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The Dark Knight - Hans Zimmer & James Newton Howard
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- CommentAuthorErik Woods
- CommentTimeJul 4th 2008
Ralph Kruhm wrote
Well, that´s enough...
Erik Woods wrote
I personally feel that a great film score has to first work in the movie but also be excellent musically and have the ability to work out side of the film and work as a stand alone piece of the music.
Why do you feel that way? I mean, shouldn´t a film score´s only task be to work in the movie? Don´t you think that your demand a score should have the ability to work outside of a film and to work as a stand alone piece of music is the demand of a passionate lover of a specific kind of music, but not necessarily about what a specific movie needs?
I already stated that the score should first work in the movie... but this is music we are talking about as well. And we as film music fans like to hear this music away from the movie as well. And IMHO the truly GERAT scores function in the film but are also grand pieces of stand alone music. That's what separates the great composers from the shitty ones.
Ralph Kruhm wrote
*Snippet out the BLAH BLAH BLAH*
Who says that film music is only good if it´s composed with twenty plus different layers?
Who says that film music is only good if it contains at least twenty plus themes?
You kind of do, but don´t you see who narrowminded that is?
No one said that. It just that I find that a great symphonic piece, performed by real players, written by a composer who truly understands purely symphonic writing beats the pants off any synthetic, simplistic Zimmer approach.
And I'm actually very open-minded.
Ralph Kruhm wrote
I respect your wish for scores to meet your standards, but I don´t think you have the right to judge other people´s taste as bad just because they don´t have yours.
I'm not judging anyone. This is a discussion board and we are discussing film music. It just so happens that we are continuously discussing Zimmer, Batman Begins and how Zimmer's approach to film music is the wrong one.
I'm not just going to roll over and ignore that fact that Zimmer's approach is absolutely destroying and completely dumbing down film music. I will continue to be an advocate for the classic symphonic score which most of the time works if the directors and producers themselves weren't so narrowminded.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSouthall
- CommentTimeJul 4th 2008
DemonStar wrote
Marselus wrote
As Ravi says, the exclusion of the theme heard in the BB end credits is anticlimatic. I´d add is sad. And I don´t care if they are doing a dark and realistic approach. There´s always room for a big, bold theme in a TWO HOUR film with PLENTY of action set pieces.
Again, blame Nolan for that. It would've been the same even if Goldenthal or John Williams were the composers
And considering this pressure that was on HZ and JNH, the resultant score is very good IMHO.
Pressure!? I can imagine the conversation right now.
HZ: Morning Jimbo, what do we need to do today?
<JNH consults his notes>
JNH: Apparently we need to score a two-minute scene. The music must have no discernable features of any kind.
HZ: Holy shit, you mean we've got to write two minutes of drone?
JNH: Yeah
<HZ scratches head>
HZ: Crap. This pressure is too much.
<opens door>
HZ: Mel! Get your ass in here! Tell Ramin to stop washing my car and come in too.
<waits for them to arrive, drenched in sweat>
HZ: I need you to write one minute each of meaningless drone today.
RD: Yay! I can use that new computer program you bought me!
HZ: Come on Jimbo, let's go to the bar.
PRESSURE!? -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008
^ Now that's FUNNY!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemonStar
- CommentTimeJul 4th 2008
Erik Woods wrote
And IMHO the truly GERAT scores function in the film but are also grand pieces of stand alone music. That's what separates the great composers from the shitty ones.
In my humble opinion, just like not every person can be extraordinary, not every score can be truly GREAT either. We should appreciate the efforts of composers because not all of them can deliver a LoTR every time.
I'm not just going to roll over and ignore that fact that Zimmer's approach is absolutely destroying and completely dumbing down film music.
I say it again, this is not the case. Zimmer delivers to the film what it requires. I know you will say how Elfman's or some other older score would work wonders here, but IMVHO I feel that is not the case, Zimmer captures the new high-tech Batman feel very well, even though he's prohibited from using a big theme because of Nolan. He can deliver what he wants to, it's not like synths and guitars are his only stuffs. He didn't use, or used very minor synths in Lion King or Prince of Egypt because they didn't require them. But then again, neither your nor my views are gonna change so it's better to leave this endless discussion here.
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- CommentAuthorDemetris
- CommentTimeJul 4th 2008
Erik Woods wrote
Maybe I rifle through my collection and find something - not nessarily from Batman - that would help illustrate my approach. Beltrami's Hellboy, Elfman's The Hulk, Walker's Mask of the Phantasm, some Goldenthal, etc.
-Erik-
That make more sense indeed.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeJul 4th 2008 edited
Southall wrote
Pressure!? I can imagine the conversation right now.
HZ: Morning Jimbo, what do we need to do today?
<JNH consults his notes>
JNH: Apparently we need to score a two-minute scene. The music must have no discernable features of any kind.
HZ: Holy shit, you mean we've got to write two minutes of drone?
JNH: Yeah
<HZ scratches head>
HZ: Crap. This pressure is too much.
<opens door>
HZ: Mel! Get your ass in here! Tell Ramin to stop washing my car and come in too.
<waits for them to arrive, drenched in sweat>
HZ: I need you to write one minute each of meaningless drone today.
RD: Yay! I can use that new computer program you bought me!
HZ: Come on Jimbo, let's go to the bar.
PRESSURE!?
HAHAHAH FUNNIEST SH*T I'VE READ IN AGES, especially the "Ramin washing car" part 
Love Maintitles. It's full of Wanders. -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008
DemonStar wrote
Erik Woods wrote
And IMHO the truly GERAT scores function in the film but are also grand pieces of stand alone music. That's what separates the great composers from the shitty ones.
In my humble opinion, just like not every person can be extraordinary, not every score can be truly GREAT either. We should appreciate the efforts of composers because not all of them can deliver a LoTR every time.
That's true but I just can't appreciate below average stuff like Batman Begins. Functional... Ok, I'll give you that... but nothing much else. That just doesn't do it for me.
DemonStar wrote
Erik Woods wrote
I'm not just going to roll over and ignore that fact that Zimmer's approach is absolutely destroying and completely dumbing down film music.
I say it again, this is not the case. Zimmer delivers to the film what it requires. I know you will say how Elfman's or some other older score would work wonders here, but IMVHO I feel that is not the case, Zimmer captures the new high-tech Batman feel very well, even though he's prohibited from using a big theme because of Nolan. He can deliver what he wants to, it's not like synths and guitars are his only stuffs. He didn't use, or used very minor synths in Lion King or Prince of Egypt because they didn't require them. But then again, neither your nor my views are gonna change so it's better to leave this endless discussion here.
I like the The Lion King and Prince of Egypt. I just don't like the way Zimmer goes about creating his scores... everything from his RV set up to his particular sound and style. Again, I do have a handful of Zimmer scores that I truly enjoy. Batman Begins, unfortunately, is at the bottom of the list.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemonStar
- CommentTimeJul 4th 2008 edited
Southall wrote
HZ: Morning Jimbo, what do we need to do today?
<JNH consults his notes>
JNH: Apparently we need to score a two-minute scene. The music must have no discernable features of any kind.
HZ: Holy shit, you mean we've got to write two minutes of drone?
JNH: Yeah
<HZ scratches head>
HZ: Crap. This pressure is too much.
<opens door>
HZ: Mel! Get your ass in here! Tell Ramin to stop washing my car and come in too.
<waits for them to arrive, drenched in sweat>
HZ: I need you to write one minute each of meaningless drone today.
RD: Yay! I can use that new computer program you bought me!
HZ: Come on Jimbo, let's go to the bar.
-
- CommentAuthorDemonStar
- CommentTimeJul 4th 2008
Erik Woods wrote
I like the The Lion King and Prince of Egypt. I just don't like the way Zimmer goes about creating his scores... everything from his RV set up to his particular sound and style. Again, I do have a handful of Zimmer scores that I truly enjoy. Batman Begins, unfortunately, is at the bottom of the list.
No problem, if that's your opinion. Mine's just different. I've grown up listening to Zimmer after all
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- CommentAuthorRalph Kruhm
- CommentTimeJul 4th 2008 edited
Erik Woods wrote
we as film music fans like to hear this music away from the movie as well. And IMHO the truly GERAT scores function in the film but are also grand pieces of stand alone music. That's what separates the great composers from the shitty ones.
I agree. And a film music fan, I listen a lot to Zimmer and Williams, because I feel BB works very well as a stand alone piece of music. That makes both of them great composers by your definition, unless you state that your taste is more right than mine.
It just that I find that a great symphonic piece, performed by real players, written by a composer who truly understands purely symphonic writing beats the pants off any synthetic, simplistic Zimmer approach.
Technically, yes. But does that mean Zimmer´s music is worse?? Isn´t it just less complex? Another style of composing?
And I'm actually very open-minded.
Sorry, but that you are not. At least not regarding to this discussion.
It just so happens that we are continuously discussing Zimmer, Batman Begins and how Zimmer's approach to film music is the wrong one. I'm not just going to roll over and ignore that fact that Zimmer's approach is absolutely destroying and completely dumbing down film music. I will continue to be an advocate for the classic symphonic score which most of the time works if the directors and producers themselves weren't so narrowminded.
Well, your piece on Elfman and BB proved that Nolan wasn´t narrowminded. He just had another vision of what a Batman movie should be. And I appreciate that. -
- CommentAuthorDemonStar
- CommentTimeJul 4th 2008 edited
Sorry, double post... :P -
- CommentAuthorNautilus
- CommentTimeJul 4th 2008
I hated Batman Begins except for 3 tracks : Barbastella, Talarida and Molossus.
The Dark Knight is what batman Begins had to be. I mean, don't expect a pleasant and symphonic score. It's like the Bourne Scores, a very own sound.
TDK is more focused, better devoloped, a better listening experience... -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008 edited
Ralph Kruhm wrote
I agree. And a film music fan, I listen a lot to Zimmer and Williams, because I feel BB works very well as a stand alone piece of music. That makes both of them great composers by your definition, unless you state that your taste is more right than mine.
Which it is...
Ralph Kruhm wrote
Erik Woods wrote
It just that I find that a great symphonic piece, performed by real players, written by a composer who truly understands purely symphonic writing beats the pants off any synthetic, simplistic Zimmer approach.
Technically, yes. But does that mean Zimmer´s music is worse?? Isn´t it just less complex? Another style of composing?
And that other style of composing is far superior to Zimmer's.
Ralph Kruhm wrote
Erik Woods wrote
And I'm actually very open-minded.
Sorry, but that you are not. At least not regarding to this discussion.
I was open-minded when I first heard the Batman Begins score, thought it stunk up the joint and have posted my displeasure with it on this board. What do you want from me? To lie and say I like it. If that's your definition of open-minded then you truly have no idea what you are talking about.
Ralph Kruhm wrote
Erik Woods wrote
It just so happens that we are continuously discussing Zimmer, Batman Begins and how Zimmer's approach to film music is the wrong one. I'm not just going to roll over and ignore that fact that Zimmer's approach is absolutely destroying and completely dumbing down film music. I will continue to be an advocate for the classic symphonic score which most of the time works if the directors and producers themselves weren't so narrowminded.
Well, your piece on Elfman and BB proved that Nolan wasn´t narrowminded. He just had another vision of what a Batman movie should be. And I appreciate that.
I appreciate the change of pace as well but I don't agree with how he thinks music should be used in a film. The non-thematic, dumbed down approach is my biggest problem with a lot of film music these days. Can't have a sweeping theme these days because it might seem cheesy. I call BULLSHIT!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorMarselus
- CommentTimeJul 4th 2008
Nautilus wrote
TDK is more focused, better devoloped, a better listening experience...
More focused and better developed?!
Jordi, they´ve done a couple of new arrangements of older stuff and a new theme for Harvey Dent, that´s all. They even didn´t use one of the better themes of BB. I wouldn´t call it more focused and developed, I´d call it simply a very well paid lazy effort.Anything with an orchestra or with a choir....at some point will reach you -
- CommentAuthorNautilus
- CommentTimeJul 4th 2008
Marselus wrote
Nautilus wrote
TDK is more focused, better devoloped, a better listening experience...
More focused and better developed?! Jordi, they´ve done a couple of new arrangements of older stuff and a new theme for Harvey Dent, that´s all. They even didn´t use one of the better themes of BB. I wouldn´t call it more focused and developed, I´d call it simply a very well paid lazy effort.
i can't compare better this score than with Bourne Ultimatum. -
- CommentAuthorMarselus
- CommentTimeJul 4th 2008
Nautilus wrote
Marselus wrote
Nautilus wrote
TDK is more focused, better devoloped, a better listening experience...
More focused and better developed?! Jordi, they´ve done a couple of new arrangements of older stuff and a new theme for Harvey Dent, that´s all. They even didn´t use one of the better themes of BB. I wouldn´t call it more focused and developed, I´d call it simply a very well paid lazy effort.
i can't compare better this score than with Bourne Ultimatum.
Oh well, the Bourne saga had already plenty of themes developed in the second part, which were revisited in the third. And don´t compare the sound Powell created for Bourne with the drone HZ & JNH have created for Batman (for the most part). And talking about dark and psichological approaches, Bourne proofs a dark film can have a thematic score.Anything with an orchestra or with a choir....at some point will reach you -
- CommentAuthordgoldwas
- CommentTimeJul 4th 2008
Erik Woods wrote
I appreciate the change of pace as well but I don't agree with how he thinks music should be used in a film. The non-thematic, dumbed down approach is my biggest problem with a lot of film music these days. Can't have a sweeping theme these days because it might seem cheesy. I call BULLSHIT!
Now there's a sweeping generalization if ever there was one... Who said you can't have a sweeping theme? Who said all scores have to be non-thematic?
You might have a problem with those scores, but the truth is that not every film score NEEDS a sweeping theme. Not every film score NEEDS to be thematic.
Who said a sweeping theme would be cheesy? Can you source that, or are you just putting words in people's mouths?I consider a project a success when Thor says he won't buy it -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008 edited
dgoldwas wrote
Erik Woods wrote
I appreciate the change of pace as well but I don't agree with how he thinks music should be used in a film. The non-thematic, dumbed down approach is my biggest problem with a lot of film music these days. Can't have a sweeping theme these days because it might seem cheesy. I call BULLSHIT!
Now there's a sweeping generalization if ever there was one... Who said you can't have a sweeping theme? Who said all scores have to be non-thematic?
James Newton Howard and Hans Zimmer says so. Yes, I know they were referring to The Dark Knight but it's sad that stuff like that is even being said.
dgoldwas wrote
You might have a problem with those scores, but the truth is that not every film score NEEDS a sweeping theme. Not every film score NEEDS to be thematic.
It would be bloody well nice if they were.
dgoldwas wrote
Who said a sweeping theme would be cheesy? Can you source that, or are you just putting words in people's mouths?
A few people on this board and even in this thread have said that a more traditional approach to scoring Batman Begins would have been cheesy.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeJul 4th 2008 edited
No, i said Elfman's themes over Nolan's Batman movies are cheesy. Don't know about what others said.Love Maintitles. It's full of Wanders. -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008
Christodoulides wrote
No, i said Elfman's themes over Nolan's Batman movies are cheesy. Don't know about what others said.
But isn't Elfman's approach a more traditional one?
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeJul 4th 2008
Not all traditional approaches sound like Elfman.Love Maintitles. It's full of Wanders. -
- CommentAuthordgoldwas
- CommentTimeJul 4th 2008 edited
Erik Woods wrote
dgoldwas wrote
Who said you can't have a sweeping theme? Who said all scores have to be non-thematic?
James Newton Howard and Hans Zimmer says so. Yes, I know they were referring to The Dark Knight but it's sad that stuff like that is even being said.
Woah hang on a sec. Stop right there. So you're taking something that HZ and JNH said SPECIFICALLY about a theme in DK, and applying it to film music as a whole? Now it's MY turn to call BULLSHIT!
dgoldwas wrote
Not every film score NEEDS to be thematic.
It would be bloody well nice if they were.
Well sure, and it'd be nice if every meal was made of ice cream. I love thematic scores MORE than non-thematic scores, because it gives me something to latch on to, and hum as I walk to the store or whatever. But just because there isn't a theme in a particular score doesn't make it a failure as a score.
It just means you might not like it, and you're certainly entitled to your opinion on the matter.
A few people on this board and even in this thread have said that a more traditional approach to scoring Batman Begins would have been cheesy.
Umm... so why are you attributing the "cheesy" comment to Zimmer?? Read what you wrote again:
"...I don't agree with how he thinks music should be used in a film. The non-thematic, dumbed down approach is my biggest problem with a lot of film music these days. Can't have a sweeping theme these days because it might seem cheesy. I call BULLSHIT!"
When you say "how he" (referring to Hans), and then go on to provide sample criticisms, you can't throw in something he never said and then attribute that part to people ON A MESSAGEBOARD.
Try to keep your claims compartmentalized, so that you're not suggesting people said something they never said, just to satisfy your argument.I consider a project a success when Thor says he won't buy it -
- CommentAuthorLSH
- CommentTimeJul 4th 2008 edited
dgoldwas wrote
Orchestrators: BRUCE FOWLER, JEFF ATMAJIAN, BRAD DECHTER, ELIZABETH FINCH, KEVIN KASKA, RANDY KERBER, SUZETTE MORIARTY, WALTER FOWLER
So many orchestrators!
BRUCE FOWLER... WALTER FOWLER
HZ: "...and bring all your family too, we need all the help we can get!"
-
- CommentAuthorDemonStar
- CommentTimeJul 4th 2008
Would like to butt in just to say that we just had a power out here and I was listening to Introduce A Little Anarchy from TDK on my MP3 player. No strong theme, yes, no power anthem stuff, yes, but as I just thought of that TDK poster in the darkness, I just experienced goosebumps! Especially the opening portion of the track. What I want to say is even though it may not be thematic but it is NOT rubbish either. At least not to me. It's like whether you see the glass as half full or empty. The "emptiness" caused by the lack of a strong main theme is not bothering me up till now. Just my opinion
-
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008 edited
dgoldwas wrote
Erik Woods wrote
dgoldwas wrote
Who said you can't have a sweeping theme? Who said all scores have to be non-thematic?
James Newton Howard and Hans Zimmer says so. Yes, I know they were referring to The Dark Knight but it's sad that stuff like that is even being said.
Woah hang on a sec. Stop right there. So you're taking something that HZ and JNH said SPECIFICALLY about a theme in DK, and applying it to film music as a whole? Now it's MY turn to call BULLSHIT!
Sure... its something that wouldn't have been said 15-20 years ago. It's something that has plagued modern film music (not just non-thematic writing but that counts as part of the dumbing down approach) and it's being applied AGAIN to The Dark Knight.
dgoldwas wrote
Erik Woods wrote
dgoldwas wrote
Not every film score NEEDS to be thematic.
It would be bloody well nice if they were.
Well sure, and it'd be nice if every meal was made of ice cream. I love thematic scores MORE than non-thematic scores, because it gives me something to latch on to, and hum as I walk to the store or whatever. But just because there isn't a theme in a particular score doesn't make it a failure as a score.
Whoa! Now you are putting words into MY mouth. There are more problems with Batman Begins then the lack of a solid main theme. I've pointed that out many times before.
Erik Woods wrote
dgoldwas wrote
A few people on this board and even in this thread have said that a more traditional approach to scoring Batman Begins would have been cheesy.
Umm... so why are you attributing the "cheesy" comment to Zimmer?? Read what you wrote again:
"...I don't agree with how he thinks music should be used in a film. The non-thematic, dumbed down approach is my biggest problem with a lot of film music these days. Can't have a sweeping theme these days because it might seem cheesy. I call BULLSHIT!"
When you say "how he" (referring to Hans), and then go on to provide sample criticisms, you can't throw in something he never said and then attribute that part to people ON A MESSAGEBOARD.
Ok... poorly written post. They were suppose to be two separate thoughts. But I never intended to say that Zimmer thinks sweeping thematic music is cheesy. The "he" I was referring to was Chris Nolan, not Hans Zimmer.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeJul 4th 2008
Erik Woods wrote
Sure... its something that wouldn't have been said 15-20 years ago. It's something that has plagued modern film music (not just non-thematic writing but that counts as part of the dumbing down approach) and it's being applied AGAIN to The Dark Knight.
-Erik-
It's kinda like Heavy metal. First full of sweeping arrangements, melodic vocals and headed by complex lead electric guitar soli.
Then full of noisy screams and growls instead of actual singing and repeated 2-3 chord background rhythmic guitar riffs on heavy distortion.
Then dead.Love Maintitles. It's full of Wanders. -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008
Christodoulides wrote
Erik Woods wrote
Sure... its something that wouldn't have been said 15-20 years ago. It's something that has plagued modern film music (not just non-thematic writing but that counts as part of the dumbing down approach) and it's being applied AGAIN to The Dark Knight.
-Erik-
It's kinda like Heavy metal. First full of sweeping arrangements, melodic vocals and headed by complex lead electric guitar soli.
Then full of noisy screams and growls instead of actual singing and repeated 2-3 chord background rhythmic guitar riffs on heavy distortion.
Then dead.
Good analogy.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorRalph Kruhm
- CommentTimeJul 4th 2008
Erik Woods wrote
What do you want from me? To lie and say I like it.
No, I want you to say, 'I don´t like it', and then be done with it, for God´s sake. -
- CommentAuthorErik Woods
- CommentTimeJul 4th 2008
Ralph Kruhm wrote
Erik Woods wrote
What do you want from me? To lie and say I like it.
No, I want you to say, 'I don´t like it', and then be done with it, for God´s sake.
Then quit bring it back up for God's sake!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthordgoldwas
- CommentTimeJul 4th 2008
Album credits:
Music Composed by Hans Zimmer and James Newton Howard
Additional Music by Lorne Balfe
Ambient Music Design: Mel Wesson
Music Arranged by Henry Jackman
Music Published by Warner Olive Music LLC (ASCAP)
Album Produced by Hans Zimmer and James Newton Howard
Album Co-Produced by Alex Gibson and Lorne Balfe
Soloists: Ryeland Allison, Michael Levine, Heitor Pereira, Satnam Ramgotra, and Martin Tillman
Synth Programming: Hans Zimmer and Howard Scarr
Sequencer Programming: Thomas Broderick, Jacob Shea and Noah Sorota
Music Editors: Alex Gibson and Daniel Pinder
Assistant Music Editor: Ryan Rubin
Technical Score Engineers: Peter "Oso" Snell and Stuart Thomas
Technical Assistant: Chris Bacon
Digital Instrument Design: Mark Wherry
Sample Development: Claudius Bruse, Zain Effendi and Michael Hobe
Orchestrators: Bruce Fowler, Jeff Atmajian, Brad Dechter, Elizabeth Finch, Kevin Kaska, Randy Kerber, Suzette Moriarty and Walter Fowler
Orchestra Contractor: Charlotte Matthews
Score Coordinator: Becky Bentham
Music Preparation: Mark Graham, JoAnn Kane Music Service, Los Angeles, CA; Dakota Music, London UK
Score Recorded at Air Lyndhurst, London, UK; Remote Control Productions, Santa Monica, CA; James Newton Howard Studios, Inc., Santa Monica, CA
Music Recorded by Geoff Foster
Assistant Engineer: Chris Barrett
Music Conducted by Matt Dunkley, Bruce Fowler and Gavin Greenaway
Orchestra Leader: Rose Warren-Green
Principal Viola: Peter Late
Principal Cello: Anthony Pleeth
Principal Bass: Mary Scully
Percussion: Frank Ricotto, Gary Kettel and Paul Clarvis
Horn: Richard Watkins
Trumpet: Maurice Murphy
Trombone: Pete Davies
Tuba: Owen Slade
Synthesizers: Hans Zimmer
Piano: James Newton Howard and Simon Chamberlain
Music Production Services: Steven Kofsky
Score Mixed by Alan Meyerson
Score Mixed at Remote Control Productions, Santa Monica, CA
Additional Recording by Jeff Biggers
Assistant Engineers: Katia Lewin and Greg Vines
Album Compilation: Daniel Pinder
Album Mastered by Louie Teran at Marcussen Mastering Studios
Production Coordinator for Has Zimmer: Andrew Zack
Scoring Coordinator for James Newton Howard: Pamela Sollie
Studio Manager for Remote Control Productions: Czarina Russell
Album Business Affairs: Keith Zajic, Marc Cimino and Lisa Margolis
Music Administration for Warner Bros. Pictures: Debi Streeter
Sleeve Art Direction and Design: Steven R. GilmoreI consider a project a success when Thor says he won't buy it