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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 https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on 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 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 ZimmerKlaus BadeltGeoff ZanelliRamin Djawadi
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Pirates Of The Caribbean - The Curse Of The Black Pearl (Complete Score)
Label: Unofficial Release
Length: 155'54 rating:        5/5
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  1. Fog Bound (5:34)
    Hans Zimmer, Klaus Badelt
  2. Smitten Will (1:02)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  3. Captain Jack Sparrow (1:39)
    Hans Zimmer, Klaus Badelt
  4. Corset Problems (0:23)
    Hans Zimmer, Klaus Badelt
  5. No Real Ship (1:03)
    Hans Zimmer, Steve Jablonsky
  6. Liz Falls - Medallion Calls (1:48)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  7. Jack's Escape (2:35)
    Hans Zimmer, Klaus Badelt, Steve Jablonsky
  8. Breaking The Chains (0:41)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  9. Sword Fight (Part 1) (1:32)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  10. Sword Fight (Part 2) (2:44)
    Hans Zimmer, Steve Jablonsky, Ramin Djawadi
  11. The Dog Is Never Going To Move (0:21)
    Hans Zimmer, Klaus Badelt, Blake Neely
  12. Black Pearl Arrives (1:00)
    Hans Zimmer, Klaus Badelt, James Dooley
  13. Sacking The Village (Part 1) (3:51)
    Klaus Badelt, James McKee Smith
  14. Liz Hides (0:51)
    Klaus Badelt
  15. Sacking The Village (Part 2) (1:25)
    Klaus Badelt
  16. You Know Nothing Of Hell - Liz Meets Barbossa (4:22)
    Hans Zimmer, Klaus Badelt, Blake Neely
  17. Boarding The Dauntless (1:37)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  18. Commandeering The Intereceptor (2:26)
    Hans Zimmer, Klaus Badelt, James Dooley
  19. Under The Command Of A Pirate (0:24)
    Hans Zimmer, Klaus Badelt, James Dooley
  20. Pirates Musk (0:50)
    Craig Eastman
  21. I'm Going After The Black Pearl (2:00)
    Hans Zimmer, Klaus Badelt, Blake Neely
  22. The Captain's Table (0:42)
    Hans Zimmer, Klaus Badelt, James Dooley
  23. Story Of The Medallion (3:05)
    Hans Zimmer, Klaus Badelt, Steve Jablonsky
  24. Moonlight Serenade (1:23)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  25. You Best Start Believin' (1:13)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  26. We're Catching Up (1:28)
    Hans Zimmer, Klaus Badelt, Blake Neely
  27. Time To Go Poppett (1:53)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  28. Jack's Legend (1:34)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  29. The Grotto (1:00)
    Hans Zimmer, Klaus Badelt, James Dooley
  30. Blood Ritual (4:00)
    Hans Zimmer, Klaus Badelt, Blake Neely, James Dooley
  31. Curse Is Still Upon Us (2:30)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  32. Not More Pirates - Keep To The Code (0:48)
    Hans Zimmer, Klaus Badelt, James Dooley
  33. Transition (0:22)
    Hans Zimmer, Klaus Badelt, Blake Neely
  34. Will Bandages Liz's Hand (1:40)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  35. Ship To Ship Chase (4:12)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  36. Ship To Ship Battle (3:57)
    Hans Zimmer, Klaus Badelt, James McKee Smith
  37. Will Trapped (1:30)
    Hans Zimmer, Klaus Badelt, Nick Glennie-Smith
  38. Elizabeth Walks The Plank (2:45)
    Hans Zimmer, Klaus Badelt, Blake Neely
  39. Welcome To The Caribbean (0:13)
    Hans Zimmer, Klaus Badelt, Blake Neely
  40. A Ship Is Freedom (1:19)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  41. Bootstrap Bill (1:15)
    Hans Zimmer, Klaus Badelt
  42. Nothing I'd Lament Being Rid Of (0:46)
    Hans Zimmer, Klaus Badelt
  43. Jack Row To The Pirate Cave (1:05)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  44. Cuz It Was Mr. Sparrow Who Said It (1:03)
    Hans Zimmer, Klaus Badelt
  45. Until The Opportune Moment (0:51)
    Hans Zimmer, Klaus Badelt
  46. Underwater March (1:10)
    Hans Zimmer, Klaus Badelt, Nick Glennie-Smith
  47. Pirates Attack (Part 1) (6:38)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi, James Dooley
  48. Pirates Attack (Part 2) (2:35)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi, Geoff Zanelli
  49. Bloody Pirates (2:50)
    Hans Zimmer, Klaus Badelt, James McKee Smith, Geoff Zanelli
  50. Curse Reversed (3:18)
    Hans Zimmer, Klaus Badelt, Blake Neely, Nick Glennie-Smith
  51. Will Rescues Jack (1:11)
    Hans Zimmer, Klaus Badelt, James Dooley
  52. Happy Ending (4:56)
    Hans Zimmer, Klaus Badelt
  53. End Titles (2:23)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  54. Pirates Of The Caribbean Theme (Original Demo) (5:28)
    Hans Zimmer
  55. Jack Sparrow Cello Theme (0:33)
    Hans Zimmer
  56. Pirates, Day One, 4:56AM (Album Suite) (3:46)
    Hans Zimmer
  57. Jack's Escape (Alternate) (2:34)
    Hans Zimmer, Klaus Badelt, Steve Jablonsky
  58. Black Pearl Arrives (Alternate) (0:57)
    Hans Zimmer, Klaus Badelt, James Dooley
  59. Sacking The Village (Part 1) (Alternate) (3:51)
    Klaus Badelt, James McKee Smith
  60. Sacking The Village (Part 2) (Alternate) (0:31)
    Klaus Badelt
  61. You Know Nothing Of Hell (Alternate) (0:15)
    Klaus Badelt, Blake Neely
  62. I'm Going After The Black Pearl (Alternate I) (0:18)
    Klaus Badelt, Blake Neely
  63. I'm Going After The Black Pearl (Alternate II) (0:26)
    Klaus Badelt, Blake Neely
  64. We're Catching Up (Alternate) (1:27)
    Hans Zimmer, Klaus Badelt, Blake Neely
  65. Blood Ritual (Alternate) (4:06)
    Hans Zimmer, Klaus Badelt, Blake Neely, James Dooley
  66. Ship To Ship Battle (Alternate) (3:57)
    Hans Zimmer, Klaus Badelt, James McKee Smith
  67. Elizabeth Walks The Plank (Alternate) (2:46)
    Hans Zimmer, Klaus Badelt, Blake Neely
  68. A Ship Is Freedom (Alternate) (1:21)
    Hans Zimmer, Klaus Badelt
  69. Underwater March (Alternate) (1:12)
    Hans Zimmer, Klaus Badelt, Nick Glennie-Smith
  70. Pirates Attack (Part 1) (Alternate) (1:15)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  71. Pirates Attack (Part 2) (Alternate I) (2:32)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi, Geoff Zanelli
  72. Pirates Attack (Part 2) (Alternate II) (2:35)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi, Geoff Zanelli
  73. Pirates Attack (Part 2) (Alternate III) (2:36)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi, Geoff Zanelli
  74. Bloody Pirates (Alternate) (2:50)
    Hans Zimmer, Klaus Badelt, James McKee Smith, Geoff Zanelli
  75. Will Rescues Jack (Alternate) (1:11)
    Hans Zimmer, Klaus Badelt, James Dooley
  76. Happy Ending (Alternate) (4:59)
    Hans Zimmer, Klaus Badelt
  77. End Titles (Alternate) (1:33)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
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Jokerslb#37 reply Replies: 0 || 2020-04-16 14:28:17
Hi, I was wondering why the film version of fog bound (the opening) was never released.

Rafael reply Replies: 1 || 2020-02-17 18:11:48
I always found these credits to be a bit confusing. Klaus Badelt is credited on almost every cue, even when his themes don't appear and another additional composer is credited as well. I thought maybe it was just a formality that Zimmer and Badelt were credited everywhere (I mean, how much could they be involved on a cue like "Welcome to the Caribbean"?), but then "No real ship" and "Sword Fight Pt. 2" have no Badelt for some reason. Does someone know a bit more about this?

Hybrid Soldier2020-02-17 18:25:04
Formality indeed. Complicated ! lol

You can bet Blake Neely didn't need anyone to "write" those 10 seconds !! lol

Michael Baker reply Replies: 0 || 2019-04-04 23:22:47
Question about this score.... I always thought Klaus did the "Fog Bound" themes, but now that I'm looking at it, I see Hans' name on the Fog Bound cue. So did Hans help write that theme, or was he just involved in the arrangement for the opening scene?

superultramegaa reply Replies: 1 || 2018-03-21 23:48:34
I know this is another random question, but does anyone know who composed the music for Pirates Of The Caribbean Online? There's an album cover that says:

Music by Hans Zimmer
Additional Tracks by New Ages and Amir Baghiri

But on IMDB it says the in-game music was done by a completely different team of composers. Anyone have any sources, or any validation on which is correct?

superultramegaa2018-03-22 19:21:05
So I'm guessing no one knows if Zimmer did this or not?

superultramegaa reply Replies: 1 || 2018-02-22 01:40:06
On my cuesheet for Pirates 1, it gives Captain Jack Sparrow a credit to Jablonsky. I think it makes sense given his Transformers style, but I was wondering if someone could tell me whether or not it's wrong or not.

Balfe2018-02-22 14:56:51
It would be very interesting to get a better sense of what exactly Zanelli's role in the franchise is. He is a very capable composer but his work on 5 was utter scheisse. But that may just be what the franchise calls for. How does the supposedly precarious Hans put his name on all this shit.

Bayhem reply Replies: 4 || 2017-11-08 15:59:08
Ok, I need to know who composed THIS particular piece of music so I can buy him a beer. It's so goddamn good that it's now my ringtone. Can't stop listening to it:

egg2017-11-08 16:16:25
Zanelli variations on a theme by Zimmer

James2017-11-08 16:17:32
Zanelli claim as his:

"I did a lot of writing on this film, much more than I can present here [...]. “Broadside” was a huge action sequence with tons of twists and turns.[...] This cue is also how I got my Pirates nickname; [...] Geoff “Broadside” Zanelli."

Bayhem2017-11-08 20:12:48
Thank you, guys. I just went to Zanelli's site and indeed he is the one who composed this great track. I really thought that it was either Zimmer or Glennie-Smith.....

Anyway, my hat's off to Zanelli for this piece of music. It really pumps you up.

James2017-11-08 21:10:53
Yes, it's one of the best arrangements in the entire saga and, in my opinion, the best of Zanelli with the pieces of Zimmer.

David reply Replies: 6 || 2017-07-25 10:06:41
Question - who had the biggest hand in creating the Jack Sparrow-related theme, the one that plays in the middle of "He's A Pirate"?

badbu2017-07-25 10:37:24
The "Main Theme" is from Hans. Listen to "Pirates, Day One, 4:56 AM"

David2017-07-25 17:11:26
I know that, I mean the part that plays in the middle of the main theme. It wasn't present on the demo.

Hybrid Soldier2017-07-25 18:44:56
Hans... He didn't just write the demo...

David2017-07-26 12:04:49
Don't be so defensive lol, I know that. I was simply asking a question.

David2017-07-26 17:27:30
Who wrote the music in "The Medallion Calls"?

Mandarin2017-07-27 11:15:53
Zimmer, Badelt and Djawadi

Daniel reply Replies: 2 || 2016-05-28 02:13:27
Why is Hans Zimmer credited for almost every track on here? Didn't he only write like 3 demos and then the other composers arranged from them? Why is it fair to credit him on almost all tracks? Or is it that each track he's on is an arrangement or uses the themes he composed in the couple demoes he did? I'm still really confused about the total extent of his involvement with the score, both behind the scenes and actual compositions.

Hybrid Soldier2016-05-28 09:39:56
He didn't "write only demos"... First he only wrote one, and he actually co-wrote a lot of the cues...

Zimson2016-05-28 11:39:18
Thanks for clearing that up. It's a shame Badelt alone got top credit.

Hybrid Soldier reply Replies: 0 || 2015-03-02 00:30:31
Looks like I finally grabbed the cuesheet for that one... Should be more or less accurate (knowing how much of a mess it was)... :P

RealFfingMusic reply Replies: 0 || 2014-03-24 11:17:25
What is a "riff track"?

Mike reply Replies: 11 || 2013-08-01 02:29:57
Where does the Pirates Of The Caribbean Theme (Original Demo) come from? It's different than the 4:56 AM album track. Is the latter just a shortened version or what?

Anonymous2013-08-01 02:36:44
Odd indeed. Just found it today. Sounds like "The Battle" from Gladiator was mixed in with the Day One demo piece.

Hybrid Soldier2013-08-01 09:01:36
Hans made it "available" on a interview for POTC 2 back in 2006.

Hybrid Soldier2013-08-01 12:48:37
Speaking of that suite, I once asked Hans if it was the only he wrote for that score. Here are some HZ thoughts about POTC (this is "censored" cause some can't just be shared out loud...) :

"No, but if you listen carefully, virtually all the tunes in the movie are arrangements of that... Oh, and the skeleton dance number, but that suite is the cue - with some help from Geoff Zanelli -. Gore and Jerry B. asked me to go home and come up with something. That's why it completely falls apart at the end... I was tired, and couldnt play anymore...

Ramin did a great arrangement of my tune for the sword fight. That got everything going. Geoff Zanelli arranged more music than anybody, some of it really way beyond arrangement. Blake Neely was stuck on - I think - 28 versions of the 'moon' cue... The endtitles - by tradition in all the films - are my suite arranged by Geoff.

I didn't write a Sparrow tune until the second movie. He just had a riff for the first one... Just as a personal joke, I tried to have every character's theme start with the same 3 notes. That got a little confusing. But you have to have fun."

NM2013-08-01 13:08:06
That's really cool Hybrid, thanks. It's interesting to know how the score actually came together, that's really not what comes across from interviews and whatnot. Do you know which themes/tunes Badelt came up with?

Hybrid Soldier2013-08-01 13:23:24

I've gathered quite some intel on many movies from Hans' more or less effective recollections regarding them !

For Klaus, listen to the whole Fog Bound, it's like a medley of all his themes ! :)

Mike2013-08-01 15:29:05
Thank you, Hybrid. Interesting news and quote. I thought you said a while back that the "tut tut tut" pan flute theme in Fog Bound was Zimmer, though?

Pierre2013-08-01 19:09:05
You say Fog Bound is a medley of Klaus' Themes. However it opens with Zimmer's Jack Sparrow "riff", then there's some atmospheric electronics with a bit of tension building, then the "love theme" or whatever, which is in Hans' original demo. Please explain.

Hybrid Soldier2013-08-01 19:18:23
No no no I mean the real 5 min Fog Bound...

Not the OST track, which indeed has a Sparrow theme by Hans and at the end the beginning of Smitten Will...

Mike2013-08-01 21:32:15
Oh, by the way, which Black Hawk Down cue/album track did the moonlight serenade scene rip off of?

Hybrid Soldier2013-08-01 21:56:25
Tribal War.

Pierre2013-08-01 22:02:19
Thanks Hybrid Soldier, I was not aware of an alternative track.

Anonymous reply Replies: 6 || 2013-05-06 23:43:45
Anyone notice the POTC4 mermaid theme at the beginning of "Liz Meets Barbossa"?

Mr. Fate2013-05-07 00:47:07
I think you might be confusing that with another theme that is found all over the four films and has come in a wide variety of arrangements.

Hybrid Soldier2013-05-07 08:31:44
Careful HZ had the fun to try to make every theme start with the same 3 notes, so it's confusing ! :)

Anonymous2013-05-07 08:37:58
He did?!

Hybrid Soldier2013-05-07 09:16:53
Well, take the POTC Main Theme, the first 3 notes. Then the Jack Sparrow related themes beginnings(Breaking the Chains and Captain Jack Sparrow).

Take Beckett's theme first 3 notes. Then Davy Jones. The Kraken' main melody after that...

Yeah, always the same. Different pitches, same progression... :P

Mr. Fate2013-05-07 13:46:58
So, I'm NOT going crazy after all! When all the sessions surfaced, I started taking a closer look at all the music and started noticing that almost EVERYTHING from Pirates 1 was the same theme!


Hybrid Soldier2013-05-07 13:48:14
Almost all of P1 is an arrangement of his demo... :)

Mike reply Replies: 0 || 2013-01-15 07:20:35
Oh my goodness...Never realized how stripped-down the album version of "Fog Bound" is!

Twan Dirks reply Replies: 0 || 2012-12-29 17:06:06
The complete sessions on an other site has only 72 tracks, this on 77 tracks:O What's the different between it? And where can i find the 5 missing tracks?

Hybrid Soldier reply Replies: 1 || 2012-12-26 19:36:20
OK people here we go, years (yeah, YEARS) of researches, asking various people and so on.

Fog Bound => HZ, KB
Smitten Will => HZ, KB, Djawadi
Captain Jack Sparrow => HZ, KB
(Though some dude who worked on the score once told me Jablonsky had a hand there...)
Corset Problem => HZ, KB
No Real Ship => HZ, Jablonsky
Jack's Escape => HZ, KB, Jablonsky
Sword Fight Pt 1 => HZ, KB, Djawadi
Sword Fight Pt 2 => HZ, Jablonsky, Djawadi
Sacking The Village Pt 1 => KB, McKee Smith
Liz Hides => KB
You Know Nothing Of Hell => HZ, KB, Neely
Boarding The Dauntless => HZ, KB, Djawadi
Commandeering The Interceptor => HZ, KB, Dooley
Under The Command Of A Pirate => Dooley
Pirates Musk => Craig Eastman
(that cue can be found on the man's website, fyi)
Story Of The Medallion => HZ, KB, Jablonsky
Moonlight Serenade => HZ, KB, Zanelli
Blood Ritual (film) => HZ, KB, Neely, Dooley
Curse Is Still Upon Us => HZ, KB, Zanelli
Ship To Ship Chase => HZ, KB, Zanelli
Ship To Ship Battle => HZ, KB, McKee Smith
Will Trapped => HZ, KB, Glennie-Smith
Bootstrap Bill => HZ, KB
A Ship Is Freedom => HZ, KB
Underwater March => HZ, KB, Glennie-Smith
Pirates Attack Pt 1 => HZ, KB, Dooley, Djawadi
Pirates Attack Pt 2 => HZ, KB, Zanelli, Djawadi
Bloody Pirates => HZ, KB, McKee Smith, Zanelli
Curse Reversed => HZ, KB, Neely, Glennie-Smith
Happy Ending => HZ, Djawadi
End Titles => HZ, KB, Zanelli
POTC Theme (demo) => HZ

Then it's not official => cues not containing HZ material =>

Dog Is Never Gonna Move
Black Pearl Arrives
Sacking The Village Pt 2
Jack's Legend
The Grotto
Welcome To The Caribbean
Until The Opportune Moment

I'm Going After The Black Pearl contains Blake Neely's theme.

According the OST credit, "You Best Start Believin' is either by Klaus, Zanelli or Jablonsky.

I have no doubt The Captain's Table & Keep To The Code are Nick Glennie-Smith.

And one last tribute to James McKee Smith who co-wrote some of the best cues of that score. Paycheck in Sacking the Village, anyone ? ;)

martymarin2012-12-26 20:06:36
thank you so much Hybrid Soldier!!

Hybrid Soldier reply Replies: 2 || 2012-12-26 14:05:23
I've got a partial cuesheet for this one, with all the who did what...

My guess is some will be interested... :)

thejok3rrules2012-12-26 16:24:26
Please please please! xD

marty2012-12-26 17:26:06
yeah Hybrid Soldier, please please :))) Thanks!

Mike reply Replies: 0 || 2012-12-25 20:57:33
Nice! No new cover though. lol. Oh well. Nice to see a complete tracklist.

Bootstrap Bill reply Replies: 0 || 2012-12-25 20:35:07
Here we go, leaked now !© 2001-2018 OST 
Pirates Of The Caribbean - The Curse Of The Black Pearl (Complete Score) soundtrack - Hans Zimmer 2003