I dunno. There's so many composers working on those films, Da Vinci Code and OST had a ridiculous amount, like 16. So it's never really possible to give due credit.That's the main reason I can't get on board with Zimmer, you can never tell what he actually wrote. 'Up is Down' was actually written by Henry Jackman for example.
I'll resist the urge to post half of the GOF score since Patrick Doyle's icy strings and never ending romanticism are constant ear sex for me.
Esp 8:30 - end.
He began work on CoS immediately after recording AotC and Minority Report. But since he had already committed to Catch Me If You Can he didn't have enough time to score the entire movie, and William Ross did variations on his work in PS. So Williams isn't really at fault for the repetitive nature of the score for CoS, which is in many ways fitting since the movie is quite similar to PS anyway.His theme for Fawkes is gorgeous.
So now we're comparing it to TGWTDT? Good lord, first Watchmen now this. People are straying so far from the obvious comparison which is right in everyone's faces...
As far as I'm concerned THG breaking out is the most certain thing outside of TDKR and TH. It's a major tearjerker and will really get people talking, cannot wait.
JC is entirely symphonic and she described it (the movie) as big and romantic. Giacchino is a real entertainer and makes everyone laugh. She described it as "a giant gathering of nerds."THG is still a work in progress, JNH is writing music non-stop. He said whenever they're shown little clips he (the 'source' for lack of a better word) really gets into it and forgets he has a job to do. JNH really loves the movie.
This isn't really anything to go on but I've been in contact with two people involved with the recording of the scores for JC and THG and both of them seemed really impressed with the movies.