltrami/

    • CommentAuthorBasilB
    • CommentTimeSep 5th 2014
    Thanks for the review, Jon.

    Bummer... I was very much looking forward to this score! Will still check it out though. Really liked the End Credits published on Beltramis home page!

    All best
    • CommentTimeSep 6th 2014
  4. http://www.youtube.com/watch?v=1RPucjnRwgc


    "I was up at Marco's studio and they showed me the Aeolian piano, it really was something. The strings that led from the piano to the water tanks sounded awesome when reverberating as well as bowed, or used as percussion when beaten by the bow. The sound that emanated from the water tanks when the piano was played was ethereal and very special, and of course the resulting piano sound was something wholly unique and amazing."

    "It was really incredible. When the wind would pick up, the strings would resonate and you could hear the thing from a mile away."
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  5. And here's selection from the score:

    Out 11/17 iTunes Exclusive - available everywhere else digitally and physically 12/9
  6. My review of THE HOMESMAN, for anyone who's interested:

    http://moviemusicuk.us/2014/11/24/the-h … -beltrami/

  7. Late review for The Homesman.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
  8. The other week Kaya Savas, Craig Lysy and I sat down with Marco Beltrami and his regular collaborator Buck Sanders to present him with the IFMCA Award for THE HOMESMAN; we also asked them a few questions, about working on this score, creating original instruments to 'tune the wind', and what they have coming up next.

    Here's the article: http://filmmusiccritics.org/2015/07/mar … -homesman/

    And here's the interview, on the IFMCA Youtube Channel: https://youtu.be/qKl49uaqE1M

  9. I love Beltrami stuff. My only problem with him is he writes music for so many films i find it hard to keep up buying them. The Thing is actually immense!
    • CommentTimeJul 25th 2015
  10. knight
    Bach's music is vibrant and inspired.
      CommentAuthorJim Ware
    • CommentTimeJul 26th 2015
    Can someone release Seventh Son now? Please?
  11. yeah x1,000,000
    • CommentTimeAug 7th 2015
    Earlier this summer, the score to the new Fantastic Four reboot was recorded at the Newman Scoring Stage at 20th Century Fox. Directed by Josh Trank, the film's score was written by Oscar-nominated composers Marco Beltrami and Philip Glass. While Glass was not in attendance at the recording sessions, ScoringSessions.com was, and we're thrilled to bring our readers the exclusive photos!


    I consider a project a success when Thor says he won't buy it
  12. My two cents on Fantastic Four, because honestly, I don't wanna spend much more on it.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
  13. Steven, your cue...
    • CommentTimeAug 26th 2015
    • CommentTimeSep 10th 2015
  14. Yeah, seems about right to me (although you sound more positive about it towards the end than your rating would seem to suggest!).
  15. My review of NO ESCAPE, for anyone who's interested:

    http://moviemusicuk.us/2015/09/15/no-es … k-sanders/

  16. I stumbled across some very interesting (and somewhat disturbing) information at the German film score forum SoundtrackBoard today:

    The meaty stuff starts with a post by the user Siddl, who from what I can gather knows and/or works with Beltrami's orchestration team. I'll translate for you.

    Siddl: Beltrami doesn't compose alone anymore for over 50% of his music - no matter the project. I don't think it's that conspicuous, though. Buck Sanders has been by his side forever and Marcus [Trumpp] knows his style pretty well too - after all, he wrote over half of Die Hard 5, the other half is by Brandon Roberts. Two cues by Marco.

    sami: The cast and crew list says something very different, though. And the CDs don't say otherwise either, which would be quite something at over 80%...

    Siddl: A lot of the time these people don't like to be named - Marcus is very modest and gives Marco all the credit. James McKee Smith wrote cues for John Powell for years and never wanted any credit or acknowledgment. Unfortunately, if ever, they only are credited on cue sheets in order that royalties are paid properly. Some of the cue sheets I've come across have been downright scary.

    Lars Potreck: Is the "family theme" at the end of Die Hard 5
    ["It's Hard to Kill a McClane"] by Beltrami? It certainly sounds like a typical Beltrami finale.

    Siddl: That's by Brandon Roberts. Marco's pieces are "1M3 - Phone Booth/Killing Anton"
    [that's "Jack Makes the Call" from the score album] and "8M1 - McClane's Brain".

    Lars Potreck: Thanks for the information. He's got Beltrami's sound down perfectly, then.

    There's a bit more discussion about that particular cue, and then some tangential discussion about Jerry Goldsmith and Joel McNeely on Air Force One, then it gets back to Die Hard 5.

    Sebastian Schwittay: So there are only two pieces by Beltrami in A GOOD DAY TO DIE HARD? That comes as quite a shock - after all, it's one of the best "Beltrami" scores of the past two, three years. Are you sure that Beltrami handed over complete control of all the other cues? And "Triple Vodka Rhapsody" isn't by him either?

    Siddl: Believe me, that's how it is. "Triple Vodka Rhapsody" is by Marcus.

    Sebastian Schwittay: Did Beltrami not at least do early conceptual work on major cues?

    Lars Potreck: That the music is sold as a purely Beltrami score is pretty outrageous. Not even Hansi Zimmer does that.

    Siddl (to Sebastian's question): I can ask again specifically about that - but I'd imagine they'll be mum on the particulars. Not without reason, I'd say.

    Okay...so shocked shocked shocked shocked shocked !!!!

    I totally agree with Sebastian. One of the best "Beltrami" scores I've ever heard, and not it's not just not entirely by Beltrami (which I'd assumed)...but rather Beltrami appears to have next to nothing to do with it at all!

    Does anyone know more about this? I mean, holy hell!
      CommentAuthorErik Woods
    • CommentTimeJan 18th 2016
    Unless this Siddl guy tell us exactly who he is this is all hearsay! But ghostwriting is anything new. And Die Hard 5 is still a masterpiece no matter who wrote it.

    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  17. Ghostwriting is nothing new, but there's "helping out on a few cues", there's "editing the main composer's ideas into film cues" (the Hans Zimmer model where at least the main composer came up with most of the raw material), and there's "had next to nothing to do with the score". That latter point is something new (and unwelcome), if you ask me. This is John Ottman level stuff...

    Also, I feel like if you were going to make up a bullshit persona and spread rumors all over the Internet, you'd come up with something a bit more glamorous than "knows some of Marco Beltrami's orchestrators". tongue That makes me feel like there's at least some merit to this.