the-giverMarco Beltrami has been hired to score the upcoming sci-fi drama The Giver. The film is directed by Phillip Noyce and stars Brenton Thwaites, Jeff Bridges, Meryl Streep, Alexander Skarsgard, Taylor Swift, Cameron Monaghan, Odeya Rush and Katie Holmes. The movie is based on the YA novel by Lois Lowry and follows a young boy who is selected for his life service as the Receiver of Memories and works with an old man who teaches him to use his unique gifts of the senses. Michael Mitnick has written the most recent version of the screenplay. Nikki Silver is producing the project with Neil Koenigsberg (A Walk on the Moon) and Bridges. The project marks Beltrami’s first collaboration with Noyce. The director has previously worked together with such composers as James Horner (Patriot Games, Clear and Present Danger), James Newton Howard (Salt), Howard Shore (Sliver) and Craig Armstrong (The Bone Collector). The Giver is set to be released on August 15, 2014 by the Weinstein Company. For updates on the film, visit the official movie website.

angel-of-deathThe composer is also composing the music for the upcoming horror sequel The Woman in Black: Angel of Death. The film is directed by Tom Harper and stars Phoebe Cox, Jeremy Irvine, Helen McCrory and Oaklee Pendergast. The movie is set four decades after the original movie when the sudden arrival of a group of evacuated children at Eel Marsh House awakens its ghostly inhabitant. Jon Croker (Desert Dancer) has written the screenplay based on an original story by Susan Hill (The Woman In Black). Tobin Armbrust (Snitch) & Simon Oakes (Let Me InThe Quiet Ones) of Exclusive Media are producing the project with Brian Oliver for Cross Creek Pictures and Richard Jackson (Rob Roy) for Talisman Films. Beltrami previously scored 2011’s original film. The Woman in Black: Angel of Death is set to be released in the UK in early 2015. No domestic release date has been announced yet.

Beltrami’s other upcoming projects also include Roger Donaldson’s November Man starring Pierce Brosnan, Michael Roskam’s The Drop, Tommy Lee Jones’ The HomesmanThe Coup starring Pierce Brosnan & Owen Wilson, the TV series 1864 and Seventh Son starring Jeff Bridges & Julianne Moore. The composer has also scored Bong Joon-ho’s Snowpiercer starring Chris Evans, which is opening next week in the U.S.

  1. Meryl Streep, Taylor Swift and Katie Holmes? All in one movie? Say what?

  2. Macejko says:

    Ugh… This guy has never composed even a single cue I’d be willing to listen to separately from the film itself. No idea, no soul. Just some noise in the background of a movie – that’s his “composing”.

    • Miles says:

      Hellboy, Mimic, and 3:10 to Yuma beg to differ.

    • BB says:

      Apparently, you’ve never heard Knowing …

    • smirakle says:

      Is that why Marco has been nominated for 2 Oscars!!! And he never stops working, he’s always working on a project!!

  3. Roger says:

    The WORST

  4. Macejko says:

    Beltrami would have to sell his soul to Satan in order to write something even half as good as Zimmer and Jablonsky do… on their bad days.

    • BB says:


      Do not be pathetic! At least when Marco Beltrami collaborates with others, he GIVE DUE CREDIT. He is not equal to Zimmer and his conparsas doing everything hidden.

      Beltrami is very good. It has irregular scores, it is true. But it is a material that puts any crap Zimmer-Jablonsky-Balfe-Zanneli do in TRASH.

      • BB says:

        Tell you what. Believe, who sold his soul to the devil here, was Zimmer. After all, that would explain how such a MEDIOCRE guy does so much “success” with pathetic and generic music. Anyone do what Zimmer does. Any composer is able to reproduce this ridiculous style (Peter Bromfman Robocop; Ryan Amon in Elysium, not counting the countless clones that soulless made sure to patronize)

        You will tell me that the music of Beltrami, has less quality than the Zimmer says do? You will tell me that he is “gifted”?

        • Macejko says:

          Yes, Beltrami’s music has less quality than Zimmer’s. Much, much less quality, in fact I have trouble even putting their names in one sentence – it’s like comparing a cat carcass to a diamond covered Lamborghini.
          And yes, I will also tell you Zimmer is gifted. I will tell you exactly that, without any hesitation. Yes, it’s true that many composers outside his circle of pupils attempt to copy his style… but without any real success. That’s how good the man really is.
          But it’s apparent that you and I enjoy completely different things in music, so it’s impossible for us to convince one another.
          And regarding crediting the musical collaborators – come on. That’s just plain silly. If someone DOES give credit, it’s Hans. He was always collaborative, and never tried to hide it. And all the haters would be shocked if they found out about all the contemporary composers who routinelly use ghostwriters and deliberately try to hide it. For example Brian Tyler, who is no stranger to hiring help… from Remote Control Productions, which is Hans’ studio.

          • BB says:

            “And regarding crediting the musical collaborators – come on. That’s just plain silly”


            You mean the guy uses 10, 15 ghostwriters and takes the credit as lead author is right, it’s professional of him? The guy does not do anything alone and takes credit for the “genius” of “revolutionary”? Hans Zimmer is unprofessional and I doubt there is here 10, 20 years old he get to keep one of the “best in the business.” After all, Zimmer is not an artist. He is a man of business, greedy and lazy.

  5. BB says:

    You get tired of saying that, Brian Tyler uses ghostwrites. Saying is easy, I want to see you prove it! Tracks of Tyler ORIGINAL sound good, something that the songs that Hans Zimmer says Do ceased to be long ago.

    Hans Zimmer gifted? Hahahahahahaha. Then mean that Solomon’s Theme (from 12 Years of Slave) is a different Time FULL cue? It will tell me that It Our Fight (from Transformers III) is not exactly like Mind Heist? Pathetic! Hans Zimmer is so artful, that his own fans are blind creatures wandering in the desert, worshiping a false God.

    Yes, like different songs. For a guy say, “Marco Beltrami’s music is weak compared to that of Hans Zimmer”, you do not know ABSOLUTELY NOTHING about the work of the first. Beltrami makes an orchestra sound like an orchestra, and not as a GREAT SYNTHESIZER (something your lover Hans, made in Man of Steel); Beltrami composed in partnership with Buck Sanders several times and he gave due credit as co-writer (The Hurt Locker and Max Payne, for example) and what asshole Zimmer did in Man of Steel? used five ghostwriters and NOT GAVE CREDIT TO THEM! If the score was nominated for an Oscar (which I highly doubt!) and gain, I doubt that Hans Zimmer dedicate this award to his pupils.

    If Hans Zimmer is so, as you said, GIFTED, why he does all his scores ALONE? If he was so good, he would like his music idol Ennio Morricone: do everything alone, and reap the profits from the success (or failure). A composer of TRUTH, evolves every job done.

    If you appreciate “good music Zimmer,” I’m afraid of your opinions about the scores of composers of REAL music for films such as Jerry Goldsmith, John Williams, Michael Giacchino, Alexander Deplat, John Barry and Henry Mancini.

    • Roger says:

      Marco creates thee DULLEST, MOST BORING SOUND IMAGINABLE. he has no memorable scores, none that even compare to Hans on his WORST dat. LION KING, As good as it gets, Dark Knight, Last samurai, Gladiator, Black Hawk Down, Thin red line, inception. every single Hans score stands the test of time. How cares how the product is made? Marco can be the purest composer in the biz but he still SUCKS AT WHAT HE DOES.

      • BB says:

        “Marco creates thee DULLEST, MOST BORING SOUND IMAGINABLE. he has no memorable scores, none that even compare to Hans on his WORST dat.”

        Another who knows nothing of the work of Beltrami … Have you bothered to listen to Knowing? 3:10 to Yuma? I, Robot?

        ” How cares how the product is made?”

        If you were a TRUE fan of scores, would not say that. By any chance, ever John Williams, Hans Zimmer did what he does? Jerry Goldsmith? John Barry? Certainly not. It matters a lot the way music is made. For a true artist, that really matters. But, as you well put it, the “product” is what matters in the career of Hans Zimmer.

        You mentioned The Lion King. Answer me one thing: how long the asshole Hans, does a similar score with him? How long it does not use a good symphony orchestra, to interpret your scores? Or Gladiator. How long has this clown not deliver a piece the size of Gladiator? He has “evolved” to your art? Of course not. This arrogant German, do not know what is ART.

        The Last Samurai memorable? Where my dear? Where? Memorable for whom?

        • Macejko says:

          I have nothing more to say about this matter. If you fail to recognise how absolutely brilliant score “The Last Samurai” is, you are a lost cause.

          • BB says:

            Oh, hurt because I think the score for The Last Samurai crap? ‘ll Cry baby? I’m a lost cause? You who idolizes a guy who does anything alone, and that I’m “lost cause”? You know what’s brilliant for me? ET, Total Recall, The Adventures of Robin Hood, The Pink Panther, it’s brilliance! Hans Zimmer has to eat much rice and beans, to arrive at the feet of those scores. And the final point. Also I will not be wasting my time, for a blind like you!

        • Roger says:

          ¥es I have bothered to listen and my ears almost bled out with insufferable pain. And no it doesn’t matter. The final product matters. If you were making pizza who cares how you make it as long as it taste good? Marco doesn’t excite or amaze me or anyone. Thats why he works on such low level movies. I mean have you heard WWZ? A movie like that should be epic and grandscale. expect it drags on like a HIV infection. You’re hatred of Hans is hilarious because i can see it runs deep because you don’t approve of his work being everywhere and 99 percent of today’s composers influenced by him. it’s actually quite hilarious!

    • Ds says:

      BB, it’s funny that in order to bash Zimmer, you use:

      – Solomon’s “Time” rip-off, which was a request from director Steve McQueen.

      – “It’s our fight” from T3… actually composed by Steve Jablonsky.

      Next time, try harder!

      • BB says:

        And you think I know that? Just used these two examples to illustrate how Hans Zimmer is “talented,” how it is “creative”. And would not you know, as much as Our Fight It is present on the trail of Transformers III, you must admit that it is an EXACT copy of Mind Heist.

        Oh yes, Steve McQueen asked something resembling Time, and not a filthy copy!

        You Zimmer fans are very funny, say they like the guy, but do not see the evil he brought the soundtracks today: clones that do everything like him. ALL. Writing the absence of musical style; use of ghostwriters, the transformation of an art business.

        • Macejko says:

          Yeah, because Beltrami totally didn’t attempt to sound like Zimmer in his “Carrie” soundtrack. Gee, what a great and inspirational composer…

          • BB says:

            You call it inspiration? I know … That only reinforces what I said before: Anyone can play the “style” of Hans Zimmer. ANY one! Even you and me! I want to see someone trying to play Henry Mancini, John Barry, Ennio Morricone, without looking like a complete plagiarism.

            There is nothing in the style of ORIGINAL Zimmer. A blind man has realized that.

        • Ds says:

          I admit It’s Our Fight sounds like Mind Heist… but what does it have to do with Hans Zimmer???

          Mind Heist, composed by Zack Hemsey
          It’s Our Fight, composed by Steve Jablonsky

          But I understand your point, and I agree that it’s a shame that everyone is trying to copy Zimmer’s style. BUT Zimmer is not the one to blame. Producers are to blame. This happens everytime someone does something very successfully. The Bourne movies have also started a new wave of action movies. Thanks to Nolan, even blockbusters with silly premise are now trying to look “serious, gritty and realistic”. Should we hate Nolan? I think we can blame only the people who are trying to ape him when it’s not appropriate.

          On the other hand, loving Beltrami and Ottman simply because they don’t copy Zimmer is not a good reason. They may be different from the RC sound, but that doesn’t prevent them from delivering often bland and impersonal music.

  6. tiago says:

    I don’t understand why all of this hate. I love some of Zimmer old scores, especially The Last Samurai, which I think it’s his best work. It is an epic and tremendously beautiful score, just like The Thin Red Line and Gladiator (which are already classics).

    Said that, I don’t want to mean that Zimmer is better than Beltrami. Actually, I think that his score to Amazing Spider-Man 2 is just terrible, and his influence is nocive to a lot of composers (for example, Henry Jackman and his scores to Captain Phillips and the horrible Captain America: The Winter Soldier).

    And Beltrami is a good composer. World War Z and even The Wolverine were pretty great. He has a lot of dull works too, but that doesn’t mean that he isn’t a talented composer.

  7. AlTeo says:

    A shame for Zimmer, I really enjoyed his work on “The Peacemaker” and “The Thin Red Line”. Today, Zimmer is a mostly businessman more than he is a genuine composer. His style is easily emulated by his proteges (Djawidi, Jackman, Bromfman) to the point that it has become sickeningly repetitive. There’s no excitement or anticipation anymore in his or their cues. It all sounds so synthetic now. The last time Zimmer gave some effort was “The Last Samurai”.

    Beltrami is one of the most diverse composers working today who knows how to utilize an orchestra. He’s had a rough start and scored some questionable films, but he has certainly improved today. His work on “A Good Day to Die Hard”, despite the film’s awfulness, stands out as among the best of his career, a rousing and thrilling orchestral punch that would make Michael Kamen proud.

    • David says:

      Bromfman is not a Zimmer protege. Jackman has been more inclined to Powell’s style since he uses an organic sounding orchestra and Dwajadi has been breaking through MV and trying to do scores of his own.

  8. Robbie says:

    I am with tiago on this one, I do not understand the hate. I can understand not liking a composer, his style, music etc. But why hate them??

    • David says:

      Some people idolize people to put their dreams, hopes, and self esteem on them. Sometimes they create enemies on other people to feel superior and powerful.