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I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premier
I am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1
You know what? I love the booklet credits! Klaus Badelt is the same guy who scored Pirates of the Caribbean: The Curse of the Black Pearl.Thanks Hybrid soldier for the good news<br>I can't wait to see the documental film and hear the score of lorne balfe & hans zimmer.A score will be released.<br><br>You can always count on Lorne for that. It's in the works.What was the last Zimmer documentary score that they released outside of BBC? <br><br>I am still waiting for The Great Bear Rainforest.I hope they can the soundtrack release for "Rebuilding Paradise" composed by Hans zimmer & Lorne balfe, including an original song for the film. I hope there is a possibility that they will release the score.
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Hans ZimmerGeoff ZanelliLorne BalfeHenry Jackman
ComposerAdditional MusicAdditional MusicAdditional Music
Pirates Of The Caribbean - At World's End (Expanded Score)
Label: Unofficial Release
Length: 237'41
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Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (9785 votes)
  1. Opening - Gallows (1:32)
    Hans Zimmer, Gore Verbinski (Lyrics: Ted Elliott, Terry Rossio)
  2. Arrive In Singapore (2:17)
    Hans Zimmer
  3. Mission Impossible (Part 1) (0:25)
    Hans Zimmer, Tom Gire, John Sponsler
  4. Mission Impossible (Part 2) (1:00)
    Hans Zimmer, Geoff Zanelli, Tom Gire, John Sponsler (Klaus Badelt)
  5. Entering The Bath House (2:52)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli (Klaus Badelt)
  6. Steam Room (0:41)
    Hans Zimmer, Tom Gire, John Sponsler (Klaus Badelt)
  7. Sao Feng Negotiation (5:08)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli, Lorne Balfe
  8. Battle With The Brits (2:17)
    Hans Zimmer, Gore Verbinski, Tom Gire, John Sponsler (Klaus Badelt)
  9. Battle Continues - Will Makes Deal (1:34)
    Hans Zimmer, Tom Gire, John Sponsler
  10. Crew Embarks (1:46)
    Hans Zimmer, Henry Jackman, Atli Örvarsson
  11. Trying To Get Lost (5:05)
    Hans Zimmer
  12. Davy's Tear (3:56)
    Hans Zimmer, Lorne Balfe
  13. Over The Edge (2:14)
    Hans Zimmer, Geoff Zanelli, Henry Jackman
  14. Multiple Jacks (7:29)
    Hans Zimmer, Atli Örvarsson
  15. Crew Arrives (Part 1) - Crabs (0:21)
    Atli Örvarsson
  16. Crew Arrives (Part 2) - Davy Jones Locker (1:18)
    Hans Zimmer, Atli Örvarsson
  17. Rescue Jack (2:12)
    Hans Zimmer, Atli Örvarsson
  18. Who's Captain? - Below Deck (2:07)
    Hans Zimmer, Lorne Balfe
  19. I See Dead People In Boats (4:20)
    Hans Zimmer, Lorne Balfe
  20. Dreadlock Jack (1:59)
    Hans Zimmer, Atli Örvarsson, Henry Jackman
  21. The Green Flash (3:50)
    Hans Zimmer, Henry Jackman
  22. Pull Your Guns (0:45)
    Hans Zimmer, Lorne Balfe
  23. Jiggy Kraken (3:58)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli (Blake Neely)
  24. Jack & Beckett (8:33)
    Hans Zimmer, Geoff Zanelli, Lorne Balfe
  25. Elizabeth Is Calypso (2:00)
    Hans Zimmer, Geoff Zanelli
  26. Sao Feng's Death (1:35)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli, Lorne Balfe
  27. Chinese Captured By Brits (0:40)
    Hans Zimmer, Lorne Balfe
  28. Bootstraps - Elizabeth Locker (2:25)
    Hans Zimmer, Henry Jackman
  29. Jack Catches Will (Part 1) (1:00)
    Hans Zimmer, Lorne Balfe
  30. Escape - Norrington Dies (4:14)
    Hans Zimmer, Atli Örvarsson (Blake Neely)
  31. Mrs. Fish (1:18)
    Hans Zimmer, Geoff Zanelli
  32. Will & Beckett (1:28)
    Hans Zimmer, Geoff Zanelli
  33. Shipwreck Cove (0:53)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli
  34. Brethren Court Begins (1:21)
    Hans Zimmer, Gore Verbinski, Lorne Balfe
  35. Barbossa Lobbies (1:04)
    Hans Zimmer, Lorne Balfe
  36. Davy Jones Visits Tia Dalma (3:48)
    Hans Zimmer, Geoff Zanelli, Lorne Balfe
  37. Jack Lobbies (1:17)
    Hans Zimmer, Atli Örvarsson
  38. Teague & The Code (1:36)
    Hans Zimmer, Gore Verbinski, Atli Örvarsson
  39. Elizabeth Declares War - How's Mum? (1:19)
    Hans Zimmer, Lorne Balfe
  40. Parlay (2:13)
    Hans Zimmer
  41. Exchange Jack For Will (2:08)
    Hans Zimmer, Lorne Balfe
  42. Multiple Jacks In Brig (Part 1) (0:22)
    Hans Zimmer, Atli Örvarsson
  43. Multiple Jacks In Brig (Part 2) (0:44)
    Hans Zimmer, Atli Örvarsson
  44. Calypso On Deck (0:48)
    Hans Zimmer, Geoff Zanelli (Klaus Badelt)
  45. Releasing Calypso (4:41)
    Hans Zimmer, Geoff Zanelli
  46. Hoist The Colours Declaration (2:08)
    Hans Zimmer, Gore Verbinski, Nick Glennie-Smith
  47. Maelstrom (Part 1A) (5:26)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli, Tom Gire, John Sponsler
  48. Maelstrom (Part 1B) (1:22)
    Hans Zimmer, Gore Verbinski, Tom Gire, John Sponsler (Klaus Badelt)
  49. Maelstrom (Part 2) (1:27)
    Hans Zimmer, Gore Verbinski, Tom Gire, John Sponsler
  50. The Wedding (3:11)
    Hans Zimmer, Gore Verbinski, Henry Jackman (Klaus Badelt)
  51. Getting The Chest (5:04)
    Hans Zimmer, Tom Gire, John Sponsler (Klaus Badelt)
  52. Davy's Death (2:50)
    Hans Zimmer, Geoff Zanelli, Henry Jackman (Klaus Badelt)
  53. Liftoff (2:22)
    Hans Zimmer, Geoff Zanelli
  54. Beckett's Death (5:05)
    Hans Zimmer, Atli Örvarsson (Klaus Badelt)
  55. Celebration (1:44)
    Hans Zimmer, Tom Gire, John Sponsler
  56. Will & Bootstrap (2:28)
    Hans Zimmer, Lorne Balfe
  57. Tender Times (2:40)
    Hans Zimmer, Henry Jackman
  58. Black Pearl Is Missing (1:17)
    Hans Zimmer, Henry Jackman
  59. Jack Sets Sail (1:28)
    Hans Zimmer, Lorne Balfe
  60. End Titles (1:12)
    Hans Zimmer, Geoff Zanelli
  61. End Credits (Green Flash) (2:15)
    Hans Zimmer, Henry Jackman
  62. End Credits (Hoist The Colours) (5:32)
    Hans Zimmer, Gore Verbinski, Nick Glennie-Smith
  63. Waiting For Will (0:52)
    Hans Zimmer, Henry Jackman
  64. New Love Suite (11:45)
    Hans Zimmer, Henry Jackman
  65. Beckett Theme (Original Demo) (6:52)
    Hans Zimmer, Lorne Balfe
  66. The Pirate Lord Of Singapore (Album Suite) (5:58)
  67. Lord Cutler Beckett (Album Suite) (8:48)
  68. Marry Me (Album Suite) (11:37)
    Hans Zimmer, Henry Jackman
  69. Just Good Business (Album Suite) (5:56)
    Hans Zimmer, Lorne Balfe
  70. Hoist The Colours Suite (Album Suite) (5:44)
    Hans Zimmer, Gore Verbinski, Nick Glennie-Smith
  71. Jack & Beckett (Alternate) (6:18)
    Hans Zimmer, Geoff Zanelli, Lorne Balfe
  72. Sao Feng's Death (Alternate) (1:35)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli, Lorne Balfe
  73. Shipwreck Cove (Alternate I) (0:54)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli
  74. Shipwreck Cove (Alternate II) (0:53)
    Hans Zimmer, Gore Verbinski, Geoff Zanelli
  75. Parlay (Alternate) (2:12)
    Hans Zimmer
  76. Hoist The Colours Declaration (Alternate) (2:08)
    Hans Zimmer, Gore Verbinski, Nick Glennie-Smith
  77. Maelstrom (Part 1B) (Alternate) (1:20)
    Hans Zimmer, Gore Verbinski, Tom Gire, John Sponsler (Klaus Badelt)
  78. The Wedding (Alternate) (3:10)
    Hans Zimmer, Gore Verbinski, Henry Jackman (Klaus Badelt)
  79. Getting The Chest (Alternate) (5:14)
    Hans Zimmer, Tom Gire, John Sponsler (Klaus Badelt)
  80. Beckett's Death (Alternate) (5:04)
    Hans Zimmer, Atli Örvarsson (Klaus Badelt)
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Rafael reply Replies: 3 || 2020-06-13 21:13:29
These are the cues I believe that were written by Hans Zimmer himself:

This site does a marvelous job showing the involvement of the several writers by cue. Despite that, it's still hard to tell at times where the involvement of the main composer ends and the additional composer starts. Usually when a track is credited as "Hans Zimmer, Additional Composer XY" we can assume that the latter wrote the cue based on HZs themes. However, the cues "Turkish Prison" and "Rum Locker" from DMC show that when Zimmer does write a cue on his own, he is not hesitant using motifs and ideas from his teammates. If Klaus Badelt and Blake Neely just happened to be involved in any other part of DMC, the credit would look like the example I made above. Therefore we would assume that they wrote the track based on HZs themes, which isn't the case. What I'm saying is that there are probably much more tracks Zimmer wrote himself based on motifs and ideas from someone else and gave him therefore co-credit. So I tried to figure out which tracks could have been like that, but needless to say, I wasn't there and have no evidence other than trusting my own ears. It's very likely that I am mistaken here and there, so take this with a grain of salt of course.

The Whipping Scene (from DMC)

Nick Glennie-Smith got credited for this one, but I think he was more of an influence rather than the actual writer. Listen closely to 0:36 of "No Survivors" (a NGS cue). This intense crescendo already existed in CotBP, but with the notes of the underwater march theme (3:16 of "You know nothing about hell"). For DMC the notes were changed to the rhythm that accompanies the Davy Jones theme in his suite. This change was probably made by NGS, but except for the notes being changed, this statement is still similar to CotBP.
So, back to "The Whipping Scene". Listen to 0:44. Same intense crescendo, same Davy Jones notes, but it has a different rhythm than "No Survivors" and any of the CotBP statements for that matter. So my assumption here is that NGS first came up with the idea to change the notes, and then Zimmer kept NGS notes, but changed the rhythm. It wouldn't be the only time Zimmer used this crescendo, it's heard in "Rum Locker" (a HZ cue) at 2:16 without a definite theme.
Another thing is the "Dark" Theme at 1:23. This statement is dedicated to Will and is definitely the most dramatic statement in the film. The only other time it is both as dramatic and used as a theme for Will is in "Beckett's Death". Which brings me to:

Beckett's Death

This one just screams Hans Zimmer to me. Aside from the "Dark" Theme for Will, the melody during Beckett's death is pretty similar to the King Arthur rip-off in "Abandon Ship". Zimmer has the tendency to write entirely new melodies for his solo cues that don't get repeated and this is especially noticable here.
I'd say the Örvarsson credit exists because he probably wrote the ostinato at the beginning. I'm sure "Norrington dies" is his cue.

Releasing Calypso

I'm not so sure about this one as with the others, but here again a couple of melodies appear as a one off, such as the epic orchestral swell when Calypso is growing.
This one's a pretty vague explanation, and I'm not surprised if you don't buy it.

Teague and the Code

If this really is Zimmer, he’s using Atli's variation for the Jack Theme. This statement is somehow distinguishable from the other ones, it sounds even weirder. I also get a strong Sherlock Holmes vibe for this one. Not to forget, the latter half includes a choral statement of Hoist the Colors, which probably was the basis for NGS' declaration cue.
But what is obscure to me is that this cue was included on the official album release, whereas IMO much more important cues like "Maelstrom pt1" went missing. I'm sure every HZ cue made it to the album, and when big action cues get ditched in favor to include a cue like this, I'd say it's a pretty big hint.

So if you made it until here, what do you say? Am I making sense or am I just making vague assumptions? I guess we will never know for sure, but I hope I could bring a little bit of clarity.


Hybrid Soldier2020-06-13 23:33:06
It is indeed very complicated and goes way beyond than a simple temptracking of theme suites and Hans would select who would do which cues on a meeting and then leave... :D

It doesn't work like that, and many parameters count here. Hans can write a v1 of a basic cue, get an additional composer flesh out v2. Said cue could be rejected and then Hans would redo v3 but using what was "right" in v2 (cue Commandeering The Interceptor in POTC 1 is an example, Hans finished that one himself). As I said before, sometimes, they might spend a couple of days on 1 cue, taking shifts literally to do it. Hans would start, go to sleep, let another guy continue, and then come back an continue the work.

I guess the experience of the composers matter too. In 2006/07, take NGS or Geoff Zanelli, Hans knows them by heart and can give them a lot of freedom, while he would probably keep it closer with Lorne, Henry & Atli. Geoff actually wrote themes in those scores, so I think he pretty much did his cues on his own and had close to carte blanche.

So yeah, the credits is complicated, sometimes it's 95% HZ & 5% the additional, sometimes it's 20% / 80%).


anonn2020-06-14 14:54:20
Hey Hybrid, do you think you could breakdown what you think most people's role was here on this superb score, particularly Henry Jackman. Did he actually write some of the love theme?


commonP2020-07-22 05:44:28
Very good observations Rafael. I also noticed that HZ's solo cues tend to be more free-flowing and intriguing than the additionals. Perhaps they feel they have to stick to HZ's cue map/theme suites more closely. "Trying to get lost" is a fantastic cue - unsettling and dangerous, a really good introduction to the unique tone of the third film.

To add to your thoughts on the contributions, I think some of the credits on this score feel very generous. Don't get me wrong, it's clear 6-7 great composers unleashed on a project like this got spectacular results. But "Jack and Beckett", for example, is really just the Beckett suite + jack suite + commandeering the interceptor (a HZ cue) verbatim. Same with "Will makes Deal". "Davy's Tear" is just copied and pasted from Heart of Davy Jones suite. "Liftoff" is really cool but it's mostly just taken from Marry Me suite. There's not much there for an arranger to do. Though others are credited on the suites here which is strange... all the suites sound like pure HZ to me.

I think forever this score will be being unpicked! =p

superultramegaa reply Replies: 1 || 2020-06-09 17:59:31
Has anyone managed to find the missing cues for this and Dead Man's Chest? I would really love some clean versions of Will & Bootstrap, as well as Jack Catches Will (Part 2).


Jokerslb#372020-06-10 10:54:32
if anyone has, it is well hidden...

Poisonheadcrab reply Replies: 2 || 2019-07-14 00:34:04
What happened to all sample clips? Each composer profile had a short cue to represent their work on each film.


Hybrid Soldier2019-07-14 00:34:56
It's long gone !


Anonymous2019-07-14 03:31:54
Legal reasons I take it?

Felix reply Replies: 0 || 2019-01-13 00:04:11
Why it's listed just as expanded?? Isn't it complete??

Mike (OTM) reply Replies: 4 || 2018-07-25 23:24:56
Would it be wrong of me to say this is the most complex score that Zimmer (and team) has written?


superultramegaa2018-07-26 15:10:46
I think so. It's definitely the most interesting and exciting to me out of all of Hans' work.


Mike (OTM)2018-07-26 22:16:13
Definitely in the top 5 scores HZ has done, for me. I wonder if he'll ever approach this level of straight-up awesome again.


superultramegaa2018-07-26 22:19:22
Well, first he'd need at least 5 other writers to help him. ;)

In all seriousness, our best bets at this point are X-Men and The Lion King reboot coming next year. Those will both require a more melodic and epic approach.


Mike (OTM)2018-07-26 22:43:53
I was hoping back when TDKR came out that he might kind of incorporate the "epic/compex" approach there. And the TDKR suites suggest he might have wanted to. But the final product used a lot of temp tracks and is more scaled down.

And yeah, I think AWE was just the perfect storm of Hans + additional composer choices, working with the right themes and the right approach. I could be wrong, but I think Hans having the likes of Geoff Zanelli and Henry Jackman here helped a lot.

mpolonest123 reply Replies: 13 || 2018-05-16 21:38:08
So I might be a little slow but I just realized, while rewatching the film, that the third theme in the Beckett suite (the last two minutes) isn’t actually a specific theme for Beckett himself but rather a “Betrayal” motif in general. The only time the theme is used is when Will is betraying the other pirates, and when Barbossa confronts Calypso about Davy Jones’ betrayal of her.

This definitely helps explain why the theme is repurposed for Barbossa in On Stranger Tides, given he switches to the British fleet. Now I just need to figure out what that beautiful Duduk motif represents....


mpolonest123 2018-05-16 21:39:30
And let me just restate that this score, IMO, is the pinnacle of Zimmer’s career. It feels like he put literally everything into this one.


Mephariel2018-05-16 23:13:49
At World's End is definitely one of Zimmer's finest work. Have you seen The World of Hans Zimmer POTC suite? YouTube it. Absolutely one of the best live action pieces I seen.


mpolonest123 2018-05-17 01:15:12
I did!!! The use of “I Don’t Think Now Is the Best Time” was so insane!


Mr Tweedy2018-05-18 00:15:42
The Pinnacle of Hans' career?
Although I really like this score, I don't agree. But hey, I know it's just a matter of opinion, okay? ;)

Of course it shows Hans strengths in almost every area (action, drama, romance, comedy...) but for me it's too much of a medley of previous works, without much personality.
It feels a bit like a palette with too many colors. From the action sequences borrowed from Drop Zone, to the Morricone inspirations for Jack's Sequences, to Gladiator's duduk that ended up there with no real reason, to a beautiful Love Theme that brings another new shape to the sonic identity... it's like the score sometimes goes schizophrenic.

Though each individual idea is really enjoyable to listen to, I think Hans has made scores that are much more cohesive and enjoyable as a whole!


Anonymous2018-05-18 00:32:59
@MrTweedy

Just curious, what scores do you considered to be Zimmer's best?


mpolonest123 2018-05-18 02:15:13
@MrTweedy
That’s totally fine, everyone has their own favorite HZ scores, which is awesome!

It’s funny though, I feel like DMC is far more schizophrenic than AWE. Now don’t get me wrong, I absolutely love DMC. It’s the score that got me into Hans Zimmer. But still, I feel like a major part of that score is note-for-note reprises of cues/themes from COTBP. Not to mention the temp tracking of King Arthur.

AWE always felt far more original to me, especially considering that the entire tone of the music shifts from the “rock’n’roll” sound of the first two to a more traditional score (at least by Hans Zimmer standards lol)


superultramegaa2018-05-18 02:26:17
To be fair there is a lot of King Arthur in At World's End too. Just the general feeling you get from the action tracks in both scores is virtually identical. Hell, one of the main themes from King Arthur even appears when Bootstrap Bill remembers that Will is his son.


mpolonest123 2018-05-18 02:58:22
Yeah that is true, can’t argue there lol

And is it me or does “Calypso Must Be Released” sound like Black Hawk Down?


Mr Tweedy2018-05-24 01:02:42
@Anonymous Zimmer's best? Well... I'm trying to be subjective:
IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).

Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.
Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.

Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)


Mr Tweedy2018-05-24 01:03:45
I'm trying to be objective* (sorry haha)


Edmund Meinerts2018-05-24 01:18:02
See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.

Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...


mpolonest123 2018-05-24 03:09:25
@Edmund
The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film.
And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.

And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.


Mephariel2018-05-24 06:10:34
Yeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc.

What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars.

With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.

I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.

Mike (OTM) reply Replies: 0 || 2017-05-31 18:19:17
Beckett's Death really is Hans Zimmer at his finest. Beautiful "dramatization" of the Beckett theme. Thoroughly powerful.

Kingfannypack reply Replies: 0 || 2017-03-17 03:18:15
Hey everybody,

Where could I find out about special soundtrack editions by Zimmer in the future? (Like the Interstellar Illuminated Edition or Man of Steel Red Steel album) before they sell out in the future? For example if Hans released a special score for Dunkirk, where do I find announcements specifically for this sort of thing?

Hybrid Soldier reply Replies: 11 || 2016-10-24 22:59:26
I found back the lengthy interviews Henry, Atli & Geoff gave about the POTC 3 process from 2007... Unfortunately everything is in French lol... :/


thejok3rrules2016-10-24 23:45:53
Were could I find it?


thejok3rrules2016-10-24 23:46:36
Where*


Anonymous2016-10-25 02:45:54
Maybe Maxpotcats (above us) can listen to it and translate it for us since he's French lol


Mike2016-10-25 03:44:20
Can you translate them, Hybrid? :)


Stevan2016-10-25 08:48:04
If I recall correctly hybrid is French....


Vivien2016-10-25 08:57:47
Where can I found this ? I'm French so it's not a problem lol


Max Potcats (the french guy)2016-10-25 10:35:31
hey guys
if you want I can try to translate the interviews for you, just send me the link ;)


Hybrid Soldier2016-10-25 18:50:08
No translating an English ITW into French and translate it back to English is the worst on this planet, trust me, I'll just try to find the guy who did them and see if I can get the original versions... :)


hats2016-10-27 21:41:06
The interview confirms what we knew already, all the material that breaks out of standard Zimmer/RC patterns with fun, complex orchestrations, key and tempo variation, woodwinds and interesting counterpoint is classically trained Jackman. Hats off to him!


Edmund Meinerts2016-10-27 22:33:22
But I can think of plenty of tracks from AWE that do all of those things - "Maelstrom Part 1", "Trying to Get Lost", "Beckett's Death", most of the suites - and which Jackman was not involved with. I don't think it's fair to ascribe all the quality orchestral writing to him alone. Much of it, sure (he'll have a place in my heart for his involvement with "Marry Me" and by extension "Up is Down" forever, that piece is extremely special to me). But to say all of it does a disservice to the great work that EVERYBODY did on this score.


Anonymous2017-01-01 00:28:46
Did you ever get the English versions, Hybrid? ;)

Umi reply Replies: 2 || 2016-12-25 22:22:33
Good day! Is it possible to purchase just the track 64 somehow? I need just this track (on physical medium) and I would pay for the CD with only this track. I'm sorry if my question is not allowed here.


Macejko2016-12-25 23:20:19
Sure, pal, I can burn it down for ya! That'd be $39.99, what's your address?


Anonymous2016-12-27 13:28:43
New Love Theme is basically "Mary ME" suite, it's already in the OST treasures collection CD.

Max Potcats reply Replies: 0 || 2016-10-25 00:32:51
Does anyone know what is -64 "New Love Suite"?
I know that Zimmer speaks about in the DVD bonus, and I think that is a very different version of "Marry Me". (sorry for the translation i am french)

Daniel reply Replies: 0 || 2016-05-27 07:53:48
What is the source of these samples? Are they just from the recording sessions, or were they offered by the composers themselves? Also, what exactly is the nature of this site? Is it just a fan site, or is there some input by the Remote Control Productions crew?

Mike reply Replies: 7 || 2014-11-29 22:56:36
Is Geoff Zanelli still set to do POTC5? Or was the announcement from a while back put out too fast, and things have changed?


Hybrid Soldier2014-11-29 23:01:10
It's way to soon, the film in 2017... Nothing official yet, but no bad news either... I'm sure it'll be the case ! ;)


Ds2016-01-11 22:56:12
Lol, imagine some guy like Christophe Beck gets hired for PotC 5. I would get really, really mad.


Hybrid Soldier2016-01-11 22:57:21
Don't worry... lol


Edmund Meinerts2016-01-12 08:33:20
Better Christophe Beck than another On Stranger Tides, IMO.


Ds2016-01-12 09:34:54
Disagree, I still prefer On Stranger Tides over 99% of Beck's scores. The whole thing was a mess but there were some really good cues.


Edmund Meinerts2016-01-12 10:23:06
Have you heard Ant-Man or his Percy Jackson score? Beck does good work, when he's allowed to...it's just that most of his assignments don't allow him to (either because it's a shitty comedy or if he gets a difficult director like Doug Liman).


Ds2016-01-12 11:36:53
I found Ant Man to be serviceable. It's fine on picture and gives a nice atmosphere to the movie (even if I couldn't help missing Steven Price & Edgar Wright during the whole thing), but I'd never buy the album or listen to it separately. I didn't say Beck was bad, I simply think his music is just "okay", I've never heard anything really outstanding.

Prdmaster reply Replies: 1 || 2015-06-26 17:54:51
Gentlemen,can you please tell me where I can get this complete soundtrack? Or at least some songs that were not part of the official piece...I would be really glad for ,,Black pearl is missing" especially,thank you :)


isildur2015-06-26 19:29:53
Well, there is always google ;) And the forum that shall not be named.

Felix reply Replies: 2 || 2015-04-03 22:17:16
Hey Hybrid, are Track 64 & 68 the same?!


Hybrid Soldier2015-04-03 22:23:00
If they were why would I put it there ? -_-

No, the first is the original recorded suite (it's basically the same with a slightly different orchestration). For the POTC trilogy boxset all the suites were rerecorded...


STFU2015-04-04 05:17:18
OH wow, another ultra special exclusive Hybrid-Soldier-only track. Way to go.

Hybrid Soldier reply Replies: 2 || 2015-01-06 23:24:45
Updated the list above with some more credits found Atli & Lorne ! Now there's "almost" all... lol


Hybrid Soldier2015-01-15 23:57:17
And a couple more for Jackman (Black Pearl Is Missing, Waiting For Will...). Getting close ! :P


Mike2015-02-19 17:27:05
So now we're just missing credits for the Lord Cutler Beckett and Pirate Lord of Singapore suites?

Mike reply Replies: 0 || 2015-02-19 17:23:52
Geoff Zanelli's Calypso theme as it appears in cues like Jack & Beckett is so hauntingly beautiful... :)

Mark reply Replies: 2 || 2014-11-30 01:02:09
I'm still kind of new to this site so I don't understand what these expanded releases are? Are these available to purchase or are they just being posted to show what was actually in the movie? Thank you.


Lambegue2014-11-30 05:43:39
Most of the time, they are unofficial releases : that is to say that they are available in some form, but normally can't be purchased officially (even if, in truth, you can nearly always do it on the "second-hand market"). To know if this is an official release or not, just look at the label indicated on the pages for each album.

Moreover, it's not always "what was actually in the movie". "Expanded" doesn't mean "Complete", plus you must consider that Zimmer always write suites that don't appear in the movie in their original form (even if they are greatly used to write to the image). Finally, an expanded edition can countain some rejected and alternate cues.


Mark2014-11-30 19:32:46
Lambeque, thank you for that explaination. I appreciate it.

Poisonheadcrab reply Replies: 4 || 2014-10-06 08:17:16
Just out of curiosity. Are the treasure collection suites, Pirate Lord of Singapore, Heart of Davy Jones, Marry Me, and Cutler Beckett edited versions of much larger suites that still remain below the surface? I'm curious because I know the tracks Day One & Just Good Business are abridged edits of demos, and the hoist the colors suite seems to be as well. I've also noticed that the Singapore track on the regular album contains cues that were not used in the film and absent from the sessions release. Did Hans Zimmer have even more ideas for these themes that we still have yet to hear? or am I just looking too far into this?


LCB2014-10-06 16:02:19
Singapore contains a short intro from The Pirate Lord of Singapore (parts of this are into Arrival in Singapore), extracts from Battle with the Brits, Elizabeth Is Calypso and Crew Arrives (Part 2) - Davy Jones Locker.


Poisonheadcrab2014-10-07 22:36:55
The album track does contain pieces of film music from various scenes but the very beginning (before the battle sequence) contains different cues than the film and the orchestration is slightly different than the treasure collection suite.


Hybrid Soldier2014-10-07 22:39:04
Because it's probably from the original Singapore suite, not the Treasure version...


Poisonheadcrab2014-10-08 01:35:03
That's what I figured, either that or some alternate. However I'd like to jump back to my initial question. Are all of other treasure suites based on a bigger and more epic demo? or are they subtle changes like different orchestration and omitted micro edits? Like some sections in the Beckett demo.

klp reply Replies: 3 || 2014-10-07 09:42:42
Hybrid, not to be annoying or anything like that but I was just wondering if you maybe could upload the New Love Suite and Beckett Theme (Original Demo) sometime in the future:)


Mike2014-10-07 15:57:34
Well the New Love Theme is the "Marry Me" suite, which can be found very easily, and the "Beckett Theme (Original Demo)" is on Lorne Balfe's website. ;)


Hybrid Soldier2014-10-07 16:45:01
Actually it's not... Well yeah it's the same music but for the "Pirates Treasure Collection" all was rerecorded and slightly reorchestrated...


Mike2014-10-07 22:07:21
So basically it was the same situation as "Beckett Theme (Original Demo)" vs. "Just Good Business"?

Mike reply Replies: 1 || 2014-05-06 00:08:36
Perhaps the one thing that could have made the use of the themes in this score even more impressive would have been if they used the Kraken theme in some way when it showed the dead Kraken.


Edmund Meinerts2014-05-06 00:34:57
You know, that's a good point. A rare oversight in an otherwise thematically watertight score.

Hybrid Soldier reply Replies: 6 || 2014-05-03 19:22:53
I finally added the "who did what" here (not on the cues I had no documention on)... Plus I added the true cuesheet titles...

Gonna change that cover soon too, cause I just don't like it lol...


Edmund Meinerts2014-05-03 20:00:28
Can I assume that all of the cues with Verbinski on them say that only because he cowrote the Hoist the Colors theme? I tend to not include him on my own listings for that...


Hybrid Soldier2014-05-03 20:02:03
Yeah same as Geoff on many cues containing Tia Dalma/Calypso's theme...


Anonymous2014-05-03 21:42:22
I KNEW THE "I See Dead People In Boats" cue was just Zimmer!


Mike2014-05-03 21:46:21
That's actually smart, adding credit that are known, even if some have to be left blank.


Hybrid Soldier2014-05-03 22:03:25
Yeah I might generalize that... :)


Edmund Meinerts2014-05-03 23:19:28
I'd certainly be very glad to see credits go up for stuff we haven't previously known about, even if it's incomplete like this. :)

RealFfingMusic reply Replies: 0 || 2014-04-18 05:48:46
This has probably been said before. But I saw the film yesterday again, and here's my (probably repeated) question:

When Elizabeth arrived at Singapore, she was singing Hoist the Colours, which was finished by the "Remove, Please" guy.

The lyrics are different, so why isn't it on this score?

Anonymous reply Replies: 8 || 2014-04-17 16:36:28
Hans' discography on Wikipedia lists Pirates 5....but this is just Wikipedia being stupid, right? Hans hasn't been confirmed for the project? I know Hybrid said Hans wasn't interested after POTC4.....


Lambegue2014-04-17 17:40:26
As far as I know, there is no official announcement concerning the soundtrack of Pirates 5...So yes, this information is nothing real for the moment :)


Hybrid Soldier2014-04-17 17:42:27
A year ago Hans told me he already said "no" to Disney...

But who knows, after all this time... lol


Macejko2014-04-17 17:52:15
Maybe that's why the movie isn't even greenlit yet... :)


Mike2014-04-17 19:20:03
I still think it would be great if Hans could make an awesome score for POTC5, thus redeeming himself, and allow us to forget On Unfortunate Tides, but I understand if he doesn't want to do it.


Anonymous2014-04-17 19:25:26
redeem himself? come now. he was always going to do something great for pirates 4. it was the film makers who didn't want it.

Unless Verbinski returns to the Pirates franchise I am not expecting the inspired Hans to chime in either.


Mike2014-04-17 19:38:56
"It was the film makers who didn't want it."

Speaking of that, do we know WHY they didn't? It seems kinda weird to throw out new ideas for no reason...


Lambegue2014-04-17 19:59:28
"It was the film makers who didn't want it."
The film makers and the producers, mainly Disney...

"Speaking of that, do we know WHY they didn't? It seems kinda weird to throw out new ideas for no reason..."
I suppose they considered that because old ideas worked before, and were well known and appreciated by the public, it was a good thing to use them again and again...Maybe they considered that people would not realise how innapropriate these temptracks were, or maybe even them did not understand it...


Brent2014-04-18 02:00:40
I certainly hope he returns, but who knows at this point. Disney is perhaps the most creatively "protective" studio out there, meaning they want to milk what worked in the past until there's nothing creative left (this coming from a Disney lover).

billz reply Replies: 9 || 2013-10-21 17:32:35
trying to get lost is amazing beyond words...


Anonymous2013-10-21 17:43:07
Beckett's Death is also really powerful!


Mike2013-10-21 17:48:48
I really like the mix of the Beckett and Singapore themes in the last 20 seconds of "Arrive in Singapore".


Edmund Meinerts2013-10-21 17:49:56
Are we playing this game again? It would be faster to list the cues that aren't amazing. Umm...There are a few boring stretches in Multiple Jacks...Davy Jones Visits Tia Dalma is mostly rehash of stuff from DMC that wasn't so great to begin with...uh...Some shorter tracks are a bit pointless...

I give up. I can't say bad things about this score with a straight face. :D


Mike2013-10-21 17:53:45
The latter half of "Parlay" isn't the best, and indeed, Multiple Jacks is rather boring. I'm also not a huge fan of Hoist the Colors as a song.


Anonymous2013-10-21 17:55:48
I hope the Pirates 5 score redeems the awful Stranger Tides score. Stranger tides is an apt title, though--usually POTC music is good!


Mike2013-10-21 17:57:14
I hope there doesn't need to be a POTC5 score... xD


Aragorn2013-10-21 17:59:06
The mermaid theme in Tides was noteworthy. It's just a shame all the music couldn't have been.


MacArthur2013-10-21 19:01:52
You know Mike it has been announced that there is going to be a POTC5.


Mike2013-10-21 21:04:32
I know, but they can still decide to cancel it before it's too late.

Anonymous reply Replies: 21 || 2013-10-08 19:48:42
Gosh Jack and Beckett is awesome. The way it plays the tune of the Jack Sparrow theme in the style of the Beckett theme beginning at 5:16 is incredible


Edmund Meinerts2013-10-08 20:32:14
That's the kind of subtle thematic touch that makes At World's End so great. It's full of little moments like that. Such a great, great score.


MacArthur2013-10-08 23:15:24
Agreed Great score one of my fav's


Areozz2013-10-09 01:53:32
I've been listening to that cue for nearly as long as the film has been around (slightly exaggerated, but this is quite possibly my favorite score), and I've never been able to make that connection. I can pick apart just about all the rest of the music from all films, but every time I get to that bit I think, "This must be a one-time appearance of a variation of Beckett's theme."

Now it FINALLY clicked! Thank you Anonymous stranger! And thank you to all the composers that wrote this score, too, for still amazing me 6 years later!!!


Mike2013-10-09 15:54:16
Indeed, that section is great stuff. I also find the statement of the Calypso theme beginning at 3:29 to be haunting in a beautiful sort of way.


Anonymous2013-10-09 15:59:13
You're welcome, Areozz. Glad I could help. ;) I really like the POTC1 reprisal at the end of the cue.


Mike2013-10-09 17:19:39
Speaking of this cue, Hybrid Soldier, do you know who wrote "Lord Cutler Beckett" (the suite)? I always assumed it was Zimmer, but I'm not entirely sure, because it looks like Lorne handled the "Original Demo/Just Good Business" Beckett suite, so it's possible he did "Lord Cutler Beckett", too.


Kusi2013-10-09 19:04:36
I think it's by Lorne Balfe. On his official page you can listen to a demo of this suite :)


Mike2013-10-09 19:21:29
I know Lorne Balfe did "Just Good Business", but the "Lord Cutler Beckett" suite on the album is a different one.


Hybrid Soldier2013-10-09 19:31:31
As for the "Unreleased" fourth CD =>

"Hoist The Colours Suite" is HZ / Verbinski / Glennie-Smith

"Marry Me" is HZ / Jackman

"Just Good Business" is HZ / Balfe

Don't know about the others, Pirate Lord is probably HZ only.


Mike2013-10-09 21:09:18
Well, I learned something new today: I always though the suites (except "Just Good Business") were Hans alone. Do you know which parts of Marry Me were done by Jackman, or is that too specific?


Hybrid Soldier2013-10-09 21:27:23
We are talking POTC. The genesis of this saga is clear => "alone" does not apply in that world... :P


Mike2013-10-09 22:29:44
"All hands on deck," to borrow Geoff Zanelli's pun.


Anonymous2013-10-14 15:13:05
Lord Cutler Beckett sounds a lot like HZ's own writing style. There is also a strong Peacemaker vibe to it from the 7:03 mark onwards.

Pirate Lord may be Jackman's. It sounds very much like all the Asian stuff he did for Kung Fu Panda and GI Joe 2.


Mike2013-10-14 16:30:13
Indeed, Anonymous. Actually, as much as I'm thankful for Hybrid's answer, the one suite he did not address was Lord Cutler Beckett! :P


Edmund Meinerts2013-10-14 16:42:07
"Marry Me" is my favorite cue of pretty much all time...never knew Jackman had a hand in it! That's a little weird to me...^^ Though I guess I should have known considering the second half is basically an extended version of "Up is Down". I'm guessing that everything up to roughly the 7-minute mark, i.e. the dramatic variations on the love theme(s), is HZ alone, and from then onwards, i.e. the "Up is Down" portion, is HZ/Jackman.

Did Verbinski really help compose the "Hoist the Colors Suite" or is he just credited there because he helped write the theme? I guess I'm not really surprised about NGS' involvement, nor am I about Balfe's in "Just Good Business" (in fact, I knew that one already for some reason).

About the others..."Lord Cutler Beckett" could easily be HZ alone as it indeed bears a lot of resemblance to The Peacemaker. As for "Pirate Lord of Singapore", I always suspected that Geoff Zanelli had a hand in that one, as he did a lot of the Singapore sequence. But I'm just as willing to believe it's HZ alone, as it reminds me a lot of The Last Samurai and even Beyond Rangoon in parts.

Yay for people talking about At World's End. :D


Edmund Meinerts2013-10-14 16:50:42
And the one everyone forgets about for some reason, "The Heart of Davy Jones"...well, it's basically just a (gorgeous) variation of the Davy Jones theme, so I'm guessing Hans alone on that one.


Mike2013-10-14 17:47:07
Well, *I* didn't mention The Heart of Davy Jones--lovely though it is--because it's Dead Man's Chest material. ;)


Anonymous2013-10-14 21:12:46
Lord Cutler Beckett, whether that suite was composed by Zimmer and Balfe or just Zimmer, is awesome! It's the perfect mixture of refined and ruthless, just like Beckett himself.


Mike2013-10-14 21:16:43
Indeed, Anonymous. I wonder why Beckett got two suites. I mean, they're great, both of them, so I'm not complaining, but I wonder what transpired that made it so.


Edmund Meinerts2013-10-15 00:27:04
I always was under the impression that "Just Good Business" was less a suite and more an early version of the music for the first part of the maelstrom battle (you can hear very small parts of it leak through in the actual "Maelstrom Pt. 1" cue, such as at 2:00). Don't remember where I heard that though. In the end they went for a more thematically diverse track which I think is slightly better as a CUE...but they're both excellent. :)


Mike2013-10-15 00:47:39
That strikes me as unlikely. It's titled here (in its longer form) as "Beckett Theme (Original Demo)". That doesn't seem like a cue to me. It seems like it's a suite.

MacArthur reply Replies: 0 || 2013-10-09 22:01:36
One of Zimmer's great scores

Anonymous reply Replies: 2 || 2013-09-04 21:19:33
"I remember showing up one day, I think it was our first scoring session, and I walk in and Hans has got the orchestra going and I kinda am watchin' the cue and I'm like, 'Wow, great cue--wow, this is already like a 3 minute cue, I mean, gosh...Wait a minute, there's no picture running...Wait a minute, this is like FIVE minutes. This is like seven minutes! What's this guy doing???' So finally the cue ends after 9 minutes, no picture, running nothing--okay, 12 minutes--and I walk over to him and I go, 'Dude, where's the picture????' He goes, 'No, we're not doing it to picture today'. I said, 'Well what are you doing????' He said, 'I'm warming up the orchestra. We're recording these things in suites, so that when I bring them back to do each cue individually, they'll be masters at it."

Given the 12 minute length, I can only assume it was "Marry Me". "Great cue" indeed!


Russel2013-09-04 22:03:59
How could you assume? Wouldn't you remember what it sounded like if you were there..?


Mike2013-09-05 01:35:16
He wasn't there. He was quoting an interview.

Anonymous reply Replies: 2 || 2013-03-22 20:07:22
Someone mentioned King Arthur below...Well listen to 1:50-1:58 in Davy's Death and tell me THAT doesn't sound like King Arthur.


Areozz2013-03-22 20:18:53
It does. It isn't rocket science. New things sound like other old things because they use the old things as temp tracks. People like it, so then they rework it a little bit. It's a surprisingly common thing and sometimes it happens across composers.


Leo2013-07-28 12:24:24
ESPECIALLY at 2:13 to 2:22.

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Pirates Of The Caribbean - At World's End (Expanded Score) soundtrack - Hans Zimmer 2007