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April 30, 2013
For Immediate Release
PINE BLUFF, Ark. – U.S. Senator Mark Pryor will give the keynote address during Spring Commencement Exercises for the University of Arkansas at Pine Bluff. The free, public event will be held Saturday, May 11 at 3:00 pm in the Pine Bluff Convention Center Arena.
Pryor was first elected to public office in 1990 as a member of the Arkansas State House of Representatives. In 1998 he was elected Arkansas' Attorney General where he toughened laws against drunk drivers, enacted legislation to protect children on the Internet, prohibited unwanted telemarketing calls, and helped establish the Morgan Nick Alert System to locate missing and exploited children. In 2008, Pryor was elected to serve a second term in the U.S. Senate where he received more votes than any statewide elected official in Arkansas history.
During Pryor's first term as Senator, Pryor earned a reputation as a "voice of reason," working with both Democrats and Republicans to pass meaningful legislation for Arkansas and our nation. His bipartisan efforts have resulted in millions of highway dollars for Arkansas, the first increase in fuel economy standards in over 20 years and better benefits for our nation's troops while they are in combat and when they return.
Pryor serves on six Senate Committees, including the powerful Senate Appropriations Committee. He was recently named Chairman of the Subcommittee on Agriculture Appropriations—a position that will allow him to prioritize funding for federal programs that benefit Arkansas farmers, producers, and rural communities, and keep Arkansas's agricultural sector strong.
As a member of the Senate Commerce, Science, and Transportation Committee, Pryor is helping Arkansas address emerging transportation, technology and communications challenges. As Chairman of the Subcommittee on Communications, Technology, and the Internet, one of Pryor's main priorities is helping rural communities meet growing infrastructure needs, including the disparity in broadband services.
Pryor also serves on the Homeland Security and Governmental Affairs Committee; the Small Business and Entrepreneurship Committee; the Senate Rules Committee; and the Senate Ethics Committee.
Pryor previously served on the Senate Armed Services Committee where he served as a tireless advocate for Arkansas' military personnel, their families and installations throughout the state. He authored the Tax Relief for Americans in Combat Act, now law, which enables soldiers to collect combat pay and take full advantage of other tax provisions, such as the Child Tax Credit. He also shepherded the SACRIFICE Act into law so families receive more timely and reliable medical information when their loved ones are injured in combat. Additionally, the law increased funding to help military medical units provide soldiers with the best care possible when they are wounded on the battlefield.
Pryor was born in Fayetteville on January 10, 1963 and grew up in both Arkansas and the Washington D.C. area. He received a B.A. in History and his law degree from the University of Arkansas and worked in private legal practice for over ten years. He has a son and a daughter, Adams and Porter.


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If you have configured resource pools on your system as described in Chapter 13, Creating and Administering Resource Pools (Tasks), you can use the pool property to associate the zone with one of the resource pools when you configure the zone.
If you do not have resource pools configured, you can still specify that a subset of the system's processors be dedicated to a non-global zone while it is running by using the dedicated-cpu resource. The system will dynamically create a temporary pool for use while the zone is running.
A zone configuration using a persistent pool set through the pool property is incompatible with a temporary pool configured through the dedicated-cpu resource. You can set only one of these two properties.

subset: commoncrawl


text:
Last Sunday I wake up early, to IOI Mall for some groceries shoppe. Iron board, mop, are the items in the list. And, so I came a bit early for my brunch of the day.
Wendy's, right in the west wing of IOI Mall, Puchong. To get there, you may take the entrance of Kenny Roger's, then turn left, pass by the Esquire Kitchen on your right, then you shall be able to see Wendy's at your left.
A cup of Coke, A bag of French Fries, and A Beef Burger
Coke, doesn't taste like coke at all. Told the waiter to change, but they said this is how it should taste. Gosh
French Fries, eatable when it's hot. I would prefer Mc's though
Beef Burger, the meat was cut into square size, taste so-so, nothing special


text:
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text:
Clergy abuse threatens to tarnish pope's legacy
By VICTOR L. SIMPSON
The Associated Press
Friday, March 26, 2010; 9:06 PM
VATICAN CITY — The Vatican is facing one of its gravest crises of modern times as sex abuse scandals move ever closer to Pope Benedict XVI – threatening not only his own legacy but also that of his revered predecessor.
Benedict took a much harder stance on sex abuse than John Paul II when he assumed the papacy five years ago, disciplining a senior cleric championed by the Polish pontiff and defrocking others under a new policy of zero tolerance.
But the impression remains of a woefully slow-footed church and of a pope who bears responsibility for allowing pedophile priests to keep their parishes.
In an editorial on Friday, the National Catholic Reporter in the United States called on Benedict to answer questions about his role "in the mismanagement" of sex abuse cases, not only in the current crisis but during his tenure in the 1980s as archbishop of Munich and then as head of the Vatican's doctrinal and disciplinary office.
It all comes down to the question of what the pope knew and when. The answer will almost certainly determine the fate of Benedict's papacy.
As he approaches Holy Week, the most solemn period on the Christian calendar, victims groups and other critics are demanding Benedict accept personal responsibility. A few say he should resign.
Some fear the crisis will alienate Catholics from the church, with a survey in Benedict's native Germany already showing disaffection among Catholics while there is deep anger in once very Catholic Ireland.
As the climate worsens, the Vatican is showing increasing impatience and even anger, denouncing what it says is a campaign to smear the pope.
L'Osservatore Romano, the Vatican newspaper, said this week there was a "clear and despicable intention" to strike at Benedict "at any cost."
But as attention focuses on Benedict, a perhaps thornier question looms over how much John Paul II, beloved worldwide for his inspirational charisma and courageous stand against communism, knew about sex abuse cases and whether he was too tolerant of pedophile priests.
John Paul presided over the church when the sex abuse scandal exploded in the United States in 2002 and the Vatican was swamped with complaints and lawsuits under his leadership. Yet during most of his 26-year papacy, individual dioceses and not the Vatican took sole responsibility for investigating misbehavior.
Professor Nick Cafardi, a canon and civil lawyer and former chairman of the U.S. bishops lay review board that monitored abuse, said Benedict was "very courageous" to reverse Vatican support for the Legionaries of Christ, a sex scandal-tainted organization staunchly defended by John Paul.
John Paul was already ailing from Parkinson's disease when the U.S. scandal erupted, a factor supporters say may have kept him from initially realizing its scope.
While Cardinal Bernard Law became the most high-profile church figure to fall, resigning as archbishop of Boston over the scandal, John Paul gave him a soft landing, appointing him as head of a Rome basilica and keeping him on various Vatican committees.
The world-traveling John Paul has been put on a fast track for sainthood by Benedict in response to popular demand. Cardinal Jose Saraiva Martins, the emeritus head of the Vatican's saint-making office, said this week that historians who studied the pope's life didn't find anything problematic in John Paul's handling of abuse scandals.
"According to them there was nothing that was a true obstacle to his cause of beatification. They are very strict," Saraiva Martins said.
For Benedict, a quiet intellectual who will be 83 next month, the scandal must be trying.
Until recently, Benedict had received high marks for his handling of sex abuse – seen as a bright spot amid turmoil over his remarks linking Islam to violence and his rehabilitation of an ultraconservative bishop who denies the Holocaust.
Shortly before his election as pope in 2005 he had denounced "filth" in the church – widely viewed as a reference to clerics who abused children. He proclaimed a policy of zero tolerance for offenders and met and prayed with victims while traveling in the United States and Australia.
Benedict won praise for moving against the Legionaries of Christ, the conservative order once hailed by John Paul that fell into scandal after it revealed that its founder had fathered a child and had molested seminarians.
The Vatican began investigating allegations against the Rev. Marcial Maciel of Mexico in the 1950s, but it wasn't until 2006, a year into Benedict's pontificate, that the Vatican instructed Maciel to lead a "reserved life of prayer and penance" in response to the abuse allegations – effectively removing him from power.
But reaction changed as the abuse scandal moved across Europe and into Benedict's native Germany in recent months, touching the pontiff himself with a case dating to his tenure as archbishop of Munich.
The former vicar general of the Munich archdiocese has absolved the pope of responsibility in the case of the Rev. Peter Hullermann, accused of abusing boys.
While then Cardinal Joseph Ratzinger was involved in a 1980 decision to transfer Hullermann to Munich for therapy, Ratzinger's then-deputy took responsibility for a subsequent decision to let the priest return to pastoral duties. Hullermann was convicted of sexual abuse in 1986.
However, the New York Times reported Friday that Ratzinger was copied in on a memo stating Hullermann would be returned to pastoral work within days of beginning psychiatric treatment. The archdiocese insisted Ratzinger was unaware of the decision and that any other version was "mere speculation."
In another case, documents show the Vatican office responsible for disciplining priests, while headed by Ratzinger, halted a church trial of a Milwaukee priest accused of molesting some 200 deaf boys from 1950-1975.
Two Wisconsin bishops had urged the Vatican to approve the proceeding against the Rev. Lawrence Murphy, arguing that even though it was years after the alleged abuse, the deaf community in Milwaukee was demanding justice. The trial was approved in 1997, only to be halted after an appeal by the priest to Ratzinger. Murphy died in 1998.
Murphy's eventual punishment was a restriction on celebrating Mass and on visiting the deaf community.
Such light disciplinary measures remain the norm in the majority of sex abuse cases.
Of the 3,000 cases the Vatican has received since 2001, only 20 percent have gone to a full canonical trial, the Vatican's chief prosecutor Monsignor Charles Scicluna said. Disciplinary sanctions were imposed in 60 percent, such as priests being ordered to live a retired life of prayer and not celebrate Mass publicly; in only 10 percent were the accused priests defrocked.
The abuse crisis in the United States, which involved 4 percent of the American priesthood, showed a pattern of bishops covering for errant clerics, at times moving them from parish to parish. The latest documents point to Vatican complicity, although the Vatican denies there was any cover-up.
Defenders of Benedict, such as British Archbishop Vincent Nichols, say that as cardinal he made important changes in church law to crack down on offenders and was not an "idle observer."
French bishops rallied around Benedict in a letter on Friday, saying while they deplored clerical sex abuse, the issue "is being used in a campaign to attack you personally."
Still, it is in Germany where Benedict's popularity has taken a real hit.
A poll in Stern magazine released this week shows only 39 percent of Germany's Catholics trust the pope, down from 62 percent in late January. Some 34 percent trust the Catholic church as an institution, down from 56 percent in January. The margin of error was 2.5 percentage points.
Rainer Kampling, a professor of Catholic theology at Berlin Free University, says the idea that the pope might resign – slipping polls not withstanding – is hardly realistic. "The pope is not a politician," he said.
Herbert Kohlmaier, chairman of an Austrian Catholic group that has criticized Benedict, also said a resignation shouldn't be expected. "They certainly won't let a symbolic figure like that go."
While church law allows for the resignation of a pope, there are few precedents over the church's two millennium history. The last was by 15th-century Pope Gregory XII, and that was not over scandal but rather a schism in the church.


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Official Score
Autobots (2:35)
Soldiers Arrive (0:31)
Bogey Approach (1:23)
Family (0:34)
Soccent Attack (2:10)
Arctic 1897 (0:17)
Angry Camaro (1:07)
Keller's Briefing (2:02)
Lost In The Desert (0:44)
Sam At The Lake (2:00)
Belly Shot (0:15)
Signal Analysis (0:48)
Air Force One (2:28)
Main Frame Tampering (1:57)
Camaro On The Run (2:51)
Scorponok (5:33)
Data Copy (0:36)
Deciphering The Signal (1:13)
Pink Bike Ride (Part 1) (0:31)
Pink Bike Ride (Part 2) (0:53)
Are You LadiesMan217? (1:26)
Bumblebee VS Barricade (2:07)
Arrival To Earth (5:28)
Cybertron (2:47)
Witwicky (Part 1) (1:58)
Witwicky (Part 2) (0:30)
Witwicky (Part 3) (2:07)
Take Em & Bake Em (Part 1) (0:36)
Take Em & Bake Em (Part 2) (1:04)
Take Em & Bake Em (Part 3) (0:45)
Autobots To The Rescue (1:22)
Not To Hear That (0:30)
Simmons Takes It Off (0:53)
Sector 7 Chase (Part 1) (0:49)
Sector 7 Chase (Part 2) (2:15)
Bumblebee Captured (2:21)
Hoover Dam (1:13)
Optimus (3:17)
Frenzy Falls (0:28)
Where Is My Car? (0:34)
The All Spark (3:35)
Decepticons Mobilize (Part 1) (2:29)
Decepticons Mobilize (Part 2) (0:23)
To Mission City (0:34)
Freeway Fight (0:43)
Downtown Battle (1:35)
Stumble Bumble (Part 1) (1:12)
Stumble Bumble (Part 2) (0:56)
You're A Soldier Now (Part 1) (2:43)
You're A Soldier Now (Part 2) (0:54)
You're A Soldier Now (Part 3) (1:00)
You're A Soldier Now (Part 4) (0:27)
Transforming (0:45)
Sam In The Building (0:44)
Surreal Mikaela (0:38)
Tow Truck Charge (1:14)
Sam On The Roof (Part 1) (1:01)
Sam On The Roof (Part 2) (1:15)
Optimus VS Megatron (4:04)
No Sacrifice, No Victory (2:30)
The Cube Suite (3:52)
Brooding Suite (4:34)
Attack Suite (5:10)
Cybertron Suite (2:46)
Optimus Prime Suite (3:15)
Heroix Suite (2:36)
The All Spark Suite (6:04)
Journey Suite (3:57)
Sam's Theme Suite (1:59)
Decepticons 6 Suite (3:39)
Creeper Suite (2:26)
Tensaction Suite (2:52)
Stonker Suite (3:51)
Decepticons Cello Suite (4:43)
Decepticons 5 Suite (3:10)
Decepticons 2 Suite (1:57)
Invasion Suite (1:31)
Stumble Bumble (Part 2) (Alternate) (0:47)
No Sacrifice, No Victory (Alternate) (2:58)
Trailer Music (1:19)
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Replies: 0 || 2020-11-25 15:07:27
Alright, after re-listening to the score, I've made a few educated guesses of what the additional composers did, based on what we know about the score and their previous work. Note that none of this is confirmed by Hybrid, just my opinion.
Lorne Balfe: Seems to practically be a co-composer here. I hear a lot of him in this score. It seems he did Invasion (as he's known for contributing trailer music to films he works on) seemingly the suites "Brooding", "Deciphering the Signal", "Battle", and the one we know he cowrote, "Journey Suite". Based on this here's my guess as to what he contributed.
Soccent Attack - Sounds like his style, probably him arranging AllSpark and Decepticon material.
Keller's Briefing - Arrangement of "Deciphering the Signal"
Deciphering the Signal - Obviously another arrangement of "Deciphering the Signal" with Batman Begins-like action at the end.
Sam's Pink Bike Ride (Part 2) - Sounds like an arrangement of "Brooding" material.
(Possibly?) Are You LadiesMan217? - Some arrangement of "Brooding" and "Journey Suite" material, although hard to say whether the theme at 1:10 is Steve's or Lorne's. Could be Steve arranging Lorne material, as it sounds more Jablonsky-esque to me.
Autobots to the Rescue - Could be Steve imitating Batman Begins style, but sounds far too Lorne for me to not consider it a co-written track.
Sector 7 Chase - Part 1 sounds more Jablonsky than Lorne, but there's no question to me that part 2 has a lot of Balfe in there.
Where Is My Car? - Batman Begins-like again, probably Lorne solo, or Lorne and Steve
Decepticons Mobilize (Part 2) - Arrangement of "Brooding"
Freeway Fight - Battle version of Decepticon theme from "Brooding"
Stumble Bumble (Part 1) & (Part 2 Alternate) - Arrangement of "Journey Suite", second part not used in the film sounds like Steve & Lorne Combo to me. Film version of part 2 sounds pure Steve to me.
You're A Soldier Now (Parts 1 & 3) - Lorne being heavily involved in the final battle is known, and Parts 1 and 3 have arrangements of Lorne material. I'm also fairly certain that Lorne wrote the Optimus vs Megatron theme from Part 3 and "Optimus vs Megatron".
Optimus vs Megatron - Finale of theme introduced in "You're A Soldier Now (Part 3)" as well as the "Journey / AllSpark" theme which could be Lorne's or Steve's.
Trevor Morris: I can infer from his work on Pirates 2, The Island, and the one track we know he worked on.
Soldiers Arrive - Not sure why, but I've always assumed this military theme was Morris'.
Arctic 1897 - Dark theme that reminds me a lot of his work from Pirates 2.
Scorponok - Known fact that he co-wrote this.
Hoover Dam - Arrangement of military theme
Transforming - Same theme from Arctic 1897
Sam on the Roof (Part 2) - Arrangement of theme from Scorponok, though could be Steve or Lorne arranging it.
Optimus vs Megatron - A slight hint to the Military theme when they begin attacking Blackout, and Scorponok theme reprisal, once again could be Steve or Lorne arranging these themes.
Creeper Suite / A Call to Arms (Unused) - Original music for Optimus' Epilogue, contains arrangement of military theme.
Jay Flood: Can be inferred from his work on Transformers: The Game, his overall more orchestral writing, and his contributions to Nightmare on Elm Street, Sims 3, and Desperate Housewives.
Camaro on the Run - Definitely has a TF: The Game sound to it overall. As well as a bit of Thomas Newman-esque music.
Witwicky (Parts 1-3) - Definitely some of his style here along with Steve's overall Desperate Housewives-esque music.
Decepticons 2 Suite / Frenzy - The suspenseful strings make me think of Flood's Nightmare on Elm Street work, and the brass writing seems more characteristic of him than Jablonsky to me, though it was still probably a co-written suite.
Tense Action Suite - Once again reminds me of Flood's Nightmare suspenseful string writing, probably at least co-composed with Jablonsky.
Clay Duncan - I can guess somewhat based on his contributions to "The Island" but otherwise I don't know much about him so I'm not sure about any of the inferences I'm about the make.
Angry Camaro - This sort of drone music sounds like it could be him as his contributions were very electronic in The Island.
Bumblebee vs Barricade - Strange electronics and sounds plus more minimalist writing make me think Duncan.
Tow Truck Charge - Definitely has The Island's sound. Could be Trevor Morris too.
TJ Lindgreen: I know so little about his style except he works with Elfman and did additional music for TF: The Game so not much I can say for what he did.
Belly Shot(?) - The ethereal choir style sounds somewhat like TF: The Game's score and Elfman's choir.
Not to Hear That(?) - Maybe he composed this motif for Mikaela that also appeared in "Belly Shot".
Surreal Mikaela(?) - Once again I'm hoping the specific choir sound is part of his style.
Anything I didn't mention is a track I'm assuming is all Jablonsky. Please note that I'm not trying to take away from Steve's work on this score, and that for most of these track I'm assuming Steve had some involvement in as well, I'm just speculating for fun because I've always wanted to know who did what on this score.
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Replies: 2
|| 2020-11-12 12:16:46
Hi. Who has a song when Bumblebee goes to Sam and Mikaela after a fight with Barricade. It is very similar to "Optimus"
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2020-11-12 16:11:00
it is "Optimus", it's just the butchered, hacked up film mix. microedited and instruments removed. it will never be available beyond rear surround channel rips with minor SFX
2020-11-12 17:06:07
Ok. Thanks
Replies: 3
|| 2019-09-22 21:10:55
Hello everyone! After watching the film I noticed that about half of music that used in film disappeared at sessions or has different arrangement. Why it's not released? What's the reason for this?
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2019-09-23 19:27:05
"what's the reason for this?"
music editors
2019-09-23 19:56:56
I don't think so. For example, "To Mission City" (film version) or "Keller's Briefing " (film version) or "The Allspark" difenetly a whole tracks, not the result of music editing
2019-09-24 15:35:31
They are whole tracks, but that doesn't change the fact that it's the result of music editors.
"To Mission City" (film) is just "Skorpinok" sped up, "Keller's Briefing" is just an alternate Decepticon suite combined with the originally composed track for the scene, along with "Autobots".
"The All Spark" is just taking the original suite, condensing parts of it, tracking in certain segments to fit the scene, and muting the cello and choir for the corresponding segments.
Replies: 1
|| 2019-06-27 17:36:50
Hans Zimmer work on it?
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2019-09-23 04:50:14
Random guy
Replies: 0 || 2019-06-13 11:16:09
And how can I get that score?
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Replies: 11
|| 2019-03-24 14:58:37
I remember seeing discussion several times on this forum about how Lorne would often reply to people on his social media accounts when they asked him for his credits in the scores he did additional music for. So does anyone have any credits that he or other composers have shared about this film?
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2019-03-24 17:53:13
I think it's safe to say that the power anthems and the tracks that were very much an homage to the 90's MV/RC sound were done by Jablonsky. Balfe was never a "power anthem" type of composer. He's more like John Powell, while Steve is more like Hans. Steve has embraced the MV/RC sound, while Lorne is more "reserved".
That's why I'm extremely curious to hear Lorne's music for SIX UNDERGROUND. The 13 Hours score is great but it was very, for lack of a better word, contained. Which is understandable, considering the subject matter. But Six Underground is a huge balls-to-the-wall action adventure that takes place all over the world and Lorne really has a shot to go as wild and big as he can. I'm sure Bay would love that :)
2019-03-26 11:46:28
That's not what I meant. Just curious if anyone on the site has any new credits from asking the additional composers about this film.
2019-03-26 11:55:24
Lorne is not a power anthem guy? What are you talking about? Practically every single one of his recent scores have had at least 1 power anthem. To name a few: MI: Fallout, Pacific Rim Uprising, Hurricane Heist, 12 Strong, Lego Batman and Duck Shoot from The Crown.
2019-03-26 12:36:00
i wouldn't say, that Pacific Rim Uprising, Hurricane Heist and 12 Strong have power anthems. all 3 don't have even good themes. they are ok and they are the best part in every score, but they are far away from good power anthems in my opinion.
2019-03-26 12:40:59
Track 1 of PR: U is a power anthem, Brothers from Hurricane Heist is a power anthem, 12 Strong is a bit iffy as a lot of them aren't full anthems and more like action cues that go on for a bit. But I would disagree on the bad themes, I really enjoy the Brothers theme from HH (best moments in the score is when it crops up) and the main theme from PR: U, but aside from that they're not his best works.
2019-03-26 12:45:10
Balfe writes epic themes constantly.Assassins Creed,Beyond Two Souls,Geostorm are just some examples.
2019-03-26 13:53:47
Practically every single one of his recent scores have had at least 1 power anthem
Clearly we have a different understanding of what a "power anthem" is. For me, a power anthem is My Name Is Lincoln, The Launch, Now We are Free, Arrival to Earth, etc....A track that resonates with millions of people. Not just film score fans. But casual film fans as well. Look at the YouTube views for Now We Are Free and Arrival to Earth. Millions and millions of views.
None of the tracks in the Hurricane Heist score can compare to these power anthems. None. Same goes for 12 Strong, PacRim 2 and (lol) Lego Batman. Only 13 Hours comes close. And that's because Michael Bay is the type of director who loves and demands power anthems (and thank God for that). It's no wonder that some of the most famous power anthems come from his movies...
I'm not saying all of that to undermine Balfe. It's just my personal observation.
2019-03-26 13:54:47
but they are far away from good power anthems in my opinion
My point as well.
2019-03-26 13:58:25
Balfe writes epic themes constantly
Epic themes, yes.
Actual power anthems on par with Now We Are Free and My Name is Lincoln......No. In my opinion.
2019-03-26 14:21:32
Power Anthems!!!!!! Is this the 1980s again!!!im the first to love a great tune but we are in another decade now.
Talking of tunes , Balfes best is still Oh's Theme from Home.
Edmund Meinerts
2019-03-26 14:22:16
"For me, a power anthem is My Name Is Lincoln, The Launch, Now We are Free, Arrival to Earth, etc....A track that resonates with millions of people. Not just film score fans. But casual film fans as well. Look at the YouTube views for Now We Are Free and Arrival to Earth. Millions and millions of views."
Eh, by that definition The Imperial March would also be a power anthem, and I'd question that (to put it lightly). I don't think popularity has much to do with a definition of a type of music really. Rather I'd say a power anthem is a bold, muscular, relatively simple and often rock/pop-influenced theme that builds up and gets bigger and bigger over time, the prototype being Hans Zimmer's theme from Crimson Tide. And Balfe has written plenty of them. Whether they're good or not is something that can be debated, but e.g. the opening track of PR:U definitely fits the criteria of a power anthem for me.
Replies: 2
|| 2018-12-20 16:42:50
Well, Bumblubee Score is out. What do you think?
For me, Dario Marianelli did an excellent job.
I can hear some tones in the score from Jablonsky Themes, not the themes itself.
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2018-12-20 19:19:06
The score is more close to the 2007's than the latest entries.
Not bad.
2018-12-20 23:22:43
Kind of disappointed at the lack of substance in my listen so far. There's some wonderful variations on Arrival to Earth in "Shutdown", and a nice quasi-return of the original Decepticon motif, but the only substantial new theme I've found is "Charlie" and no references to any other theme from the original series.
Replies: 16
|| 2018-05-09 20:35:23
Dario Marianelli is scoring Bumblebee.
Not really what to think about that.
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2018-05-09 20:40:32
This is... unexpected :/
2018-05-09 21:05:48
I believe he scored Kubo and the 2 Strings, the director's first film. Makes sense, but sadly he's probably not going to stick to Jablonsky's thematic material.
2018-05-09 22:32:30
The only music by Marianelli I'm really familiar with is V For Vendetta, which is an amazing score. Hopefully he does keep Steve's themes...
2018-05-09 22:44:39
Marianelli is a very interesting choice. At his peak (V for Vendetta, Pride and Prejudice, Eat, Pray, Love) he is a very good composer. But Marianelli tends to be a bit restrained in his methods, which may or may not serve this film.
Hybrid Soldier
2018-05-09 23:02:52
If he doesn't "serve" this film, he will have the same fate as on Pan...
2018-05-09 23:22:36
Indeed. I guess Lorne's phone will ring very soon. :-p
2018-05-10 14:14:36
Interesting choice indeed.....
By the way, I'm willing to bet that he WILL include bits and pieces from Steve's music from the original TF movie. I'm sure that there will be an emotional moment with Bumblebee and they will include some Jablonsky cues. Maybe slightly rearanged and short, but still........
I mean, Mike Bay IS the main producer and he would want for this movie to have a strong connection to the first TF. And not just plot-wise....
2018-05-10 14:40:10
did u just use the term "plot-wise" in reference to Bay? LMAO
and besides, even tf4 and tf5 hardly had the original themes. tf4 has the slightest use of prime's theme once while tf5 also used prime's theme once and the autobot theme once. Not a strong connection if u ask me.
2018-05-10 23:26:03
did u just use the term "plot-wise" in reference to Bay? LMAO
Hey, look guys! Someone who still thinks he's on the IMDb message boards. Hahaha. Anyway.......What the hell do you think you know about Bay, random guy? Do you even know who Bay is? Do you even know the movies he had directed, outside of Transformers? Judging by that stupid, trollishly snarky comment of yours, no, clearly you don't. Let me explain some things to you, random no-name-guy: EVERY single feature film has a plot. Just because YOU have a problem with the way Bay tells film stories doesn't mean all people agree with your utterly subjective opinion. And no, I don't give a rat's ass about film critics and film bloggers. No sane person cares about them. So spare me the moronic Rotten Tomatoes ratings and reviews by 20 year old comicbook fanboys-turned film bloggers who hate everything.
Besides, look where you are: this is a Zimmer-related site. And Zimmer, just like Bay, is an artist who regularly gets trashed on the internet, by some critics and especially militant film geeks. Hell, there are haters who come and trash even here on the fan site. So yes, calm down with the snarky comments, my man. You're not achieving anything with negativity.
even tf4 and tf5 hardly had the original themes. tf4 has the slightest use of prime's theme once while tf5 also used prime's theme once and the autobot theme once
Well, well, well.....for someone who takes shots at Bay you seem to be very familiar with his movies and the sound of his movies. Hilarious! By the way, no one talks about TF4 or TF5. I clearly mentioned the first live-action TF movie from 2007. And there WILL be a connection to the first one. And my guess is that there will be a "musical connection" as well. Because the Bumblebee movie is a prequel.
2018-05-11 00:17:47
I don't entirely agree with Bayhem, as I am not a fan of Bay's movies (to be honest if he just toned down the humor I'd probably like them a lot more), but this guy appears to just be a random troll. Hell, he even hides behind Anonymous which typically doesn't bode well for thoughtful opinions.
"even tf4 and tf5 hardly had the original themes."
TF4 maybe, but half of the TF5 score is about rebuilding the Autobot theme! If half of the critics of the score actually analyzed the them, there'd be a lot less complaints about Steve Jablonsky. (Granted they don't review the complete scores so that's also part of the problem). He didn't even get the number of uses right! In TF5, Optimus appears 4 times (twice in the finale), and Autobots appears around 7-9 times including both the complete score and the 34 track album. Granted Steve complained that the editors used almost no temp tracks from the old films so the constant use of the old themes might have been a sort of "fuck you" to them.
I still believe that no one's going to push Dario to use the old themes, that's up to him. Steve is the one responsible for TF5's score, not Bay. So I agree with the troll to the extent of "the director doesn't care about musical story-telling," but I don't think that's exclusive to Bay. Yes I know Bay has helped Jablonsky arrange cues from time to time but most of the time it sounded more like it was for action purposes not continuity/story ones.
"And no, I don't give a rat's ass about film critics and film bloggers. No sane person cares about them. So spare me the moronic Rotten Tomatoes ratings and reviews by 20 year old comicbook fanboys-turned film bloggers who hate everything."
Bayhem... you seem like a fine dude, but I think that's very close-minded. Some critics just seem to hate everything, or love everything with no real backing, sure. But you get film critics like RedLetterMedia who yes, are extremely critical, but they carefully explain why they do or don't like something. They talk about script-writing, camera use, direction, etc. Yes they make fun of people like Bay, but that doesn't mean they hate everything. They recently talked about their love for Infinity War, and are usually fairly positive about Marvel, Indie films, and more obscure movies in general. Just because it's something you don't care about as much doesn't mean they hate everything.
I've also seen some film music websites that hate the first 3 TF scores but I read them anyway to see why they didn't like it, and I learn more about film and film music techniques. Hell, even some of them like Movie Music UK end up pulling back later and saying things like "...and the first Transformers score has held up fairly well over time..." There was also one review for Transformers 5 that gave it a 3.2 out of 5 because he was impressed by the new emotional themes and references to the other films, but didn't appreciate the action, and I respect their opinion and fully understand it.
You can't be so defensive about criticism of something you liked. It's not the end of the world, people have different opinions. You might agree/disagree with something someone says but don't get defensive about it. People who hate film critics for criticizing things they like (*cough* Star Wars fandom! *cough*) honestly remind me of the Tumblr people who think everything is sexist towards women, black people, transgender people, and oh shit I'm starting to offend more and more people, time to go!
Apologies for the long ass rant but I hope I got my point across.
2018-05-11 00:50:59
Offensive, not sexist. Wrong word.
2018-05-11 01:02:07
I've noticed you've taken to defending Michael Bay on here in the past, which I can understand when people aren't constructive in their criticism of a subject. Personally I tend to just ignore it, everyone has different opinions and on the internet there definitely is no shortage of people who immaturely express them.
Out of general curiosity though, are there any of Bay's films which you do not like at all? Not criticizing you at all, I love hearing others opinions and perspectives.
For me personally, Bay is a director who falls on either side of the coin. At his best, he genuinely is one of the best action directors working today.
Films like The Rock/Bad Boys//Pain and Gain are amazing examples of what you can do with editing and pyrotechnics. Even the "dumb" ones like Armageddon are crafted much better than the average action film.
On the other side of the coin though, he has made a number of films I outright despise. I do agree with most people that the TF films are fairly formulaic, and do suffer from the humor that extends from the human characters. Likewise, Pearl Harbor is a movie that did not need a badly written love story (the action scenes are brilliant, everything else not so much.) I think one of the biggest weaknesses of Bay tend to be some of the scripts he works with.
2018-05-11 01:08:44
And since we are on the topic of action directors, what the hell happened with Mimi Leder? Just rewatched The Peacemaker today and have to say that it might be the most underrated action film of the 90's. Great acting and a genuinely sympathetic villain...
2018-05-11 09:35:05
to be honest if he just toned down the humor I'd probably like them a lot more
When people complain about the humor in his movies, they mean Transformers. They seem to think that he only directs Transformers movies. SMH. People don't like to actually do a research........Let's look at his other popular movies. There's basically no humor in 13 Hours, and I've never heard complaints about the humor in The Rock, Armageddon, The Island, Pearl Harbor. There is nothing offensive or "wrong" with the humor in those movies.
As for Transformers and the humor there, ask yourself the question: why - if the humor is so "bad" and "too much" - why Bay sticks to it and why no one from the studio tries to stop that "bad" humor? It's simple: because those who complain about the humor are a minority. As Bay said on the TF2 commentary, ordinary people all over the globe laugh their asses off during the comedy bits in the TF movies. And as someone who has seen the TF movies in different countries around the world, I can confirm what Bay said. For the ordinary audience, for the teen audience (which is the target audience anyway) the humor works. People laugh every time. Those who complain - not all, but most - are not surprisingly those who hate those movies in general and just look for any reasons to dismiss them. If you look at the article history of a film journalist/blogger who complains about the humor in the TF movies, you will see that the same person absolutely hates those movies. "Good" humor or "bad" humor, it doesn't matter. They simply don't like the films.
Trust me, my friend. I know what I'm talking about. I worked with those people. I wrote for a film site for 5 years and turned down the opportunity to be a critic. That's because I know very well how film bloggers and some film critics REALLY behave. I know how hypocritical, how snarky, how agenda-driven and how flat-out hateful they can be.
Simply because they don't like a freakin' movie. Or an actor. Or a director. I didn't want to transform (no pun intented) and be one those people. I love cinema. I don't hate it. Yes, there ARE intelligent and NORMAL film critics, but they are absolutely and totally overshadowed by those who rely on hate, snark and insults.
That is a well-known fact. There are countless articles on the serious decline of film criticism.
the director doesn't care about musical story-telling
No offence, but that is a very naive statement. Every filmmaker who takes his/her craft seriously cares about the "flow" of the music and its relation to the story. As Bay himself says constantly: "Film is 50% sound and music and sound can make or break a movie". I always remind people that the reason all those great TF themes exist in the first place is because of Bay. It's HIS type of film music. No one takes away anything from Steve. But Bay pushed for that music. He wanted *exactly* that music. He approved every single cue. He guides the composer constantly. And not just for the action bits. Zimmer himself said that Bay is a director who very much cares about the music and how it accompanies the screen story. On the Pearl Harbor DVD commentary Zimmer explains in detail how Bay works with music and story. And clearly he knows what he's doing. All of Bay's movies contain amazing scores and Zimmer received a Golden Globe nomination for Pearl Harbor.
You think that's a coincidence? One filmmaker and so many great, popular scores? It's more than just Bay picking a good composer. If the director doesn't care about the music as a whole, how it affects everything on the screen, and he's not out there for the composer......then even the greatest composer in the world can fail miserably.
Some critics just seem to hate everything, or love everything with no real backing,
Not "some". MOST critics nowadays hate everyone and everything. They're not even critics. Because of social media and militant fanboy film sites like Collider, Slash Film and Screen Rant, every hateful film geek with an agenda can become a "critic". He/she writes his crap and then spreads it through social media. Negativity and hatefulness always bring more clicks to these sites. Which is one more reason as to why these "critics" are so hateful and disrespectful. Hell, I don't even have to tell you this. You know it very well. There are multiple articles from respected people and respected outlets who explain in great detail how modern film criticism is not criticism anymore. It's hate/snark/insult machine. As Bill Maher said last week: "Movie reviews are not reviews anymore. They're just: "How come you made the movie you made, and not the one I would've made?"
Boom! There you go. There's really nothing else to be said here. It's all pretty obvious.
You can't be so defensive about criticism of something you liked. It's not the end of the world, people have different opinions.
Who's to blame in these types of situations? People like you and I, who never attack without being provoked, who actually think objectively and most of the time support their statements with cold, hard facts, OR the people who post short, trollish comments with the intention to stir shit up?
I have no problem whatsoever with people who have different opinions. BUT, there is a right way to express an opinion, and a wrong way to express an opinion. People like you and I, we know how to respectfully express our opinions. And we have normal, civilized discussions here. But unfortunately a lot of people on the web thrive on provoking, abusing and angering others. And that's something I will never accept. And I will never treat those people with respect. They don't respect me, and I'm supposed to respect them?? No, never gonna happen.
I'm not a kid anymore. I ALWAYS welcome the opportunity to have an intelligent, normal discussion with people I disagree with. I'm ALL for that. I love it. But I would never be "nice" to trolls and people who just want to make you mad. Not just about movies. I'm talking politics and everything in life. You can't reason with those people. I've been on the IMDb message baords and I know very well how they act. They take pleasure of creating chaos and making people angry.
Should we just sit back and let them do that? And let them get even more hateful? Yes, let's tell that to the parents of all those kids who took their own lives exactly because of out-of-control online trolls. Because it all starts with "innocent" trolling about movies and music and then they quickly transition to trolling and bullying vulnerable kids online.
If you think about it, online trolling is a pretty serious problem. It's not just "silly" stuff about different opinions on movies. It starts that way, and by doing nothing we basically say to these people "Yeah, go ahead and do whatever you want. Troll and abuse whoever you want. No one will stop you."
2018-05-11 10:28:32
Personally I tend to just ignore it, everyone has different opinions and on the internet there definitely is no shortage of people who immaturely express them.
I actually admire you for that. Personally, I find it very difficult to let immature, abusive people get away with it. If we don't eventually confront them, then things will get even worse online. I mean, look at the situation now. There are many organizations and people who actively fight against online trolling and bullying, but even with those people fighting for decency, trolls continue to abuse and spread negativity. Imagine how internet would be if NO ONE goes against these trolls. If we all just ignore them.....
It would be a Hell Hole.
Out of general curiosity though, are there any of Bay's films which you do not like at all? Not criticizing you at all, I love hearing others opinions and perspectives.
Not like at all...? Truth be told, I always manage to find bits and pieces I like, even in movies that I generally don't enjoy. Like Rollerball: I don't like the movie, but the cinematography is pretty damn good. Some very cool shots in that movie.
Overall, I'm really trying not to flat-out hate on movies. Because I know how incredibly hard it is to make even a small TV movie.
As for Bay movies, I'm not the biggest fan of The Last Knight, Bad Boys 2 and Pain and Gain. It's not that I "hate" those movies, it's just I don't have the urge to watch them again. I don't even own The Last Knight. On the other hand, I can watch Armageddon, TF1, The Island and Pearl Harbor over and over and over again.
Pearl Harbor is a movie that did not need a badly written love story
I felt the same when I first saw the movie. But then I did my research and more importantly, I listened to the truly great DVD commentary by Bay and film historian Jeanine Basinger. Turns out the movie really is a love letter to the romantic war movies of the 40s and 50s.
I saw a couple of them afterwards and let me tell you - they are EXACTLY like Pearl Harbor. There is always a sappy love story and the silly "Gosh. Golly!" lines of dialogue are present all over the place.
The entire point with Pearl Harbor - from the get-go - was to create an old-fashioned romantic war drama. Not Balck Hawk Down. Bay said that the "sappy dialogue", the way the characters talked......he was told by the actual survivors that this is *exactly* how they talked back then. Things were really different.
So it makes sense for the modern (more cynical) audience to feel that the dialogue sounds corny and sappy.
what the hell happened with Mimi Leder? Just rewatched The Peacemaker today and have to say that it might be the most underrated action film of the 90's
Ah, you mentioned one of my favorite filmmakers and one of the best action films, in my opinion (The Peacemaker). I've always been a huge fan of Leder. Ever since ER. As to what happened to her.......The truth, according to Leder herself, is that she was placed in "Director's Jail" after the bad box office performance of Pay it Forward. Basically, the phone stopped ringing with offers. Now, if she was a male filmmaker, then one flop (after two box office wins) wouldn't be a career killer. But apparently it's different when you are a woman....
Before Pay it Forward she did two successful movies with big stars - The Peacemaker and Deep Impact. Speaking of The Peacemaker, for me, the last 20 minute chase sequence in New York City is easily one of the greatest action sequences in film history. I've watched and analyzed that sequence multiple times. It's breathtaking, amazingly well-crafted with stunning cinematography and editing, and a perfect score by Zimmer. Seriously, watch that sequence again and you'll see what I mean. It's perfection!
2018-05-11 17:42:30
I agree with a lot of your examples on bad critics and fanboys, but I think you might be over-analyzing a few of my points. When I said the director doesn't care about musical storytelling, I didn't mean all of them. I meant generally. I remember Gore Verbinski's involvement in POTC 3, Peter Jackson's involvement with Howard Shore for LOTR, and Nolan's involvement in Interstellar and TDKR, but most of them just want what sounds nice. Not developing themes/motifs.
Take 2001, where the score was rejected for nice sounding classical music. The same was going to happen for Star Wars, until someone recommended John Williams to Lucas. Even then, Lucas tempted in Obi-Wan's theme for Binary Sunset. Luckily Williams was smart enough to retcon it as The Force theme instead. A lot of directors won't interfere with the score, sure, but 9 times out of 10 they just want something aesthetically pleasing. Not rich with themes and motifs. At least, it's not their main concern.
And my comnent on the humor was more about tone. Take TF3. You just had a scene where Sam has to spy on his Autobot friends, and you take all of that drama away for goofy slapstick?? Granted it at least gets back to the drama afterwords, but the effect is definitely dilluted after the slapstick scene, particularly the threat of the watch. I'm not saying no comic relief is allowed, but when creating tension, don't cut it off halfway for a guy diving across tables and messing with people's hair. It's why LOTR has so little humor by Return of the King.
Replies: 3
|| 2018-05-08 21:32:58
So according to our "favorite" guy over at Filmtracks, the "Rampage" score by Andrew Lockington "borrows" A LOT from Transformers and MV/RC as a whole.
I wasn't interested in that score, but now I might check it out...
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Edmund Meinerts
2018-05-09 00:16:33
I ordinarily like Lockington a lot but found the Rampage score to be very bland and forgettable. It doesn't sound that much like Transformers IMO, there are hardly any themes (certainly no memorable ones) and the action is a lot grungier and rather unpleasant. The electronics are way too loud and don't mesh well with the orchestra.
San Andreas would be a better Lockington score to check out that has a bit of an RC edge, and Journey 2 is even better if you like a more throwback 90s-style David Arnold/JNH-esque adventure score that still has some modern touches.
2018-05-09 11:12:36
I both agree and disagree with Edmund. It's true that the themes and action music emulate the modern RC approach, and it's true that they are clearly not as distinctive as Jablonsky's work for Transformers. But even if it's a bit blander, I always enjoy hearing this kind of sound in a score (in the same way fans of John Williams-like scores tend to enjoy more orchestral scores no matter how forgettable they are).
But what I really, really liked in Rampage are the softer parts. There are some African-sounding vocals which reminded me a lot of HZ, and the synth soundscape is really nice. To get an idea I would recommend you to check out the following tracks: Gorillas, Paavo, Cornfield, Requiem and Saved. Those are the highlights for me.
Edmund Meinerts
2018-05-09 16:11:51
True, the softer portions of Rampage are nice. I really love the choir in the first half of "Gorillas", wish there was more of that kind of music in the score.
Replies: 13
|| 2018-05-07 03:54:17
Why are the credits for these scores so random with how they're distributed?
TF1 we have no info on besides Balfe did a lot and Trevor Morris co-wrote Skorpinok. We can't get more information on it because everyone tries to avoid the subject..? Why??
TF2 there's a good amount of information on there besides what Hans' contributions are. Which is even weirder because Hybrid talks to Hans so you'd think there'd be more credits for him.
TF3 we know very little for some reason.
TF4 we know everything even though that score was apparently a rushed mess, so that doesn't make sense either.
TF5 we know literally nothing. What??? It's such a weird and frustrating experience with these credits! Why is it so complicated to get the additional writer information for these scores? It seems like Hans, Powell, Harry Gregson, Zanelli and Rupert Gregson's scores get full credits a lot of the time, why are Jablonsky's credits so stingy?
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Hybrid Soldier
2018-05-07 05:54:02
Because Michael Bay works in mysterious ways !
2018-05-07 15:38:36
did Lorne Balfe work on #5 at all?
2018-05-07 20:06:06
So the director holds the rights to additional composer credits? That doesn't seem right...
2018-05-07 22:32:50
I don't think people try to avoid the subject. It's not like Steve is a fraud who can't compose to save his life and depends entirely on ghostwriters. Sometimes the truth is right in front of our eyes - maybe it's not "stingy", maybe Steve really did a lot of the work himself and his name will be all over the credits. With a little help from Lorne, Clay and Trevor. I mean, look at The Island credits here. It's a gigantic movie with a gigantic score and according to the credits Steve worked on every single track. Which is amazing. Yes, it's MV/RC and there are always ghostwriters, but - call me naive - I tend to believe that the main composers still do most of the work.
On the other hand though, Bay's big movies are really not like the rest, when it comes to crafting the scores. I've been a Bay fan for 20 years now, and I know his work process. Like all big-time, A-list filmmakers he's very, very demanding and the MV/RC guys go the extra mile for him. Look at The Rock, Armageddon and Pearl Harbor.........if you dig deep you will probably discover that pretty much every MV/RC composer in existence was involved in the making of these scores, one way or another. While his "smaller" movies like 13 Hours and Pain and Gain are pretty straightforward in terms of the scores. 13 Hours is Lorne mainly by himself and Pain and Gain is Steve. So I guess we just have to accept that Bay's bigger movies are more complicated with their scores. Thus, the credits are more complicated as well.
2018-05-07 22:41:04
did Lorne Balfe work on #5 at all?
No. He didn't work on it. You don't even need credits for proof. He was the main composer of like 5 different projects at the time. Even if Steve wanted him, he wouldn't have been available.
2018-05-07 23:51:41
I'm not saying Steve is stingy. I'm asking why are the credits for the Transformers films so minimal when a lot of his own work, even, has full credits?
We also know that Lorne Balfe did a lot of the work for the first film, and Hybrid has hinted in the past that for the first 2 films, you can tell over half the work is not from Steve. I'm not saying the credits will be Pirates of the Caribbean levels of co-writing, but I agree that a lot of the work is not Steve's. (Listen to Autobots to the Rescue again as an example, that's clearly Lorne's Batman Begins style).
And my "everyone tries to avoid the subject" line I got from Hybrid when asked about the credits for the first movie:
"Not much known about TF... It's kind of a subject everyone tries to avoid. And the cue sheet won't help since it's 100% Jablonsky there..."
Do I think this makes Jablonsky a hack? Of course not. He composed D-War, IDEA, Your Highness, and Steamboy almost entirely by himself! However, I think since this was Steve's big breakout score, the additional writers probably didn't feel comfortable about sharing their compositions and taking any credit away from Steve. That's probably the reason they don't share what they worked on here. But from the sounds of it we may never know how much work was Steve's and how much wasn't.
2018-05-08 13:39:46
We also know that Lorne Balfe did a lot of the work for the first film, and Hybrid has hinted in the past that for the first 2 films, you can tell over half the work is not from Steve.
No offence, but without actual credits to support this statement, I'm not gonna blindly believe it. It's not the first time I've seen on here people giving Balfe wayyyy too much credit. He worked on the movie, that is a fact. But saying that Steve did not do even half of the score and that Balfe did "a lot of the work"....which dangerously leans to "Balfe composed the Transformers score!"................I'm sorry, that is a huge insult to Steve. And very, very disrespectful.
If we go down that road then I can also start believing the rumors that Steve and Klaus did most of the Pearl Harbor score, not Hans. Thus, they were robbed from a Golden Globe nomination. Not to mention Balfe and his recent ocean of new scores. I can start claiming that he did a minimal job on them and there were multiple additional composers who are actually the ones who did most of the work. See what I mean?
It's not just Steve. We can cast a doubt on every MV/RC composer.
However, I think since this was Steve's big breakout score, the additional writers probably didn't feel comfortable about sharing their compositions and taking any credit away from Steve.
Actually The Island was his breakout score. The movie itself was not a huge box office hit, but the score was/is pretty damn popular. And The Island is all the proof you need. Look at the credits there. Steve was involved in the creation of pretty much every single track. And that's actually very rare when a young MV/RC composer gets to score a huge movie like The Island. So why should we doubt Steve's work on Transformers? He already proved with The Island that he can do the job. And if you listen to The Island and then the first Transformers you will discover a lot of similarities. Jablonsky similarities. His style is pretty well established.
So I don't think this is a case of other composers not wanting to reveal their involvement with TF1 because they don't want to overshadow Steve. For one, Steve is the person who created the major themes in the movie. Hell, he talks about it every single time when asked about the movie. How he created the Autobot/Decepticon themes and how Bay and Speilberg approved the tracks. Again, I don't deny the fact that he got help from Balfe and Duncan. But I will never accept the statement that "half the work is not from Steve". If that's the case then Zimmer himself can be accused of taking solo credit on scores where most of the work was done by other composers.
Also, we all know the "Jablonsky sound/style" at this point. So if you revist the TF1 score you will see that his style is present all over the place.
Mike (OTM)
2018-05-08 17:36:28
@superultramegaa, I get your point, broadly, but keep something in mind.... Just like with Zimmer's scores, the presence of another composer on a cue does not mean that the main composer didn't write the cue, too. A lot, if not most, of the "additional composer" cues are co-written, with the main composer starting and the other guy(s) finishing, or with them going back and forth. So Steve was almost certainly involved in writing more than half of the first Transformers score.
And while it is likely that Lorne wrote "Autobots to the Rescue," it's hard to say for sure. It could have just been temped with Batman Begins. But anybody could have delivered the end result.
2018-05-08 18:57:51
Bayhem, I'm not mindlessly believing people. Hybrid is usually the one with the most info on additional writing credits. So I'll take his word for it. I'm not discrediting Steve either! I know he probably co-composed the cues, but a lot of it is very obviously not really his style, but an overall MV/RCP vibe. There's a huge difference in the TF1 action tracks, and the style Steve had in D-War, and TF5, his mostly solo work.
His action is closer to Howard Shore's LOTR stuff for me. Pounding percussion, rather than mostly drums, and switching between high and fast strings and slower, blasting brass. Sure there's tracks like the 2 Optimus and Megatron fights that reflect that, but a lot of it doesn't feel like that style to me.
A lot of the action tracks feel like Pirates of the Caribbean arrangements. Yes Steve did a lot of the work, I have no doubt, but I'm merely saying it would be nice to have credits to know exactly what he did, that's all!
I'm not saying the additional writers were screwed over, I'm just asking why there's been so little information on these scores compared to others. Also no, The Island wasn't Jablonsky's breakout score. Maybe it got mainstream audiences' attention, but I think the only track anyone really loved was My Name Is Lincoln. Transformers was a big franchise, also had Bay's name attached to it like The Island, had simple and extremely memorable music, and Arrival to Earth is at 20 million views on YouTube now. And the rest are between 500,000 and 6 million. Even My Name Is Lincoln didn't have 20 million views. Yes I know it was played at the Olympics but I'm talking about mainstream audience recognition.
2018-05-08 19:00:10
Correction, Arrival to Earth is at 53 million now.
2018-05-08 20:23:22
a lot of it is very obviously not really his style, but an overall MV/RCP vibe
I get what you're saying but still, that doesn't mean he's not the one who composed or co-composed these tracks. Between Steve and Lorne, it's Steve who's most likely the composer who would create those classic MV/RC cues. Even before TF1 Steve was an MV/RC veteran. His style is the one that usually pays an homage to the "Golden Years" of MV/RC. Which is why after TF1 a lot of people said that Steve is "the new Hans Zimmer". Lorne is different. Unless the director wants it, he almost never "goes back" to that classic sound.
But, for the sake of this discussion, let's assume that it was indeed Lorne and maybe some other ghostwriters who did most of the work on TF1. My question in this case would be: then why Bay stuck with Steve and not with Lorne? I mean, if Lorne proved to be the "secret hero" here, why not giving the keys to the franchise to him? Why Steve for TF2? After all, Bay knows who did what and he's the boss. And he's certainly not afraid to speak his mind.
I think at the end of the day what Mike (OTM) said is the truth. I think Steve was very much involved when Lorne and Duncan did their thing and it was a collaboration. Not separate composers working independently and then it was all stiched together. I think, kinda like Hans, Steve was overseeing the whole process. Or he started a cue and Lorne finished it. And vice versa.
2018-05-08 21:30:30
Believe me, I am not saying Lorne is the real hero of the Transformers scores. His later work proved that he really doesn't stick to that style at all. I'm not saying anyone but Steve is. I just really want to know what the additional composers' contributions are, and I agree with you and Mike (OTM) about the process about it. It'd just be nice to have a full cuesheet with artist the exact credits like on the Shrek films, Pirates of the Caribbean, Armageddon, The Island, etc.
However, Hybrid has said multiple times that like Batman Begins, we're just never going to know who did what exactly, because the people who hold that info don't seem like they're going to leak it.
2018-05-09 00:44:35
While I personally don't know how involved the co-composers were on the first TF score, I think it's safe to assume that the thematic base of the score was most likely Steve alone. From interviews with him as well as most of the sessions out there, it's obvious he takes the Zimmer approach of writing up to an hour of suites with all of the thematic material and any additional stuff which may be used in some form. Not just Transformers of course, but plenty of his other scores follow this approach.
That's not to say that Lorne (or whoever else) didn't play a big part in writing certain cues, but I feel like most of what is represented is Steve's own themes/ideas. And it's certainly not uncommon for certain composers to not always give 100% accurate credits, I'm sure in messy situations it's hard enough to always know who did what. Just look at Batman Begins...
Mike (OTM)
Replies: 0 || 2018-04-19 17:05:00
It's sort of been implied here before that Lorne Balfe worked on the "Bumblebee" suite... Is that correct (as far as anybody knows, at least)?
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Replies: 1
|| 2018-03-25 22:21:26
Guess we're not allowed to share links to YouTube videos anymore. Those posts mysteriously disappeared...
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2018-03-25 23:14:00
Yeah, it happened to me as well a while back. They don't allow links to music, unless it's from an official YT channel.
Replies: 0 || 2018-03-25 14:20:01
Ok, am I going crazy or the beautiful music that plays during the "Optimus speech/Arrival at the Hoover Dam" scene is nowhere to be found? I'm talking about the film version of the track. I've heard the "Optimus" track, but it's not the film version. For one, the film version contains that majestic choir work that really elevates the entire piece.
So, is it just me or it's really nowhere to be found...?
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Replies: 0 || 2015-03-23 22:58:58
You know, I still wonder why there were so many suites written for this score. Some amazing material in here but there are a lot of ideas thrown at the wall that didn't fully end up in the film.
And also what a "Stonker" is...
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Replies: 0 || 2014-11-25 23:56:15
Hey Hybrid, do you know anything, that Steve compose the music for Michaels new movie Project Almanac?
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Replies: 2
|| 2014-05-04 21:09:21
Do you happen to have more credits for the Transformers series, Hybrid?
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Edmund Meinerts
2014-05-04 21:20:45
There's a handful of credits in the comments sections for both the TF2 and TF3 complete scores. As for the first one (which is what I'd be more interested in), pretty much the only thing that's known is that Trevor Morris co-wrote Scorponok, and that Lorne Balfe did "a lot" (although what, exactly, I've never heard). Hm...
Hybrid Soldier
2014-05-04 23:13:14
Not much known about TF... It's kind of a subject everyone tries to avoid. And the cue sheet won't help since it's 100% Jablonsky there...
Replies: 2
|| 2013-02-05 01:48:57
Question: I found a really awesome track one time called A Call to Arms. It sounded like a mixture of Autobots and Soldiers Arrive. But I don't see it on this cue list. Is it even an official piece? Was it maybe a suite composed early on or something?
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2013-02-05 01:55:31
Actually, now that I think about it, there were several cool tracks:
A Call to Arms
Megatron Awakens
Attack (Demo)
Brooding (Demo)
Devastator (Alt.)
They all sounded real enough.
2014-03-06 12:18:33
They are the unofficial "expanded score".
So, no citations.
But they come in FLAC, so they sound pretty cool.
Replies: 5
|| 2014-01-24 15:36:24
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2014-01-24 16:15:05
Thank you ;)
2014-01-24 17:30:14
Your Welcome!
2014-01-24 21:18:30
my pleasure.
2014-01-25 04:00:41
No problem!
2014-03-06 12:08:53
Replies: 1
|| 2012-12-31 22:11:56
@Hybrid: Do you have a composer list for this score? I'd absolutely love to know who composed what here.
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Hybrid Soldier
2012-12-31 22:16:14
Unfortunately, me too... :/
For POTC 3 check the comments section.
Replies: 5
|| 2012-10-03 05:16:17
Am I allowed to use the picture here as my iTunes album picture? I just like it more than the original art.
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Agent Smith
2012-10-03 07:42:28
lol, who cares? ^^
2012-10-03 09:33:41
Simply don't feel like taking something that belongs to someone else is all.
Mr. Fate
2012-10-03 14:00:43
Welcome to the Internet--where nothing is original and everything is stolen. We hope you enjoy your stay and please watch your step at all times.
2012-10-03 19:43:08
lol how cute :D
Mr. Charles
2012-10-04 06:50:50
Lol this is cute!
Bootleg Score
Replies: 1
|| 2012-05-17 15:31:37
New Bootleg version No Sfx
01. Autobots
02 . Qatar (Full Version)
03. Soldiers Arrive
04. Bogey Approach
05. My Ladies
06. Soccent Attack
07. Sam's Theme
08. Arctic 1897
09. Angry Camaro
10. Keller's Briefing
11. Sam At The Lake
12. Staring At Mikaela
13. Pentagon To Air Force One
14. Main Frame Tampering
15. Camaro On The Run
16. Pentagon Meeting
17. Scorponok
18. Data Copy
19. Deciphering The Signal
20. Satan's Camaro
21. Sam's Pink Bike Pursuit
22. Are You Ladies Man 217
23. Bumblebee vs. Barricade
24. Arrival To Earth
25. Cybertron
26. Witwicky (Part 1)
27. Witwicky (Part 2)
28. Witwicky (Part 3)
29. Take Em and Bake Em (Part 1)
30. Take Em and Bake Em (Part 2)
31. Take Em and Bake Em (Part 3)
32. Autobots To The Rescue
33. Not To Hear That
34. Simmons Takes It Off
35 . Sector 7 Chase (Part 1)
36. Sector 7 Chase (Part 2)
37. Bumblebee Captured
38. Hoover Dam
39. Optimus
40. Frenzy Falls
41. People Can Die Here
42. Megatron Revealed
43. The All Spark
44. Nokia Bot
45. Decepticons Mobilize (Part 1)
46. Decepticons Mobilize (Part 2)
47. Bumblebee
48. Optimus Sword
49. F-22S To The City
50. Stumble Bumble (Part 1)
51. Stumble Bumble (Part 2)
52. Soldiers Retreat-Take The Cube
53. Sam Takes Off
54. Optimus vs. Megatron (Part 1)
55. Optimus vs. Megatron (Part 2)
56. Mountain Dew
57. Sam In The Building
58. Surreal Mikaela
59. Sam Flares It On The Roof
60. Sam And Statues
61. No Sacrifice, No Victory
62. Sam Our Hero
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Mr. Fate
2012-05-17 15:44:16
Replies: 12
|| 2009-12-14 00:00:00
real expanded:
01. Autobots (2:33)
02. Soldiers Arrive (0:31)
03. Bogey Approach (1:23)
04. My Ladies (0:34)
05. Soccent Attack (2:07)
06. Sam's Theme (2:00)
07. Crazy Grandfather (0:16)
08. Angry Camaro (1:12)
09. Deciphering the Signal (3:09)
10. Sam at the Lake (2:00)
11. Belly Shot (0:15)
12. Pentagon to Air Force One (0:49)
13. Main Frame Tampering (2:30)
14. Cargo Shootout (1:58)
15. Camaro On the Run (2:51)
16. Skorpinok (5:30)
17. Sim in the Compact (0:35)
18. Embaded Message (1:11)
19. Satan's Camaro (0:30)
20. Sam's Pink Bike Pursuit (0:52)
21. Are You Ladies Man 217 (1:25)
22. We're Locked in (2:09)
23. Arrival to Earth (5:27)
24. Cybertron (2:46)
25. Whitwicky (FULL) (4:27)
26. Sector 7 (0:33)
27. Take Em and Bake Em (1:01)
28. Criminals Are Hot (0:42)
29. Autobots to the Rescue (1:20)
30. Not to Hear That (0:26)
31. Simmons Takes It Off (0:50)
32. Speaker Phone (0:50)
33. When Feds Attack (2:05)
34. Bumblebee Captured (2:17)
35. Hoover Dam (1:09)
36. Optimus (3:16)
37. Frenzy Falls (0:25)
38. People Are Going to Die Here (0:30)
39. The All Spark (3:35)
40. Decepticons (3:52)
41. Nokia Bot (0:20)
42. Speeding Autos (0:32)
43. Bumblebee (3:58)
44. Frenzy (1:57)
01. Megatron Awakens (Unused) (3:41)
02. Optimus Sword (0:41)
03. F-22's to the City (1:33)
04. Stumble Bumble (1:11)
05. Devastator (0:52)
06. You're a Soldier Now (3:27)
07. Downtown Battle (1:19)
08. Mountain Dew (0:43)
09. Sam in the Building (0:42)
10. Surreal Mikaela (0:36)
11. Sam on the Roof (2:01)
12. Optimus vs Megatron (4:00)
13. No Sacrifice, No Victory (2:58)
14. A Call to Arms (Unused) (2:26)
15. Attack (Demo) (5:11)
16. Battle (Unused) (3:51)
17. Brooding (Demo) (4:34)
18. Tense Action (Demo) (2:53)
19. Autobots (Less Chorus) (2:38)
20. Deciphering the Signal (Alt) (2:00)
21. Main Frame Tampering (Alt.) (3:45)
22. Skorpinok (Album Version) (4:57)
23. Arrival to Earth (Original Version) (8:17)
24. Cybertron (No Cello) (2:45)
25. Decepticons (Alt.) (4:43)
26. The All Spark (Alt.) (3:55)
27. Devastator (Alt.) (0:44)
28. No Sacrifice, No Victory (No Choir) (2:29)
i also have the tracks qutar (alt) very nice track
and also have road reunion excellent peice also
i must say i am very lucky to own this its awesome steve jablonsky and his crew did an awesome job hope ROTF gets the same treat ment
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2011-07-01 13:19:10
I would like to ask: Is there any legal way to get song A Call to Arms? Where may i buy it?
2011-07-01 20:57:32
This version is still out there, many people have it. Myself included. It is pretty awesome. But there are still a few cues missing off of it. Maybe someday we will get the legit real thing. Like the film version of Optimus. That's the most beautiful piece.
2011-07-02 03:08:49
Qatar is a fake track from other RCP scores. Totally different music from totally different movies. So not a real expanded.
2011-07-08 10:53:33
maybe my question was wrong, i know it is possible to download this song from the internet, but i wanted to know, if it is possible to buy it as a part of some score, because i can`t find any such score on amazon etc.
2011-07-08 17:19:29
@ john and you never will... the only way to get this version is to find it on an un-offical site, it can't be bought on amazon or itunes
2011-07-08 17:47:17
now i got it :-), thanks...
but shame on them for that :-)
2012-03-10 20:33:38
i have too. the qatar (alternate) track is not fake. it's a different version from the movie. Just listen.
Mr. Fate
2012-03-10 21:01:16
No, you're wrong. Anonymous' statement is 100% correct:
"Qatar is a fake track from other RCP scores. Totally different music from totally different movies. So not a real expanded."
If it's different from what you hear in the movie, then how do you know it's even from the movie? It would be like me taking a track from Gladiator and calling it an different version of something from Pirates of the Caribbean.
2012-03-10 21:11:16
Mr. Fate i have a track called Qatar which sounds in the beginning, like the movie but in the end of this track is just the music sound like an expansion, and in the film version sounds like drums. That's waht i hear with this track.
Mr. Charles
2012-03-11 08:55:24
Mr. Fate is correct. Qatar is a fake track. I have it from.several sources it's not legit. It's from another RCP score that Jablonsky composed, titled Live from Baghdad.
2012-03-12 10:37:14
I think "Qatar" is a mix of 2 cues from Black Hawk Down : "Vale of Plenty" and "Ashes to Ashes".
But I heard Live from Baghdad sounds a lot like Black Hawk Down... Anyway, it's not "real" cue from TF, just a lazy attempt at making the bootleg a bit longer.
Mr. Fate
2012-03-12 17:27:40
I think it's simpler than that, Hector. It may just be a part of "Ashes to Ashes" all by itself. And thank you also for pointing out those tracks. I think I'm gonna have to go download Black Hawk Down now!
Replies: 0 || 2012-03-10 08:37:22
Yeah. Basically you want to get rid of any processing that you don't need to otlstancny be tweaking. So if you're using a guitar amp plugin, once you get it how you want it, go ahead and record it to a separate track. Then you can EQ and compress at will. To keep things organized, you can use to keep things organized.
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Mario SoundtracK
Replies: 0 || 2012-01-15 12:31:35
Someone knows who helped to Steve to compose every song? For example, I know that Trevor Morris helped to Jablosnky with "Skorponok". And the others? :D
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Replies: 0 || 2011-03-10 00:00:00
Hah! We all wish there was an expanded/complete for Revenge of the Fallen. Hopefully one day it will happen
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Rodimus Prime
Replies: 0 || 2011-03-09 00:00:00
is there something like this for the score of the 2nd movie
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Replies: 0 || 2011-02-02 00:00:00
I meant that's the only piece of music I DON'T have from the film, sorry. The user 'SCore' mentioned it as well over on the official release. It's just an alt. version of 'Optimus'
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Replies: 0 || 2011-02-02 00:00:00
No idea how to upload a scene from a movie on youtube, sorry. It's when Sam and Mikeala 'meet' Bumblebee for the first time in robot form after his fight with Barricade. When Mikeala asks him "what is it?" ans Sam replies "it's a robot". That track playing is 'Optimus' with the flutes removed. I think they're flutes. I'd kill to get it. That's about the only missing piece of music I have from the film. If you know how to get it, I could not thank you enough.
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Replies: 0 || 2011-02-02 00:00:00
Care to upload the scene on youtube so I can what you're talking about ?
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Transformers (Complete Score) soundtrack - Steve Jablonsky 2007