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well the composer confirmed he is working on it to be released very soon<br>"It's funny tho......people always complain how Hollywood plays it safe and how movies don't take chances..........but when a movie with tonal shifts that challenge the viewer and offer something bold shows up, people bitch and complain."<br><br>I didn't think it was possible for a Bay fan of all people to be this insufferably pretentious.<br><br>I thought that was more Snyder fanboy territory.<br><br>But here we are, calling dog-humping, Decepticon testicles, and mommy-on-pot-brownies "challenging the viewer."<br><br>Kudos, man.  Kudos.<br><br>You can hide behind however many fallacies you want.  If "Not to me" and "You do you" didn't give it away early on in this thread, I DIDN'T try to treat my opinions as fact.<br><br>But that doesn't mean I'm going to add a little "IMO" at the end of every goddamn sentence just to coddle you. <br><br>On the flip-side, consistently making appeals to authority and popularity, "B-b-but Spielberg said!", "B-b-but the Forbes poll said!" don't make you objective.<br><br>Y'know, it's funny.  When I listed off better blockbuster examples, you could've very easily just argued against them on the level of the films themselves, and everything would've been fine.<br><br>Sure, you would've just claimed you can't see the action at night sooner, which is rich when you praise the film series that puts the subjects of its action scenes OUT OF FOCUS every other shot, but hey, that's just honest opinions versus honest opinions.<br><br>But using two belated half-assed sequels from different, less talented directors that lost most of the appeal of the first movies, as some sorta litmus test for how well-liked the first movies were, is the biggest bunch of bullshit I've ever heard.  That's not objectivity, that's not even confusing correlation with causation, that's saying 1+2=4.<br><br>That's the real joke here.  Instead of accepting that your love of Bay is nothing more than a opinion, just as my claim that he misses the point of what makes action movies fun is, you turn into an overly-defensive nut, desperately quoting every opinion piece under the sun to pretend your opinion is some statistically-backed fact.  I've seen you do this every time someone talks shit about Bay around here.  It's psychotic.<br><br>Bad movies make money.  Everyone knows that, and everyone knows that's not proof of quality.  But if that's the kinda road you wanna go down, I guess movies like Avatar, The Force Awakens, or all the Avengers movies, are "objectively" better movies in every conceivable way than anything Bay has made in his entire career.  I mean, CLEARLY those films must have a bolder style and push more boundaries.<br><br>Why else would more people watch and rewatch them, right?<br><br>Reasonable causation is for those goshdarn geek journos.<br><br>And by the way, The Last Knight lost money.  Period.  Almost 100M according to Paramount themselves.<br><br>That's not just a domestic bomb, that's a bomb altogether.<br><br>Have a nice day.Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br>==================<br><br>Kinda ironic, coming from you....but I'll take it as a compliment. Thank you! <br><br>And yes, he sides with me because what I say is common sense. For whatever reason, you have these strong negative feelings toward Bay films and those feelings blind you to some pretty obvious truths. <br><br>Have to say tho - for a 'hater' you sure know A LOT about him, his style and his movies. <br><br>Just admit it - you are a huge Bay fan but you just want to score some points with the snobbish internet crowd. <br><br><br><br>============<br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br>============<br><br>Oh, you're one of THOSE people......"Fury Roaaaaaaaaad is DA BEST FILM EVAAAAAAAA".<br><br>Let me guess: you also think that Nolan is the greatest director/person of all time. On par with Jesus himself. <br><br><br><br>==========<br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br>==========<br><br>Which is what Transformers 1 is. <br><br>Which is why the movie connected with audiences. It was - at its heart - a story about a boy and his car. Even the most jaded critics enjoyed that aspect.<br><br><br>=============<br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br>=============<br><br>Excuse? For what?<br><br>My friend, you do realize that Bay in particular is one of the most powerful and successful filmmakers of all time, right? He is the second highest-grossing director of all time (domestically), only behind Spielberg. You can dismiss box office success all you want but you don't get to where Bay is if you're not good at your job. <br><br>Snyder is nowhere near Bay, in terms of success and influence. Personally, I don't care much about him. <br><br><br>P.S. Guy Ritchie (and Edgar Wright) are huge Bay fans. Ask yourself why. <br><br><br>===============<br>They just aren't very good filmmakers on the whole<br>===============<br><br>Your opinion.<br><br>I disagree.Bay walks the lines between being self-serious and comical, but his films aren't well=written enough to serve the former, or witty enough to serve the latter, and the end-result is droll and annoying.<br>====================<br><br>You sure you're not a "writer" for one of those ridiculous geek sites like Collider, Screen Rant or Slash Film? Because you sound a lot like one of those "beloved" writers. <br><br>Anyway......Yes, Bay's movies always walk that line but whether that works or not is........Yes! a matter of opinion. For me, Pain and Gain is one of the best modern satires while for you it is - I'm guessing - "droll and annoying".<br><br>It's funny tho......people always complain how Hollywood plays it safe and how movies don't take chances..........but when a movie with tonal shifts that challenge the viewer and offer something bold shows up, people bitch and complain. <br><br>Some of you folks are indeed very hard to please. <br><br><br>===============<br>The first POTC earns it. The Bad Boys 2 doesn't. Infinity War earns it. TF 1/2/3/4/5 doesn't.<br>==============<br><br>Okay, now that statement is the best joke of the year! Thank you for the good laugh! Really! Oh, and I've definitely argued with you before, my friend. You are clearly one of those ten Bay haters from the IMDb forums who claim to hate everything the man does, yet they have seen EVERYTHING he had done. Why is that, I wonder?<br><br><br>===========<br>Fitting, as Synder and Bay are cut from a very similar cloth. Difference is, unless we're talking Man of Steel, I'd sooner rely on Snyder for consistently good action sequences<br>===========<br><br>Well, I would trust Spielberg on this. Because it was Spielberg who said, and I quote: "Michael (Bay) is one of the greatest action directors. He has the best eye in Hollywood." Spielberg works with a lot of directors. But he never said anything like that about any other director. So clearly he means what he says about Bay. And....you know......unlike most people, Speilberg actually knows a thing or two about filmmaking. <br><br><br>================<br>300 didn't try to start a franchise. It was a one-off adaptation of a graphic novel in the same vein as Sin City, and was successful. They tried to make a cash-grab sequel almost a decade later, without Snyder, and it failed. That's hardly the first film's fault.<br>================<br><br>It is a clear proof that people weren't that excited to visit this world again. And mind you, that happened with the first sequel! Talk about a one-time thing, huh?<br><br>At the same time, Bay made FOUR Transformers movies - with different casts - before there were any signs of audience fatigue. <br><br>That speaks for itself.<br><br>===========<br>Pacific Rim suffered from lackluster marketing, and yet still managed to turn a profit and attract a strong following.<br>==========<br><br>Excuses, excuses, excuses.....So you can display all the excuses in the world for Pac Rim but when it comes to Transformers, you don't accept anything. <br><br>Double standard much?<br><br>P.S. That "strong following" is on the internet. The same following that was supposed to make Scott Pillgrim a huge hit. Everyone knows that internet hype is not real-world hype. I know very well the type of people who act as if Pac Rim is the best thing since sliced bread. Total geeks who are angry that Transformers is much more popular and much more successful than Del Toro's "let's shoot all the robot fights in pitch black so audiences can't see shit" movie.  <br><br>Also, let's not pretend that Pac Rim is a universally beloved film. You know very well that there are A LOT of detractors as well. That's what you get when people can't tell what's going on during the movie because you shot it all at night. Just like that Godzilla movie. <br><br><br>============<br>Versus something like Transformers, which has piggybacked on an established IP, relentless marketing campaigns and tie-ins, and a fairly consistent release schedule. And even then, recycling the same bullshit eventually took its toll.<br>============<br><br><br>Wrong.<br><br>Do you read Forbes? You should. Because it's a place where objective people write. It ain't a stupid militant film geek site like Ain't it Cool News or Screen Rant.<br><br>Forbes published multiple articles explaining in great detail why the Transformers movies were successful EXACTLY because they were directed by Bay. Whether you like it or not, my friend, Bay is a brand. He is an auteur. There were multiple polls before the first two Transformers movies and Bay being the director was one of the main reasons for people to watch the movies. <br><br>But I guess you missed all of that, huh?<br><br>How convenient.<br><br><br>==============<br>Friendly reminder that AoE also relied on China (more pathetically then even Pacific Rim did) to compensate for diminishing domestic returns. To say nothing of TLK outright bombing.<br>==============<br><br>First: according to ACTUAL real data, the only TF movie that was saved by China is.......Bumblebee! Yeah, you better believe it. Go to Deadline and Forbes and read it for yourself.<br><br>Second: TLK bombed domestically, yes. <br>But not internationally. No one with actual knowledge of the situation refers to that movie as an international "bomb". Besides, there were 4 super successful TF movies before TLK. So Bay got nothing to prove. He already created one of the biggfest film franchises in history. <br><br>How many directors can say that?<br><br><br><br>==================<br>I know you like debunking Bay naysayers with "facts and logic," but it helps to not be grossly disingenuous while doing it<br>==================<br><br><br>Goes both ways, my friend. But unlike most naysayers, I don't treat my own personal opinions as facts. And if I'm being "disingenuous" then I don't even know what to say about some Bay haters who refuse to accept even the most obvious facts and truths.nope
You realize there is a very easy and free method to get the music from that site, dont you?Random thought but this got me thinking about Zanelli's history with fantasy.<br><br>Whatever happened to his score for Delgo?  I know it's been accused of being super derivative of his other works anyways but still, it's weird to see a RCP score just drop off the face of the Earth like that.There's just something really charming about seeing a prototype for a famous future theme showing up in an old score.<br><br>Or in PotC's case, SCORES.The only ones I've seen properly confirmed are the cues Badelt had listed on his website. The issue with everything else is that there's certain themes that's been associated with certain people, but aren't credited for every appearance. Not to mention that I've never really seen much official credits elsewhere, so I take any that I've seen with a grain of salt.This comment was made before that was properly confirmed, so he was likely going to do it solo at the time.
I thought Hans was collaborating with Faltermayer For Top Gun 2From both ASCAP and GEMACan these be accessed anywhere?The dream is collapsing... :oHoly f*ck, just listened to "Too Many Notes..." and its containing pirates theme itself from Pirates of the caribbean
'No Good About Goodbye' was never the intended song for QOS. It was composed after the film was completed using thematic material from the film for Shirley Bassey to perform on her, David Arnold produced album, 'The Performance'Those files are just sitting there.<br><br>Undownloadable.<br><br>Taunting me.@Ds<br>Siding with the guy that lied through his teeth to feign objectivity seems like a bad call.<br><br>In any case, modern Bay and Snyder don't deserve to be mentioned in the same breath as Fury Road.<br><br>I already discussed 300 and Pacific Rim.  Clearly deep scripts aren't what I'm aiming for here when I talk about good blockbusters.<br><br>What DOES matter is scripts with razor focus, sharp pacing, witty and/or charming humor (if it wants humor, that is), and characters likable enough to carry us through the narrative.<br><br>300's a great example of this, though unfortunately a lot of Snyder's other work isn't, and Bay is close behind.  Their films get bogged with way too much obnoxious bullshit to make the odd sequence worth it.<br><br>The Scorponok sequence from TF1, the warehouse fight from BvS, that's real standout stuff.  Stuff that loses a lot of its luster when surrounded by two-and-a-half, or god forbid THREE, hours of self-serious pretense, lazy humor, and/or annoying characters.<br><br>And again, the likes of Pacific Rim, or 300, or the first Pirates of the Caribbean, or the first Kingsmen, or John Wick, or most Guy Ritchie films, or the better fourth of superhero films, illustrate that Bay and Snyder have no excuse.<br><br>They just aren't very good filmmakers on the whole, and need to learn to consolidate their efforts into something that brings out their best and subdues their worst.  Snyder in particular has SERIOUSLY misjudged where his talent is lately.Well, Steve, about the score, says he still working on it.<br><br>I can't wait.A snippet of the verse (at 0:49) also shows up occasionally in the score, in Somebody Wants to Kill You, the end of Greene and Camille, and Field Trip.
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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
HZimmer.com rating:        Not yet rated
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 (9316 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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Pages << 1 2 >>

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... :)

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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.

Mike reply Replies: 5 || 2013-05-28 07:58:46
Oh man, "Trying to Get Lost" just blows me away whenever I hear it. Zimmer truly outdid himself with that cue! One of the best he's done.


Lucius2013-05-28 08:16:36
It also proves to me that while there will always be people who say Zimmer is "lazy" for having so many composers work on his scores, or that he's "lost it", he truly hasn't and still knows how to make an amazing piece of music. If Hybrid is correct, after all, then "Trying to Get Lose" (arguably one of the best cues of the film) is Hans alone, no additional arrangers or anything. :)

And I agree, it's an astounding piece.


Lucius2013-05-28 08:17:19
Aghhh, Lost*


James2013-05-28 09:03:34
I could go on and on about the things I love about this score. The love theme, the Beckett theme, the Calypso theme, the Hoist the Colors theme, the way they're all expertly mixed together in the Maelstrom scenes, the lack of "use old cues again and again"... I sound like almost everyone else on this page, but this is one of Zimmer/RCP's best if you ask me.


Mike2013-05-28 09:08:09
Eh, who cares if we sound like everyone else: it's one of RCP's finest for sure! I like scores that feel like a lot of effort was put into them, which is why POTC3 and The Last Samurai are among my favorites. I don't even listen to them much compared to others, but you can just tell that those who worked on them really wanted to make a good score.


score_trader2013-06-02 23:00:39
I find that The Heart of Davy Jones' cues are some of the best as well.

Anonymous reply Replies: 1 || 2013-06-02 03:33:28
Why are "Just Good Business" and Lorne's Beckett theme listed separately? It seems like Just Good Business is just a shortened version of Lorne's suite.


Hybrid Soldier2013-06-02 09:43:42
It is, but it's orchestrated & recorded, while Lorne's is synth.

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