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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 2004
The 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.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.How to get this at all?Any news about Rebuilding Paradise soundtrack?@Hybrid:<br>Any news about a release for Ron Howard "Rebuilding Paradise" soundtrack by Hans ans Lorne. The documentary airing today. Any info will be much Appreciated.
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Hans ZimmerKlaus BadeltGeoff ZanelliRamin Djawadi
ComposerAdditional MusicAdditional MusicAdditional Music
Pirates Of The Caribbean - The Curse Of The Black Pearl
Label: Walt Disney Records
Length: 43'30
HZimmer.com rating:        4/5
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   3/5 (21418 votes)
  1. Fog Bound (2:17)
    Hans Zimmer, Klaus Badelt
  2. The Medallion Calls (1:53)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  3. The Black Pearl (2:17)
    Hans Zimmer, Klaus Badelt, Steve Jablonsky
  4. Will And Elizabeth (2:08)
    Hans Zimmer, Steve Jablonsky, Ramin Djawadi
  5. Swords Crossed (3:16)
    Hans Zimmer, Klaus Badelt, Steve Jablonsky, Geoff Zanelli
  6. Walk The Plank (1:59)
    Hans Zimmer, Klaus Badelt, Ramin Djawadi
  7. Barbossa Is Hungry (4:06)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
  8. Blood Ritual (3:33)
    Hans Zimmer, Klaus Badelt, James Dooley
  9. Moonlight Serenade (2:09)
    Hans Zimmer, Klaus Badelt, James Dooley, Ramin Djawadi
  10. To The Pirates' Cave! (3:31)
    Hans Zimmer, Klaus Badelt, James Dooley, Ramin Djawadi
  11. Skull And Crossbones (3:24)
    Hans Zimmer, Klaus Badelt, Nick Glennie-Smith, Geoff Zanelli, Ramin Djawadi
  12. Bootstrap's Bootstrap (2:39)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli, James McKee Smith
  13. Underwater March (4:13)
    Hans Zimmer, Klaus Badelt, Nick Glennie-Smith, Blake Neely
  14. One Last Shot (4:46)
    Hans Zimmer, Klaus Badelt
  15. He's A Pirate (1:31)
    Hans Zimmer, Klaus Badelt, Geoff Zanelli
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Anonymous reply Replies: 2 || 2018-06-24 19:44:30
Hi , why in the end credits of the movie , hans was not mentioned as composer and we had only klaus badelt credit ?


Anonymous2018-06-25 00:15:13
Politics. Zimmer was supposed to be doing Last Samurai, So he recommended Badelt when Bruckheimer asked him to do it. But in the end he ended up writing the main theme and the bulk of the score and KB has not worked with HZ since.


Anonymous2018-06-25 11:31:50
So , after POTC 1 hans zimmer and klaus badelt break up because of the credit issue ?

Feared reply Replies: 0 || 2017-03-28 19:05:22
Does anyone know the name of the drum sample of electric drumkit that Hans & Co used a lot during the 90s, and it's in the beginning of Barbossa Is Hungry (around 8-9 seconds into the track).

... reply Replies: 14 || 2014-06-12 17:32:50
Hybrid, I was wondering if you know why Klaus and Hans are no longer friends... I guess they had a row of some sort, but what was it about? him taking over POTC?


Hybrid Soldier2014-06-12 18:40:48
Nope I think it was a 2005/06 issue, so long after POTC...


Scorefan2014-06-12 18:52:51
But what happen hybrid? which was the problema?


Hybrid Soldier2014-06-12 18:55:09
Don't know, but it wasn't just "HZ/KB", more like "KB/RCP"... lol


...2014-06-12 20:55:41
Oh I see.
It's unfortunate as Klaus was a great RCP guy!


Hybrid Soldier2014-06-12 21:08:33
Agreed...

His career after went terribly wrong (this is what happen when your first market is French cinema), but I still have hope... lol


...2014-06-12 21:15:39
Yes, let's hope he'll get to score some good movies in the future!


Ds2014-06-13 08:29:00
But now he's really one of the best and most-wanted composers in France, while in Hollywood he was just one among a lot of good composers...


RealFfingMusic2014-06-13 19:30:17
@Ds, No offence, but it seems like you're saying it's better to be king of jackals than being a lion of a big pride.

(Not insulting the french, BTW!)


Hybrid Soldier2014-06-13 19:31:19
I'm French... Trust me, it sucks... Big time...


Zimson2014-06-13 23:18:42
@Hybrid
Arte sometimes shows really good french films. Aside from that I don't know anything the french film industry produces, except for Asterix and Obelix maybe. However, if it sucks as hard as the German film industry I'm on your side.


Dudu2014-06-14 00:48:46
Wow...Hybrid. As a fellow Frenchman, you're a bit harsh don't you think??Movies like l'immortel, pour elle or a bout portant are far from sucking "big time" lol! okay, his career took a big shot after he left RCP, but the french movies are far from being the worst he has done!!

PS:I'll give you that, Asterix was a BIG mistake lol


Hybrid Soldier2014-06-14 00:53:03
Sorry Dudu I go to cinema around a hundred times a year, and I only see like 5 French films... lol


Ds2014-06-14 11:24:07
Hahaha Hybrid, and I'm sure these 5 aren't even good :p


Hybrid Soldier2014-06-14 13:00:56
We do good comedies in France... We really do, very funny... The problem is we ONLY do that... -_-

DanielW reply Replies: 0 || 2014-05-02 23:34:38
Is there actually any sheet music (e.g. a piano roll) available for "Swords Crossed"?
Haven't found it so far...

Zimson reply Replies: 0 || 2014-03-15 20:51:51
Lol, the part around the middle in "Swords Crossed" sounds almost exactly as "Tribal Wars" from Black Hawk Down. Now I know who wrote it. :P

thejok3rrules reply Replies: 5 || 2013-08-02 04:53:21
Well listening to that, one thought comes in my mind: Zimmer's rescue mission failed, because thats sucks...


Mike2013-08-03 22:04:49
Listening to what, exactly?


MacArthur2013-09-12 20:07:39
So basically this score is Zimmer with arrangements by Badelt


Mike2013-09-12 21:00:36
Basically, yeah. In order of importance, it seems to be:

--Hans Zimmer (who wrote most of the music properly speaking, even though others were responsible for most of its arrangements within the film)
--Klaus Badelt (who arranged the music Hans wrote and was credited as the composer due to Hans' promise to do The Last Samurai.
--Geoff Zanelli (who did a considerable number of arrangements, including the well known "He's a Pirate", based off Hans' demo theme)
--Ramin Djawadi (who also did a considerable amount of arrangements)
--All the other guys, like Nick Glennie-Smith and James Dooley, who had a few cues


Mike2013-09-12 21:05:49
Although I'm sure that Hybrid, knower of all things Pirates, can amend my list if necessary.


MacArthur2013-09-12 21:32:08
hey you posted too many times.....XD

MacArthur reply Replies: 11 || 2013-07-31 00:48:56
I Just Know that Zimmer Wrote He's A Pirate and Swords Crossed. maybe some on track 1 but not any of the other ones.


Mike2013-07-31 01:50:33
He might not have actively been involved with each track, but almost the entire Curse of the Black Pearl score is based off his themes he wrote (such as the "Day One, 4:56 AM" demo and his Jack Sparrow theme). Hence, his name is attached to everything, because every track here has Zimmer's music in some way. :)


Hybrid Soldier2013-07-31 10:21:28
No, HZ worked on many cues...

It's not exactly a "classic HZ process" here, like every of his "rescue missions"... (and by rescue I don't mean replacing Silvestri, I mean rescueing Klaus........)

For instance the famous Moonlight Serenade scene (the big Black Hawk Down rip :D) is directly a HZ cue with arrangements by Geoff.


NM2013-07-31 16:09:25
Did Hans come up with the "Jack Sparrow" theme from this score?


Hybrid Soldier2013-07-31 17:14:21
Yep, and he doesn't even consider it a "theme", more like a "riff".

He wrote a proper theme for POTC 2... :)


Jimmy Smits2013-07-31 22:01:55
I always found it interesting that Klaus Badelt got 'top credits' for this score, and NOT Hans. Do you know why?


Hybrid Soldier2013-07-31 22:08:02
2 reasons :

- He was on The Last Samurai, so not supposed to do anything else.

- When he saves the ass of an RCP colleague, he doesn't get credit (The Rock being an exception).

:)


Mike2013-07-31 23:34:35
I wonder if a special edition of the film will be released one day, a special edition in which Hans gets composer credit.


Hybrid Soldier2013-07-31 23:35:59
No way... :P

But actually who cares what's written on a cover or an End Credits ?

As long as you know the truth... ;)


Mike2013-07-31 23:42:42
Indeed. I've always credited Curse of the Black Pearl to "Hans Zimmer and Klaus Badelt" on iTunes anyway. I also credited Inception and Sherlock Holmes to "Hans Zimmer and Lorne Balfe"... :P


Anonymous2013-08-01 02:20:26
Virtually everyone knows this score is really Zimmer material, despite the official crediting otherwise. :P


MacArthur2013-08-02 00:00:38
Agreed mike Zimmer did write all of the themes Badelt put them together

Ds reply Replies: 12 || 2013-02-01 21:20:04
I just re-watch this movie and i thought: what if the studio hadn't rejected Alan Silvestri's score?? We were really lucky on this :p

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Mike2013-02-01 21:32:31
lol, Good point. Did Alan Silvestri actually write any music or was he chosen then left/was fired before doing anything?


Hybrid Soldier2013-02-01 22:52:11
Apparently Silvestri recorded a cue for the Moonlight Serenade sequence. Rest was all mock-ups and anyway, whatever he did write, good or bad, there was no doubt Bruckheimer would find any lousy excuse just to get Hans on board.


Edmund Meinerts2013-02-02 14:48:05
If The Mummy Returns and Van Helsing from around the same time are anything to go by, Silvestri's score would have been fantastic! Very different, of course, but probably really entertaining.


Trent Easton Navarro2013-02-02 16:41:57
As enjoyable as Badelt?Zimmer's score is, I think Silvestri would have written a great score for this one. Like Edmund said, The Mummy Returns and Van Helsing were pretty awesome, as were his previous scores for Verbinski.


Ds2013-02-03 18:53:34
Of course Silvestri's not a bad composer, but i'm pretty sure he would never have reached the level of epicness of the 2d and 3rd movies scores!


Mike2013-02-04 01:42:52
Not that this is related to Silvestri, but Dead Man's Chest didn't really feel "epic" to me. There were new themes for Davy Jones and the Kraken, and some new motifs for Jack Sparrow, but overall the score felt like a continuation of the score for the first movie.

But yeah...At World's End was really epic. :P


Mike2013-02-04 01:51:26
Of course, you're entitled to your opinion. You didn't ask what mine was, I just gave it. Sorry about that.


billy2013-02-05 15:46:52
Is the trailer music composed by HZ or Alan Silvestri? According to the trailer credits: "Music by Alan Silvestri", but the theme in the end is used by HZ for his Pirate's scores.


Hybrid Soldier2013-02-05 16:38:54
The trailer music is a Drop Zone cue by HZ. And Silvestri's credited cause the trailer is from before he was fired !


billy2013-02-05 17:06:43
Thanks!


Rate2013-02-07 10:32:39
Am I the only one that finds it ironic the trailer cue is by zimmer and before silvestri got fired? :P


billy2013-02-07 13:16:21
Maybe after the trailer they realized that Zimmer's music is more suitable for the Pirates' universe. Better late than never!:-)

Mike reply Replies: 8 || 2013-02-01 21:58:17
Ignoring the question of whether there SHOULD be a Pirates 5, does anyone think there will be one? If so, is it likely that Hans will score it?


Macejko2013-02-01 22:16:30
I think it's almost certain that Hans will score fifth Pirates. And no, there should not be any more Pirates ;)


Cloud2013-02-02 02:20:59
There's definitely gonna be another one, although there really shouldn't. And honestly, I don't even want Hans to do another one. I think he said everything he wanted to say with the trilogy, especially in At World's End, which was a great confluence of all the themes ideas from all the movies. The fourth movie was redundant in every possible way and so was the score.


Mike2013-02-02 03:17:34
I don't think there should be a Pirates 5, either, and that is partially because I doubt Hans would want to do it. I know Hybrid said all the temp music in On Stranger Tides was the director's fault, and I'm sure that's true, but it's a safe bet, I think, that Hans is ready to be done with these movies. In fact, he even said in an interview for POTC4 how you can only do so much with a given set of themes, and that he thought they were done after the third movie, and that he didn't even think there would be a second and third film--as in, he never really planned on doing any sequels.

However, that's not to say that I'd mind a score to Pirates 5 if Hans is able to come up with a good amount of new material, rather than being forced to temp the majority of the thing.


Racket2013-02-02 03:30:00
I don`t think so.


Mike2013-02-02 03:33:21
Racket, which part were you replying to, the question of whether there will be another movie, or the question of whether Hans will compose it?


Ds2013-02-02 12:58:08
There will be a new one, Disney announced it 2 weeks ago. It's planned for 2015 if i'm right. I want Geoff Zanelli or Lorne Balfe to score it, not Zimmer anymore. I like him a lot but we need some fresh air and a composer who really WANTS to do that!


Trent Easton Navarro2013-02-02 16:37:58
"I want Geoff Zanelli or Lorne Balfe to score it, not Zimmer anymore. I like him a lot but we need some fresh air and a composer who really WANTS to do that!"

As if Zimmer really would write all of the score himself :P He'll probably get the main credit, but his minions will do all the work ;)


Mike2013-02-04 01:54:52
I want Zimmer to score it if he makes new stuff. If not Zimmer, I think Geoff Zanelli, Lorne Balfe, and whoever else has worked on these movies should collaborate using Hans' themes.

cheesy reply Replies: 9 || 2011-09-22 01:23:10
This is the most random of questions, but is the "Black Pearl" theme (Swords Crossed, To The Pirates' Cave, ect) by HZ or Klaus Badelt?


Dimensioner2011-09-22 03:49:51
I'm not sure anyone knows that--but I could be wrong. This whole score sounds uniformly the same (redundancy, anyone?). I mean, yeah, I can recognize the different themes, but I couldn't say which themes according to their styles were written by which composers.

I do know that Geoff Zanelli likes to write tribal-type music like all the cannibal stuff for Dead Man's Chest, or the Morlock Attack from Klaus Badelt's "The Time Machine". Knowing this, I suppose I could pick out the pieces written by him for this score--now that I see what they are...alas, this is no help to you, cheesy.


Hybrid Soldier2011-09-22 13:34:41
Questions for me, Pirates specialist summoned !

You must know that most of the POTC themes come from... other films !

Anyway, HZ wrote most of the themes (all the Jack Sparrow themes, the main theme etc...)

I know for sure that Klaus wrote the "Underwater March" theme (which is basically from The Road To El Dorado) and the "dark" theme of the film (heard in Fog Bound, with the pan flute "tut, tut, tiiii tut" (lol).

Blake Neely wrote the theme in the "Liz on the Pearl / Parlay" sequence. It's not on OST but was on POTC 2's (and 3's) OST.

Jim Dooley wrote (with no credit... don't ask lol) the "Tortuga" theme which came back regularly in POTC 2 (he actually ripped it from a short film he had scored a couple of years earlier, Embryo).


Dimensioner2011-09-22 14:43:19
About the Parlay track, where did you get the name for it? (Elizabeth was never referred to as Liz in the movie.) On most if not all of the bootleg scores, it is named "Parlay" and I'm fairly certain that it originated from one of the DVD menus.

For the longest time, I thought it was a theme written for Tia Dalma, as that is the track it appears in on the PotC2 OST. But then I started looking at the first one's score, and found that theme there as well.

I'm pretty sure it is not on PotC3's OST. If anywhere, it would be in "Davy Jones, the Man" found on the 2CD bootleg that recently surfaced. Perhaps, you could tell me where I might have overlooked it--or if I am even discussing the same thing you are, Hybrid.


Hybrid Soldier2011-09-25 12:45:07
Listen closely people...

The very beginning (kinda military drum) of Medallion Calls is from Black Hawk Down.

The "Bill Turner" theme (sort of), in the same track, when Sparrow is watching the hanged skeletons, is a segment from Pearl Harbor's Air Battle.

The film's main theme (He's A Pirates) shares many notes with The Rock's main theme.

The "Underwater March" theme is from Road To El Dorado.

The segment at 0:37 of "The Black Pearl" is basically an arrangement of the guitar section in "The Battle" from Gladiator, and the rest of the cue have strong similarities with The Battle as well.

HZ's dark theme starting Swords Crossed is from Crimson Tide (Mutiny, the very slow background theme). And in the same track, the Moonlight Serenade section with Liz "touring" on the skeleton Pearl is just from Black Hawk Down (Tribal War).

The theme in Skulls & Crossbones is from Drop Zone (Too Many Notes...), and the basic rythm starting "To The Pirates' Cave" is from Drop Zone as well (listen the beginning of Miami Jump).

The segment starting at 1:08 of Bootstrap's Boostraps is from Broken Arrow, reprised in El Dorado (the Pirates one is really identical to the El Dorado variation).

And about unreleased parts, the short "Tortuga" segment by Dooley is as I said from a 2001 short film he scored, Embryo (check samples on Jim's website).

The beginning of the Pirates Attack at the end of the film, kinda suspence sequence, is just identical to a Peacemaker cue (Nuclear Foult...).

And I'm probably missing some...

Savvy ? :P


Dakota2011-09-25 14:37:21
Hybrid, thanks for all the informative information!!!


Anonymous2011-09-25 19:17:51
Suddenly my appreciation of this score is somewhat diminished!


Hybrid Soldier2011-09-25 20:28:16
Don't get me wrong, POTC is one of my favorite score of all time, I know almost every bit by heart. ;)

But this score was such a mess, done in 3 weeks (from the very first second of score to final mixing). No real options left... The result is surprisingly great ! xD


Phil2011-11-29 15:24:03
@ Hybrid

who are you, that you know so many things about Hans Zimmer and all the composers?
that's amazing!! :)


Mike2012-10-14 03:28:32
Actually, the LEGO Pirates game has credits for several of the Curse of the Black Pearl tracks in the credits, and Zimmer worked on all but tracks 1, 3, 8, 9, and 10 according to it. :)

Phil reply Replies: 3 || 2011-11-28 13:45:35
i don't understand why on the cover stands: Original Music Composed and Conducted by Klaus Badelt
Why isn't Hans Zimmer there mentioned?
i really don't understand, so please tell me!


Areozz2011-11-28 14:36:46
This looks like a job for Hybrid Soldier! I could try to come up with an answer but it would largely be BS, or my own opinion as to why that happened. I'll bet Hybrid could help you out.


tomPoland2011-11-29 10:07:55
Zimmer worked unofficially, had contract with Zwick and Last Samurai


Phil2011-11-29 15:20:57
Tank you guys...
you helped me a lot !!! :)

Kelly reply Replies: 1 || 2011-09-19 21:19:23
Here it is!
Disc 1
01. Fog Bound
02. Jack Sparrow
03. The Medallion Calls
04. Sparrow Escapes
05. Donkey
06. Swords Crossed
07. Nice Juicy Bone
08. The Pearl Arrives
09. The Gold Calls Us
10. No Luck At All
11. Skulls
12. Parlay
13. Jack's Plan
14. Commandeering The Ship
15. Tortuga
16. The Dark Ship
17. Barbossa Is Hungry
18. Moonlight Serenade
19. Ghost Stories
20. To The Pirates' Cave
21. Sea Turtles
22. Blood Ritual
23. Will & Elizabeth
24. Broadside
25. She Goes Free

Disc 2
01. Walk The Plank
02. Jack & Elizabeth
03. Bootstrap's Bootstraps
04. Jack's Proposition
05. Underwater March
06. Something Incredibly Stupid
07. Epic Battle (Part 1)
08. Epic Battle (Part 2)
09. One Last Shot
10. Ambush At The Gallows
11. He's A Pirate
12. Drink Up Me Hearties
13. Credits Suite
14. Pirates, Day One, 4:56AM (Demo) Hans Zimmer
15. Donkey (Alternate)
16. He's A Pirate (Alternate)
17. Pirates, Day One, 4:56AM (Album Version) Hans Zimmer


Anonymous2011-10-02 06:01:03
Yeah it's true

HZLeaks reply Replies: 3 || 2011-05-01 02:37:40
There is an expanded version out, seems legit, no SFX or dialog and good sound quality.


zach2011-05-23 19:42:22
forreal?


Dingmaster2011-09-11 04:03:26
Is there a tracklist you can provide?


Mr. Fate2011-09-11 04:15:35
No track list necessary. All you have to do is search "Curse of the Black Pearl Expanded Score" and you'll get literally like ten different variations of the score which all have been expanded by adding in music that plays on the DVD menus...Granted, you'll have to search around if you want them all, but they all contain more or less the same amount of music.

FS reply Replies: 1 || 2011-05-07 15:23:38
There is now a Lego game out for the Pirates Movies. The previous star wars lego games had some unreleased score tracks from the movies...so there can be hope that it is the same for lego pirates. Someone with a console should check that out :)


Music2011-05-23 17:58:13
Sadly, there's no new music.

Anonymous reply Replies: 0 || 2011-04-22 01:03:42
Anyone know if the cue where Elizabeth is captured and the raid on her town is available? I don't think it is on the "expanded" or soundtrack...

Anonymous reply Replies: 0 || 2011-03-13 00:00:00
Does anyone know if there are any commercially unreleased tracks on composers' websites or promos that I can listen to from this? The commercial CD just is not enough :(

yondaime reply Replies: 0 || 2011-01-03 00:00:00
@ Hybrid soldier

this is similar to The Rock, which in my understand is Nick glennie smiths score, with help from zimmer and harry, but poor nick didnt get the recognition he deserves.

While we are at this topic, could you please tell us what happened that led to the kicking out of badelt from rcp, there are allot of speculations, has it something to do with that badelt didnt credit other composers such as zimmer and others for their involvement in the pirates score. Please i have been wondering about that for ages. please an answer would be great,

Hybrid Soldier reply Replies: 0 || 2011-01-03 00:00:00
Well The Rock is complicated in its own way as almost all the themes Nick had originally written got rejected and replaced by HZ's ! And then it was a mess with the help of many guys on the score (HGW, Don Harper, Steven Stern, Russ Landau...) !

As for the end of KB at (ex) MV... There's not much I know... It didn't end very well between KB and some of the other MV members... Let's say it was good for everybody that he left... Especially for KB, who ended up doing very well these days... ;)

Hybrid Soldier reply Replies: 0 || 2011-01-02 00:00:00
Yeah, I'm not saying KB didn't anything in there, and as I said, it clearly has a lot of him... But he acted more like a supervising composer with HZ...

He went from studio to studio to explain what was needed to Ramin Djawadi, Geoff Zanelli etc... Helped them choosing a direction, correcting what was wrong... And of course, he did several cues on his own, like the Fog Bound opening... Zimmer helped in the same way, for instance he reworked himself Jim Dooley's Commandeering The Interceptor (second part of OST's Blood Ritual).

But there was such a short amount of time, only 2 weeks to write, that it was nearly impossible for the guys in charge (meaning HZ & KB) to do a lot themselves and make sure everybody was doing good... A bit more than 100 min to write is a lot... And I'm not talking about the last minutes reworks, with stuff edited, overdub production and all... Such a mess !!!

So, to be fair, the cover would have needed Music by Hans Zimmer & Klaus Badelt... ;)

Mr Tweedy reply Replies: 0 || 2011-01-02 00:00:00
I'm really wondering if Badelt was so "off" with this project.
I think POTC is definitely a teamwork project. This is why it sometimes sounds as if each cue was from a different guy.
Zimmer had an involvement in the early stages of the writing process (themes and some arrangements), and you have Badelt trying to make nearly 2 hours of music sound as a whole, running from studio to studio, arranging some bits by himself.

Of course it sounds "zimmerish" because it's MV / RCP style of samples and arrangements, but it also has some typical "Badelt" manierisms. Honestly, the real credits in the cover should be :
Main themes : Hans Zimmer
Score supervisor : Klaus Badelt
Arrangements : The MV/RCP team

Oh and, Happy New Year ! ;)

Hybrid Soldier reply Replies: 0 || 2011-01-01 00:00:00
Well it's just he had a contract to score The Last Samurai, and promised Ed Zwick & Tom Cruise he would completely focuse on their score, not moonlighting on another score... So he did Pirates "secretly"...

Of course, the joke didn't last long, and when POTC came out, Cruise came to HZ to say "Good work on POTC ;)" ! Busted !!! :)

Brad reply Replies: 0 || 2011-01-01 00:00:00
Alright, I'm not one for stirring up controversy, but I just thought I'd ask while I was thinking about it. This is a question for you Hybrid: How much of this score is Hans Zimmer? And why is Hans Zimmer listed as the official "composer" above and Klaus Badelt as "additional music" when Badelt gets the official title in the film and on the soundtrack? Is this score really Zimmer's or did Klaus Badelt have more influence on the other two films than is listed? Thanks so much for the help and I look forward to hearing what you have to say.

Hybrid Soldier reply Replies: 0 || 2011-01-01 00:00:00
Brad, Hans wrote almost all the main themes... He's A Pirate, Medallion Calls, The Black Pearl, One Last Shot...

I can only think of the dark theme for the Black Pearl being Klaus...

HZ did all the tunes there, chose what should be used as samples an general orchestrations... So it's basically his score...

All the additional music guys helped a lot arranging it, and let's KB was more in charge than them... His influence remains important in this score... But ironically, scores he didn't get a lot of credit for, like Mission Impossible 2 or Gladiator, were actually more his than POTC... :P

HZ didn't get credit for legal reason (The Last Samurai) so didn't put his name on it, but it's his score anyway...

And for the sequels, KB just didn't work on them at all, but got some official credits on several stuff reused from the first film...

Anonymous reply Replies: 0 || 2011-01-01 00:00:00
Hybrid, I would like to get in contact with you. Can you drop me an email at garnettzack@yahoo.com
?

Brad reply Replies: 0 || 2011-01-01 00:00:00
Hybrid, thanks for the information. But if you don't mind my asking, what were the legal reasons for keeping Zimmer's name off the score? I always was wondering about these soundtracks. So basically all of the Pirates scores are Zimmer's? I would be interested to know what kind of influence Badelt really had on the Gladiator score. Maybe you could put that in your next post in that epic Tracklist thread in the forums, Hybrid. Well, nonetheless, thanks for the info and I'll be interested to hear your further responses. Thanks.

Brad reply Replies: 0 || 2011-01-01 00:00:00
@Hybrid Soldier
Interesting. Well thanks for the info. I always find it interesting to learn all i can about the soundtracks I own.

Dimitris reply Replies: 0 || 2010-09-13 00:00:00
One Word!!!! EPIC!!!!

mokhtar reply Replies: 0 || 2010-04-03 00:00:00
mnazim

mahmoud_oran reply Replies: 0 || 2009-12-24 00:00:00
Very nice site! good luck in the future

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