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If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.
I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!
Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>
I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on bleedingfingersmusic.com under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/Mine arrived today and is definitely sped up.LOL klaus badelt hardly composed pirates 1You 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.
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Additional Music - Choir Conductor - Song ProducerAdditional Music - Conductor - Choir Conductor
Hans ZimmerHarry Gregson-WilliamsRupert Gregson-WilliamsKlaus Badelt
ComposerAdditional MusicAdditional MusicAdditional Music
The Prince Of Egypt (Complete Score)
Label: Unofficial Release
Length: 81'54
HZimmer.com rating:        5/5
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 (4914 votes)
  1. Deliver Us (7:16)
    Stephen Schwartz, Hans Zimmer, Martin Erskine, Andrew Lippa
  2. Chariot Race (3:02)
    Hans Zimmer
  3. Brothers (4:24)
    Hans Zimmer
  4. Meeting Tzipporah (0:19)
    Rupert Gregson-Williams
  5. Desert Flower (1:37)
    Hans Zimmer
  6. Following Tzipporah (1:00)
    Hans Zimmer
  7. All I Ever Wanted (With Queen's Reprise) (2:52)
    Stephen Schwartz, Hans Zimmer, Harry Gregson-Williams
  8. Hieroglyphic Nightmare (1:38)
    Stephen Schwartz, Hans Zimmer, Harry Gregson-Williams
  9. Moses & Seti (1:46)
    Stephen Schwartz, Hans Zimmer
  10. Beating - Gate - Desert Montage (5:33)
    Stephen Schwartz, Hans Zimmer, Klaus Badelt
  11. Camel Boogie (2:12)
    Stephen Schwartz, Hans Zimmer, Rupert Gregson-Williams
  12. Through Heaven's Eyes (3:42)
    Stephen Schwartz, Gavin Greenaway
  13. Moses Finds Cave (1:14)
    Stephen Schwartz, Hans Zimmer, Harry Gregson-Williams
  14. Burning Bush - Remember (7:55)
    Stephen Schwartz, Hans Zimmer
  15. Meeting Pharaoh (1:26)
    Hans Zimmer, Rupert Gregson-Williams
  16. Playing With The Big Boys (2:53)
    Stephen Schwartz, John Powell
  17. Line In The Sand (1:33)
    Hans Zimmer, Harry Gregson-Williams
  18. Moses Reviled (3:44)
    Stephen Schwartz, Hans Zimmer
  19. The Plagues (3:23)
    Stephen Schwartz, Gavin Greenaway
  20. Memory Lane - Ultimatum (3:52)
    Hans Zimmer
  21. Death Of The First Born (1:08)
    Hans Zimmer
  22. When You Believe (4:55)
    Stephen Schwartz, Hans Zimmer
  23. Red Sea (5:51)
    Hans Zimmer
  24. Epilogue (3:39)
    Stephen Schwartz, Hans Zimmer, Gavin Greenaway
  25. Epilogue (Alternate) (3:25)
    Stephen Schwartz, Hans Zimmer
  26. The Prince Of Egypt Trailer Music (1:46)
    Hans Zimmer, Harry Gregson-Williams
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Ed Hamm reply Replies: 1 || 2019-01-19 22:25:02
Is this cd of the complete score available for purchase somewhere?


Knight2019-01-19 22:38:10
As everyone has said for the billionth time, NO. These are all unofficial fan-made edits or rips.

Mike reply Replies: 3 || 2018-09-01 00:26:24
Which version of "Epilogue" do you guys like better? The film version with the Zimmer-ified "Deliver Us" theme, or the version from the expanded album that uses the "Egypt" theme? I love both, personally.


Mike2018-09-01 01:09:24
Film version with Zimmer-ified “Deliver Us”, vocals from Miriam’s Song, horns and Ofra Haza’s vocals from “Deliver Us”


Mike (First)2018-09-01 01:12:34
There really needs to be a way to differentiate all the Mikes on this site! lol


Mike2018-09-01 03:59:43
Sry Mike lol

chime in while you’re here :)

Oscarilbo reply Replies: 0 || 2018-08-27 15:58:53
Finally this movie is coming to blu-ray mid October!! It would be wonderful if we could get an expanded music release too.

M Papeghin reply Replies: 0 || 2018-04-06 11:09:29
Absolute masterpiece !
Love it so much that I transcribed and recorded all of the french horn/trumpets parts ( and a bit more ^^ ) from Chariot Race and The Rea Sea !

=> https://youtu.be/VwmWnVIoA7M
=> https://youtu.be/O8nhbnwths0

Hybrid Soldier reply Replies: 5 || 2015-01-07 22:16:25
Found some credits for it, should look like that ! :)


Mike2015-01-08 00:24:58
Thank you! I've wanted these forever!


Mike2015-01-08 00:26:18
Where Stephen Schwartz is credited, it's because it contains some of his song material, but Zimmer did the cue, right?


Hybrid Soldier2015-01-08 11:42:03
Yeah there are quotes of the songs but Schwartz only did the songs...

But credit is due... :)


NM2015-01-08 22:29:13
Haha, the ones I guessed were HGW were spot on. I have no idea how I was able to tell.


mittens2018-01-08 01:31:23
Regarding these songs where HZ is also listed (besides Stephen Schwartz), is he listed as composer or producer? Because on this list https://vgmdb.net/album/38986 he is mostly credited as producer...

Mike (OTM) reply Replies: 1 || 2017-03-25 21:18:05
So I just picked up the Collector's Edition CD that was released (the one with the 3 extra cues), and i have to say, I'm glad I did. Having the Chariot Race and Epilogue (alternate version, granted) really rounds out the main CD. Those were two highlights. Having "Moses Reviled" is also good, as that was a strong cue (called "It is Only the Beginning" on the CD). The whole score has essentially been released when you put the main CD and the collector's one together (though sadly, the film version of the Epilogue isn't here).

I got the thing for $3.00. I was inspired to look into it due to a comment about it below.


Mike (OTM)2017-03-25 21:24:40
Not to double post, but can I just say that both versions of the Finale - the one using Hans' theme and the one using the Deliver Us theme - are really, really epic? Zimmer outdid himself with this segment particularly. The Prince of Egypt is a truly underrated score.

Anonymous reply Replies: 4 || 2016-07-06 01:47:52
Okay. Listen to Hero from 13 Hours, then Burning Bush...


Waymann2016-07-06 08:38:47
I knew it. When I saw 13 Hours I kept thinking about another score that sounded just like that theme.


Mike2016-07-06 17:12:02
Yikes! Temp track? Well, Hans was producer on 13 Hours... Maybe that was his suggestion. :P


Mike2016-07-06 17:15:02
The similarity I caught while watching the film was the "Deshi Deshi Basara" percussion in "Welcome to Benghazi." It sounds like Zimmer-temp (or Zimmer suggestions?) was used in a couple places.


jrej35552017-03-20 13:56:02
WOW!!! That is shameless!

Anonymous reply Replies: 0 || 2017-03-19 22:30:51
The Collector's Edition contains "Moses Reviled," along with "Chariot Race" and Zimmer's original Epilogue as one track, is that correct?

Mike reply Replies: 6 || 2016-07-04 20:27:10
Interesting little thing... If you listen to the director commentary on the film, they say that Hans' original idea for the Burning Bush sequence had "choir and organ and stuff," but they asked for a re-write because that was stereotypical and they wanted something different for the scene. I love the final version, too, but I can't help wanting to know what the original sounded like.


Hybrid Soldier2016-07-04 21:12:50
Stay from Interstellar ?! :P


Mike2016-07-04 22:37:01
Quite possibly. Has Hans done any interviews for this score? I haven't found any.

Also a little interesting was that the directors mentioned Harry Gregson-Williams by name with regard to the "Line in the Sand" cue. As Rameses opens his eyes while holding the ring, one of them talks about how it was "scary" and "that was Harry Gregson-Williams' idea." :P


anonymous2016-07-04 22:58:47
on a somewhat related page... zimmer produced the first use of "all i ever wanted" sung by moses, and harry did the queen's reprise, right? or did harry do both?


Hybrid Soldier2016-07-04 23:39:34
Yep !

To be complete on POE, on the cuesheet HGW & RGW get 100% on the following cues :

HGW :
Hieroglyphic Nightmare (with Schwartz)
Moses Finds Cave
Line In The Sand

RGW :
Meeting Tzipporah
Camel Boogie
Meeting Pharaoh

Klaus got 0, lol, did some arranging...

Up until the early 2000s, HZ used to give 100% of some of the cues to additionals even when it used some of his music. But then all the rest of the cues were credited to HZ only while some were arranged by these guys... So I guess nowadays way of doing is not so bad...


Mike2016-07-05 00:11:29
Here's something I've wondered:

Do Hans' additional guys do substantially more than they did in the 90's / 2000's, or is it really a matter of crediting differently like your comment suggests? Cause it seems like Zimmer had a lot more "solo" credits on his scores back then (70% of cues, typically), whereas now he'll have only 2 or 3 on a given score. So did Hans' methodology change at some point and now he's more collaborative than he used to be, or is it mostly that now he credits "arrangers" and he didn't used to?


Hybrid Soldier2016-07-05 00:19:22
Well, I don't think it's much different, in proportion it's the same thing...

Remember in the 90s he had to do scores quite short, even big action films were 90 min long...

Now when you have an Inception, POTC or whatever, it's always between 2 & 2,5 hours of music to write... And relatively less time to write them ! lol

Anonymous reply Replies: 9 || 2014-12-06 16:08:19
Zimmer made Such. An Epic. Arrangement. of Deliver Us for that last scene. My goodness. It gets me every time.


Mike2014-12-06 16:15:53
This is a sadly under-spoken-about score. It's probably one of my favorite Zimmer scores of the 1990s, and it uses his big, epic sound to really good effect. It just manages to complement the film really well, and it even has a nice Eastern flair sometimes.


Edmund Meinerts2014-12-06 23:43:12
This is something like my third-favorite Zimmer score. I don't think he ever quite managed to go as grandiose and BIG as this again, not even in Gladiator.

On a vaguely related note, wouldn't it have been hilarious if Ridley Scott had decided to reunite with Hans on Exodus: Gods and Kings of all things? :p


Hybrid Soldier2014-12-06 23:53:55
I would have loved to... :(


Adam2014-12-07 00:13:20
I would have loved that as well :(

Hey Hybrid, do you know why Ridley & Hans stopped working together? They were partners since Thelma & Louise. I mess their collaborations :'(


Ds2014-12-07 00:40:10
Edmund, I think PotC 3 and King Arthur are even BIGGER than this one :-)


Edmund Meinerts2014-12-07 02:08:36
Funny that you mention those two, Ds, they're my other two favorite Zimmer scores. ;)

Yeah, they're both pretty massive, but more in an action-score kind of way. I don't think King Arthur in particular hits quite the same grandly religious heights as Prince of Egypt. For overall size At World's End wins everything, though.


NM2014-12-07 09:07:50
Nice to see some appreciation for this score. I really love it.


Hybrid Soldier2014-12-07 09:10:39
Hans & Ridley isn't gonna happen ever again. They keep talking about each other a lot in interviews & stuff, they are still in contact, phoning or dining from time to time...

But the look on Hans' face when I asked him said it all... He just said they were "out of synch"...


Anonymous2015-01-07 22:36:28
Oh good grief. When "you" asked him?? LOL

Mike reply Replies: 0 || 2014-07-29 19:54:28
Good to see this one up here!

NM reply Replies: 0 || 2014-07-25 18:00:38
The theme for the two brothers is heartbreaking, I wish this score got more attention. There's some really great thematic writing.

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The Prince Of Egypt (Complete Score) soundtrack - Hans Zimmer 1998