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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 Soldier
2020-06-13 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%).
anonn
2020-06-14 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?
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).
Would it be wrong of me to say this is the most complex score that Zimmer (and team) has written?
superultramegaa
2018-07-26 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.
superultramegaa
2018-07-26 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.
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.
Mephariel
2018-05-16 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 Tweedy
2018-05-18 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!
Anonymous
2018-05-18 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)
superultramegaa
2018-05-18 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 Tweedy
2018-05-24 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 Tweedy
2018-05-24 01:03:45
I'm trying to be objective* (sorry haha)
Edmund Meinerts
2018-05-24 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.
Mephariel
2018-05-24 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.
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?
I found back the lengthy interviews Henry, Atli & Geoff gave about the POTC 3 process from 2007... Unfortunately everything is in French lol... :/
thejok3rrules
2016-10-24 23:45:53
Were could I find it?
thejok3rrules
2016-10-24 23:46:36
Where*
Anonymous
2016-10-25 02:45:54
Maybe Maxpotcats (above us) can listen to it and translate it for us since he's French lol
Mike
2016-10-25 03:44:20
Can you translate them, Hybrid? :)
Stevan
2016-10-25 08:48:04
If I recall correctly hybrid is French....
Vivien
2016-10-25 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 Soldier
2016-10-25 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... :)
hats
2016-10-27 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 Meinerts
2016-10-27 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.
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.
Macejko
2016-12-25 23:20:19
Sure, pal, I can burn it down for ya! That'd be $39.99, what's your address?
Anonymous
2016-12-27 13:28:43
New Love Theme is basically "Mary ME" suite, it's already in the OST treasures collection CD.
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)
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?
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 Soldier
2014-11-29 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 ! ;)
Ds
2016-01-11 22:56:12
Lol, imagine some guy like Christophe Beck gets hired for PotC 5. I would get really, really mad.
Hybrid Soldier
2016-01-11 22:57:21
Don't worry... lol
Edmund Meinerts
2016-01-12 08:33:20
Better Christophe Beck than another On Stranger Tides, IMO.
Ds
2016-01-12 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 Meinerts
2016-01-12 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).
Ds
2016-01-12 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.
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 :)
isildur
2015-06-26 19:29:53
Well, there is always google ;) And the forum that shall not be named.
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...
STFU
2015-04-04 05:17:18
OH wow, another ultra special exclusive Hybrid-Soldier-only track. Way to go.
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.
Lambegue
2014-11-30 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.
Mark
2014-11-30 19:32:46
Lambeque, thank you for that explaination. I appreciate it.
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?
LCB
2014-10-06 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.
Poisonheadcrab
2014-10-07 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 Soldier
2014-10-07 22:39:04
Because it's probably from the original Singapore suite, not the Treasure version...
Poisonheadcrab
2014-10-08 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.
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:)
Mike
2014-10-07 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 Soldier
2014-10-07 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...
Mike
2014-10-07 22:07:21
So basically it was the same situation as "Beckett Theme (Original Demo)" vs. "Just Good Business"?
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 Meinerts
2014-05-06 00:34:57
You know, that's a good point. A rare oversight in an otherwise thematically watertight score.
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 Meinerts
2014-05-03 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 Soldier
2014-05-03 20:02:03
Yeah same as Geoff on many cues containing Tia Dalma/Calypso's theme...
Anonymous
2014-05-03 21:42:22
I KNEW THE "I See Dead People In Boats" cue was just Zimmer!
Mike
2014-05-03 21:46:21
That's actually smart, adding credit that are known, even if some have to be left blank.
Hybrid Soldier
2014-05-03 22:03:25
Yeah I might generalize that... :)
Edmund Meinerts
2014-05-03 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. :)
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.....
Lambegue
2014-04-17 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 Soldier
2014-04-17 17:42:27
A year ago Hans told me he already said "no" to Disney...
But who knows, after all this time... lol
Macejko
2014-04-17 17:52:15
Maybe that's why the movie isn't even greenlit yet... :)
Mike
2014-04-17 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.
Anonymous
2014-04-17 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.
Mike
2014-04-17 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...
Lambegue
2014-04-17 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...
Brent
2014-04-18 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).
I really like the mix of the Beckett and Singapore themes in the last 20 seconds of "Arrive in Singapore".
Edmund Meinerts
2013-10-21 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
Mike
2013-10-21 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.
Anonymous
2013-10-21 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!
Mike
2013-10-21 17:57:14
I hope there doesn't need to be a POTC5 score... xD
Aragorn
2013-10-21 17:59:06
The mermaid theme in Tides was noteworthy. It's just a shame all the music couldn't have been.
MacArthur
2013-10-21 19:01:52
You know Mike it has been announced that there is going to be a POTC5.
Mike
2013-10-21 21:04:32
I know, but they can still decide to cancel it before it's too late.
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 Meinerts
2013-10-08 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.
MacArthur
2013-10-08 23:15:24
Agreed Great score one of my fav's
Areozz
2013-10-09 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!!!
Mike
2013-10-09 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.
Anonymous
2013-10-09 15:59:13
You're welcome, Areozz. Glad I could help. ;) I really like the POTC1 reprisal at the end of the cue.
Mike
2013-10-09 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.
Kusi
2013-10-09 19:04:36
I think it's by Lorne Balfe. On his official page you can listen to a demo of this suite :)
Mike
2013-10-09 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 Soldier
2013-10-09 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.
Mike
2013-10-09 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 Soldier
2013-10-09 21:27:23
We are talking POTC. The genesis of this saga is clear => "alone" does not apply in that world... :P
Mike
2013-10-09 22:29:44
"All hands on deck," to borrow Geoff Zanelli's pun.
Anonymous
2013-10-14 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.
Mike
2013-10-14 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 Meinerts
2013-10-14 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 Meinerts
2013-10-14 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.
Mike
2013-10-14 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. ;)
Anonymous
2013-10-14 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.
Mike
2013-10-14 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 Meinerts
2013-10-15 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. :)
Mike
2013-10-15 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.
"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!
Russel
2013-09-04 22:03:59
How could you assume? Wouldn't you remember what it sounded like if you were there..?
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.
Areozz
2013-03-22 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.
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