> Not at all familiar with this situation, what happened and who actually wrote it? Like, was it a credited-composer-farmed-it-out-to-team scenario, or like Badelt/Zimmer/all-of-MV on Curse of the Black Pearl?

I'm not sure if it was a European composer or a Spanish composer specifically, but someone from the continent had to be hired. Otherwise, we can safely assume they'd have gone with Tyler, even with Iron Man 3 and Now You See Me also due to come out in the same month.

It was a huge break for the young composer Lucas Vidal (not even 30 yet), who really only had The Raven as a known score to American audiences at that point. Vidal even mentioned it in a few interviews prior to the film's release, saying he was on it 'at least six months. It was pretty intense. There were five film editors involved, so there was a lot of people working on the film and the picture was constantly changing. It is similar to the others, yet still different. This one has a certain European feel to it. There is also a lot of electronic music.' He said he finished working on the score about three weeks before the movie came out.

But the music in the film is incredibly nondescript. It barely even references any of the themes Tyler developed, and actually applies at least one of them incorrectly (Brian's theme appearing when Dom emerges from the plane wreckage). You'd think this was Vidal's doing, but then you look at the music credits and see Max Aruj, Matt Dunkley, Evan Goldman, Gavin Greenaway, Stephen Hilton, and Nathan Stornetta. There was also the complete absence of a score album release.

Hybrid (the duo Mike and Charlotte Truman who've occasionally worked with HGW) is also in the credits. Their website mentions six months of work and Vidal specifically, but also mentions hearing their work on-screen. Unclear what to make of that.

Evidence suggests that Lorne led a replacement score over those three weeks but for various reasons (including perhaps the tax element) everybody had to shut the F up about it. Vidal does not appear to have scored a major work released in the U.S. since then, but he did win Spain's equivalent of an Oscar for best original score a few years later, so perhaps he's doing alright.

THE ONLY COMMENT I've found about the matter is the pre-existing relationships cited by Lorne about Black Widow, and even then it's not explicit about F&F6. 'I was very fortunate, I knew Dave Jordan, the music supervisor, and Leigh Boyd, the editor, from before.' And that was over eight years after the film came out!

Funny enough, this was one of Nate Underkuffler's earliest credits in the industry. I wonder if he can shed any light on this.

> And I say it often, but again, adore your rundown! They're always insightful, clever and so enjoyable to read!

Thanks!