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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.
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.
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.
Stay from Interstellar ?! :P
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
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?
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
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...
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?
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
Zimmer made Such. An Epic. Arrangement. of Deliver Us for that last scene. My goodness. It gets me every time.
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.
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
I would have loved to... :(
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 :'(
Edmund, I think PotC 3 and King Arthur are even BIGGER than this one :-)
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.
Nice to see some appreciation for this score. I really love it.
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"...