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Interesting to see the cue sheet info. I love reading all these thoughts and comments. I'm going to start comparing these involved score compositions to a classic car car that been locked away in a garage from public view and comes rolling out "all shiny again" one day.......you never know what's been going on under the hood :)
This probably isn't even 100% accurate either...it doesn't include e.g. Jasha Klebe, Lorne Balfe, Matthew Margeson and others who are credited with additionals.
Of course it's not accurate... It is only interesting for Hans' involvement which is right, but it surely misses all the rest lol...
Yes, very interesting indeed ! Thanks a lot Hybrid
This all really confusing, Jackman said in an interview with Classic FM that Zimmer didn't write any music for the film.
They wanted to keep it "secret" for some time...Even on this site, the participation of Zimmer wasn't official before several weeks (I think) after the release. So maybe you just heard quite an old interview ?
I'm sure it's in his contract that he has to say that, LBF... :p
Interviews are made to tell lies, or why would any composer need them ? lol
So Zimmer did the Time ripoff? :D Interesting! Didn't you say it was Lorne though, Hybrid?
Oh I still think it's Lorne, but his name will never appear anyway...
I heard even Lorne dropped in the end and Hans finished alone... LOL
The interview was conducted just a few weeks ago around the BAFTAs, can't put the link on here, but easy to google it. Just seems a little weird as he flat out denies Zimmer being involved at all.
Simply because he never admitted publicly what a mess (and a true nightmare) this film & score was !
And when you get nominated for stuff, you shut the hell up...
In private, on the contrary... lol
Was it the director who asks Zimmer to come and write some stuff, or was it Jackman who asked for help ?
Scene when the BAFTA announced their nominations:
BAFTA : Captain Philiphs nominated for Original Score
I just saw the film. I swear that those last 20 seconds before the credits, as it showed the ships and got all loud and Journey to the Line-esque, were directly from Time. I couldn't tell whether the OST track "Safe Now" cut the cue short or if the mix was slightly different within the film, but if I didn't see a complete and total resemblance to Time before (and Journey to the Line, too), I do now.
And I find it funny that Hybrid says the score was such a mess and the director was such a pain when the score really wasn't even that good. It was serviceable enough in context, but the only music I remember was a bunch of loud WAAAAAAAAAHs for suspense, a Bourne ripoff as the pirates first boarded the Alabama, and of course, the near-carbon copy of Time. It seems like if the director was gonna be such a pain, he wouldn't have settled for the score he got.
I thought the score was great.
I'll admit I was moved at the end there, but that was primarily because of Tom Hanks' awesome acting, not the music primarily.
What is so great about this score, MacArthur? Seriously. A bunch of limp action cues that are like Green Zone/Bourne with 10% the energy, and then a Time ripoff with about 10% the emotion. I fail to see what even a hardened Zimmer fanboy such as yourself could find to like in that score. It is, at BEST, serviceable, and nothing more.
Agreed Tom hanks was fantastic. and the score was actually entertaining for the film. the pulsing drum cues for the pirates. the theme for the navy. it was very good and moved the story well. that's all one can ask for. and it was (If you can get past Safe Now) a good action score.
The score was the only bad thing about the film and actively distracted me at at least two points (one of which was the end). A lot of scenes were made to feel more like generic action scenes because of the music, and some of the ethnic sounds haven't been fresh since the 90's. A pity such a great film got a temp-track nightmare.
Well said, NM.
Ok. I still like the film & the music, to each his own I guess.
Didn't this film also use part of John Powell's United 93 score?
You like every film score it seems, MacArthur. Haha.
Not all Social Network sucks. Not a huge fan of the Lion King.
Honestly I don't see what all the fuss is about this "Safe Now" track. I just watched the film and it worked beautifully in the scene and I was very moved. Isn't that what the score is meant to do - enhance what's on the screen? So shouldn't we be less concerned about its resemblance to other of Hans' tracks and focus on how it worked in the film? I don't know, just my opinion.
By that logic, AG, we wouldn't have to write film scores anymore...just create a huge library of cues labeled "action" "drama" "tragedy" "romance" or whatever and cut and paste them into every single movie. Sure, it would work on a basic level. But then the films wouldn't have an individual sound to them. And that's why "Safe Now" is such a weak cue. Because instead of supporting the visuals it makes me wonder where Captain Phillips' totem is and whether he's in a dream or not.
I don't have a problem with it at all. The logic there wasn't bad AG because there were different cues in the film which were good. just Safe now was the only thing that was really close to Time. I don't mind it, but apparently everyone else does.
I noticed too that the last shots were scored to music that nearly exactly mimicked Time from Inception. Then I saw Hans Zimmer in the "Thank You's" at the end of the credits. I wonder how that came about. Perhaps he asked Hans's permission? It took me out of the movie a bit, but it was the end and I suspect only film music buffs would notice.