Originally Posted by blueserenity
YES. I deleted most of the X3 score off my playlist (X2 and X-Men never even made it there to begin with) but this track was one of the keepers for EXACTLY that reason: Everything after 4:29.
I have to say that the main theme of XMFC is a bit forgettable ("X-Men") but what Jackman does with the rest of the score (minus the boring interlude pieces like "Rise Up to Rule" etc) is pretty amazing. He builds on all the themes throughout the movie and brings them together at right times: Charles rescuing Erik has notes that replay when he brings out the memory of his mother, Raven when she's introduced as a child has some light piano notes that transform into a beautiful well-rounded powerful piece when she's revealed in the kitchen 18 years later, Sub Lift is a combination of Magneto's theme and the X-Men theme, not to mention the Magneto notes sneaking into the background of a number of other tracks that you have to strain to catch.
On the BR of the movie there's a great segment with Jackman and how he and Vaughn developed the Magneto theme and how they transformed it to suit certain scenes, like the acoustic guitar version in the bar.
I totally disagree. The music feels much more current-day and youthful and not really 1960s. But it WORKS, it's one of the major reasons the movie felt fresh. When you stick to classical composers for superhero movies it kind of feels repetitive because none of them really stand out against the other. Honestly before FC the only superhero film melody I could remember was Danny Elfman's Spider-Man, and I'm not sure that it was a good thing.
All this to say, continuing First Class without Henry Jackman would be almost as bad as inviting Simon Kinberg to direct. Ottman behind the musical wheel would be enough for me to skip the cinemas for this sequel.
My favourites are easily the Powell X3 score after 4.29mins - and the epic music in First Class during Magneto lifting the submarine which was far too short in duration for something that brings tears to my eyes every time I hear it. The fact that several people online have created extended versions of it shows that it was over too quickly!
I agree with using composers that are a bit more contemporary and add modern electronic touches, just as Zimmer does with the Dark Knight movies.
I think sticking with Henry Jackman for DoFP would be a great idea.