Score Composed, Arranged & Produced by Hans Zimmer Executive Music Producer: Edward Zwick Executive Producer for WMG Soundtracks: Danny Bramson Additional Arrangements & Programming by Geoff Zanelli, Blake Neely & Clever Trevor Morris Orchestra Conducted by Blake Neely
Soloists: Dolores Clay - Vocals
Craig Eastman - Fiddle
Steve Erdody - Cellist
Benjamin Hale - Navajo Voices
June Kuramoto - Koto
Emil Richards - Taiko Drums
Bill Schultz - Shakuhachi
Fred Selden - Flute & Ethnic Woodwinds
Hans Zimmer - Synthesizers
Orchestrated by Bruce Fowler, Suzette Moriarty & Ladd McIntosh Music Editor: Marc Streitenfeld Assistant Music Editor: Del Spiva Soloists Recorded by Slamm Andrews Score Recorded & Mixed by Alan Meyerson Assistant Engineers: Gregg Silk & Jeff Biggers Team Zimmer, Good Taste Ambassadors: Trevor Morris, Melissa "Bunny" Muik & Mark Wherry Sample Editor: Bart Hendrickson
Orchestra: The Hollywood Studio Symphony Concert Masters: Endre Granat & Sid Page Orchestra Recorded at 20th Century Fox, Newman Scoring Stage, Los Angeles, CA
Music Produced & Mixed at Media Ventures, Santa Monica, CA
For Stage Engineers: John Rodd, Bill Talbott, Tom Steel, Damon Tedesco Musician Contractor: Sandy DeCrescent Music Copyist: Jo Ann Kane
Executives in Charge of Music for Warner Bros. Pictures: Gary LeMel & Doug Frank Executive in Charge of Soundtracks for Elektra Records: John Kirkpatrick Album Compiled by Melissa "Bunny" Muik Album Mastered by Bruce Maddocks, Cups 'n Strings
Assistants to Hans Zimmer: Moanike'ala Nakamoto & Bettina Lynch Album Coordinator: Danielle Bond Album Business Affairs for Warner Bros. Pictures: Keith Zajic & Dirk Hebert Album Business Affairs for Elektra Entertainment Group: Charles Lozow Music Administrator for Warner Bros. Pictures: Debi Streeter
Hans Zimmer would like to thank: Ed Zwick, Tom Cruise, Paula Wagner, Marshall Herskovitz, Michael Doven, Klaus Badelt, David Baerwald, Anna Behlmer, Mark Berger, Tom Broderick, Emma Burnham, Ronni Chasen, James Michael Dooley, Gelfand-Rennert-Feldman, Michael Gorfaine, Gavin Greenaway, Harry Gregson-Williams, Alan Horn, Steve Jablonsky, Klaus Kirschner, Robyn Klein, Jimmy Levine, Michael Levine, Henning Lohner, Michael Lozano, Murphy Lynch, Andy Nelson, Heitor Pereira, Che Pope, Troy Putney, Jay Rifkin, Sam Schwartz, John Toll, Pinar Toprak, Rob Williams, Sridhar Yalamanchili, Suzanne Zimmer & the Mini-Z's, Zoe Zimmer, The Media Ventures Sleep Is For Wimps Team & my Mom
Warner Bros Pictures thanks: Rebecca Aguilar, Carter Armstrong, Ivona Belda, Joseph Billé, Eric Bixon, Nick BOnomo, Dan Butler, Jason Cienkus, Suzi Civita, Linda Colianni, Pamela Cresant, Nancy Ferrer, Rose Flowers, Niki Gascon, Kathy Gerhard, Danny Gould, Natalia Jacke, Gita Jackson, John Kirkpatrick, Veronica Krestow, Pearl Lee, Melissa Levine, Lisa Margolis, Melissa Musson, Natacha Quitanella, Sylvia Rhone, Joyce Ryan, Elle Schwartz, Michelle Sparks-Gillis & Bobby Thornburg
Release date : 11/25/2003 HANS ZIMMER: "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!
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.
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.
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.
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.
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.
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.
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." (from Soundtrack.net)
GEOFF ZANELLI: "One of the most important pieces I wrote for The Last Samurai was the ninja attack (4m23 Nite At The Theater - Ninja Attack). I've always had a reputation for writing good action music. My first attempt at the scene was to score it only with percussion, to make the ninjas feel mechanically deliberate and brutal in their precision. It's still largely percussive, but I couldn't stop myself from bringing in a little bit of orchestra from time to time." (from GeoffZanelli.com)
TREVOR MORRIS: "Hans and I were building his new writing studio together around this time. Which was bitter sweet, we both wanted The Last Samurai to be the first project in his new room. It just wasn't meant to be timing wise. Although Hans old room (now occupied by a fellow composer at Remote Control) has like 15+ years of hit movie scores in the walls. So in a way it was odd to see it go.
Ed Zwick, likely the coolest director on the planet, would show up and have a glass of scotch and listen to cues. It was an amazing time for me, I always wanted to participate on a movie like this with Hans, an epic sweeper, the kind of film he does better than anyone else. We recorded Taikos of every size and shape, and watched as Hans bussed them through Pro-Tools and triggered old Analog Modular synthesizers for extra bottom end, to make the ultimate Taikos for use in the score. This process took over 3 weeks straight. It was exciting before he even wrote a note.
Although, myself and his other staff did pitch in and buy him a real Samurai sword for inspiration (which he put over his writing desk during the movie). The joke being he always had a way out if the going got too rough on the score! It resides in his new studio as a reminder of how close we all are to voluntary suicide as film composers.
Anyhow, TLS was one of my first movies doing any sort of musical contribution for Hans. We sat together day after day, working on 12 minute action sequences. I would to arrangements and program the crap out of ostinatos and Taiko patterns until I was blind, things of this nature. It's a memorable film for me, as it reminds the first time I felt like Hans really trusted me musically, which was a big nod from him. And the sort of film composers dream of getting to score, even once in their career.
Here is my favorite cue from the film (3m17 Beating In The Rain), one of the first cues he wrote, and one of the first cues I did any work on (I added 8 bars of low Trombone voicing due to a picture insert change, was a big day for me :). Plus Tom Cruise gets the crap beat of out of him in the rain in this cue, how fun is that to score?
Listen and behold the bottom end of Hans Zimmer (so to speak). If you listen to around the 1:25 mark, you will hear the staggering genius of my trombone voicing for a good solid 9 seconds or so :)." (from TrevorMorris.com)
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What a wonderful movie... The combination score/picture is beyond amazing. Definitely one of my favorites from Hans.
I miss the time when they used to make bold, epic historical movies like this one... and when they used to ask Hans to score them :-(
I miss the time Hans used to write themes and scores for instruments and orchestra, rather than creating electronic soundscapes.
@Anonymous Lone Ranger? Winter's Tale?
Zimson, you are right, I forgot about those two. Though honestly neither of those sound like Hans was involved too much.
Yeah, Lone Ranger was mostly his notes and other's arrangements, I suppose and Winter's Tale was really Rupert GW's thing.
Yes, THE LONE RANGER was a welcome return to Zimmer's orchestra epics.
Shame Zimmer himself doesn't seem very interested in pursuing that direction of his career anymore. Go figure - my favorite score of his in five years and it's essentially a throwaway project (plus a lot of credit for it probably has to go to Geoff Zanelli).
"Yeah, Lone Ranger was mostly his notes and other's arrangements..."
Err... really ? lol
@Hybrid He didn't really want to do it if I remember right and it had 6 additional composers(?). That was just my conclusion. Of course I'm listening to what you have to say on this topic.
Where the heck can i buy a physical copy of The Last Samurai Soundtrack - OST - Special Edition, the one with 2 CDS???
why is everyone speaking about a recording session here? have i missed something? will this really come out? oh god please say yes...........
It is quite the exact opposite of everything that you just posted. Everyone is dreaming about a complete score for this movie due to the influx of so many other complete RCP scores. You have not missed anything--there are no track lists or even rumors that anyone has posted/discussed concerning a complete score for this movie.
Nope, nothing is coming out, unfortunately. Though I do wonder why this complete score/recording sessions hasn't been released yet. It's been around longer than the some other RCP scores that are supposedly somehow being released soon. Well, we'll wait and see.
yes very true. 8 years since i've seen this for the first time and fell in love with this beautiful music. 8 years... how time passes by.
i'm afraid we won't see anything. the recent leaked scores were because of jnh, but hz scores hasn't been leaked for some reason...
So then I wonder why a complete score or recording sessions for Blood Diamond hasn't been released yet, JNH did a fantastic job with that score. I hope it's released, soon.
Interesting, for some reason I always thought the Way of the Sword cue up there (part of "A Way of Life" on the album) was 100% Zimmer. Didn't know Trevor Morris did it, but I guess that isn't surprising.
And you know what, I don't usually post twice in a row like this but this score never ceases to amaze me when I listen to it. Beautiful, brilliant stuff. One of my favorite Zimmer scores for sure.
Well he just did a slight arrangement, adding a trombone if my memory's good... lol That's what he said on his old website...
@Mike Do you even have a source for this? Oh, and thx to hybrid for correcting this post.
Of course I have a source for it....this website has the above-mentioned cue on Trevor Morris' page. That means, whether to a tiny extent or a large one, he was involved with it.
Also in this one "The Final Charge" is a carbon copy of the track "War" from Pearl Harbor.
Very true. Also, the music on the battlefield near the end of the movie sounds, at one point, exactly like the Japanese preparation/attack theme from Pearl Harbor.
Actually, I've asked & even shown HZ the PH / TLS parallel.
Other than he couldn't really remember (it was 10 years ago, and he doesn't spend his weeks listening to PH or TLS like we do, you know...), he admitted there was a Thin Red Line temp in TLS, but couldn't remember any Pearl Harbor.
The PH stuff is actually simply muscle memory, especially when it's done fast like that and no one (music editor & all) warned him how close it was. Anyone who's ever composed a piece of music in his life can understand that, at some point it just, kinda, gets back to the past !
Interesting...I wonder if a Thin Red Line cue was temped in the (AMAZING) "God Save Us" cue from Angels and Demons. The end is almost identical. But then, all composers have near-carbon copies of their previous work. "Father & Son" from Lincoln, for example, sounds almost identical to "Omaha Beach" from Saving Private Ryan at one point.
Yeah but I see what your saying Hybrid It is muscle memory in some of the music I compose a lot of it just comes from a chord progression that sounds real good then I'll go back to listen to an old song and find it similar, and hey that's ok
Oh really? Man I'm relaxed right now after hearing that you've got the same issues with muscle memories. I was pretty shocked after hearing it from Zimmer, but when I read that these things has happened even to you, then everything is good...
I prefer the TLS version to the PH version. It sounds a bit more fleshed out and heroic. So a temp track or copy it might be, but it's also an improvement and it gets a pass in my books. ;)
A guy says "it's time" and everyone begins salivating....Anyone can say it's time. Goodness.
Here we go again pffft.
herp-a-derp! Herp derp derp. hur hur hur a-duh. herp herp ugh!!!
the gullibility of human beings never ceases to surprise me. holy shit.
:( we need this... come on, please you elitists, share it with us too, we just want to enjoy music, beautiful music for our soul and heart. please don't be so cruel and share it :(
I'm about to give someone head for this REAL TALK
Lots of people have got this, someone just needs to post it and be done with it.
It is always the same - people asking about tracklists, loads of comments get deleted, the score gets posted after no more money can be made off of it, a new page is made here, everyone is happy. Why do you we need the drama every time something new comes along?
*lots* of people? set me up dude.
The Last Samurai Sessions
Tracklist: 1M1v3 Opening Titles 1M3v2 The Little Big Horntale 1M5v5 Algren Travels To Japan 1M6s Kagura no Netori (Tokyo Gakuso) 1M8 Boot Camp 2M9v5 Scalping Technique 2M10v8 Just Shoot Me 2M11-12v25 Battle In The Fog 2m13v12 Captured 2M15v3 Sake 3M16v10 Algren Explores Village 3M17v19 Beating In The Rain 3M18v12 Intriguing People 3M19v12 Too Many Mind 4M20v8 Season's Pass 4M21ms A Draw 4M23v13 Ninja Attack 4M24v20 Every Soldier Has Nightmares 5M27v10 Haircut 5M28v3 Ronin 5M29av6 A Change of Heart 5M29bv2 Street Encounter 5M30v1 Arrival of Rickshaws 5M31av4 Convincing Katsumoto To Escape 5M31bv6 Breaking Out 5M31cv11 Safe Passage 6M32-33v7 Battle Preparation 6M34v7 Wear this Armor 6M35v5 To The Battlefield 6M36v8 They Won't Surrender 6M37v16 Warrior Games 7M38-39v2 To the Battlefield 7M39bv4 Casualties 7M40av37 The Final Charge 7M40bc They Are All Perfect 7M41v14 A Small Measure of Peace
TOTAL TIME= 106 MINUTES
It has been leaked. Get it while it's hot.
And now Man of Steel pls :)
Why all the Music in the Special Edition are the cues. Just in a different order
No they are not. certain cues like escape from ship do not appear at all
Forgive my ignorance, bu what are all the numbers in front of the track names? Like "1M1v3" for example. I always wondered about this.
Is "A Way of Life" a suite or a cue? I haven't seen the movie in a while, so I can't remember. I know the beginning of it is used in the opening scenes, but I can't remember beyond that.
IMO this is a suite uniting several segments used in the movie. The problem is the long moment in the movie where Cruise is held prisoner in the village, describes what he sees, and live with them is not entirely filled with music. But I think this part of the movie gives the essential material of "a way of life"
Lol, of course not... it's just a stupid joke from some bloke
im pretty sure A123 said it will be on the 25th
I'm not pretty sure...
You've got a pretty name :) xxx
it won't be leaked today in any time. That was a fake Anonymous. When a score will be leak i post a tracklist. That was a fake anonymous123. Yes, some selected people has the sessions from the last samurai. But, they are using this to trade and get other sessions. The sessions will see the face of the sun but it will take a long time. Just like Titanic and all Harry potter sessions.
1m1 Opening Titles 1m2S Music For Military Band 1m3 The Little Big Horntale 1m5 Algren Travels To Japan 1m8 Boot Camp 2m9 Scalping Technique 2m10 Just Shoot Me 2m12 Battle In The Fog 2m13 Captured 2m15 Sake 3m16A Algren Explores Village 3m17 Beating In The Rain 3m18 Intriguing People 3m19 Too Many Mind 4m20 Season's Pass 4m23 Ninja Attack 4m24 Every Soldier Has Nightmares 4m25 Farewell 4m26 Safe Passage 5m27 Haircut 5m29 One Mind 5m30 5m31C The Escape 6m32 Don't Go 6m33 Prepare For Battle 6m34 Wear This Armor 6m35 To The Battlefield 6m36 They Won't Surrender 6m37 Warrior Games 7m38 Archers 7m39 On The Battlefield 7m40A The Final Charge - Part A 7m40B The Final Charge - Part B 7m40C The Final Charge - Part C 8m41 Small Measure Of Peace
Hmm...not sure if tolling...or being legit. Never even heard the score, so can't say...
Is it just me or does this look...too short? Granted I haven't seen the movie in a while. It might have less music than I remembered.
Well there's no lengths, so we don't know. Is this macak guy actually had this, he'd have posted the lengths. So I've come to the conclusion....TROLLING. I've never even seen the film nor heard the music, so I'm clueless. But I've been told a reel is around 20 min of music
Sadly, I think you're right. It's fake.
Also, 5m30 is untitled. This is bullshit
lol, man, that jips us out of a possibly-better album cover.
I'm sorry, but when someone posts a track list with the modifier "just for the info" you know that they are spouting out a fat sack of shit.
@Mr. Charles: even though I believe this to likely be another troll, just because a track doesn't have a name does not automatically mean a track list is made up. It could just mean the track was unused, and therefore no decent names can be come up for it.
I trust the guy who posted the list at JWFan. Hope it is the real deal and that it'd surface soon. =)
I don't know why you think I'm "trolling". As far as I know all the tracklists posted on this site were legit, and I have never claimed I have what I posted. I just found the tracklist on the internet and wanted to share it here for the sake of information. That's the whole story. I have no reason to believe that this is fake because I found it on a website where it was posted amongst tracklists proven to be legit. But of course, some of you already know this is fake although you haven't heard the score nor watched the movie. Geez...
yeah i've also seen this list on that forum as well. although i have no way of telling whether or not it's actually legit. although i'd imagine the complete score would be...longer. and no doubt it'd be longer for the recording sessions.
macak, don't worry about it. you don't mean any harm. at least now, more people know about that website and maybe someone will get motivated to obtain more info for the complete/sessions... who knows. still, thanks for posting this
This shit's real. And don't hate on macak for sharing the info. Unlike the other assholes waving their "recording session" tracklists around like it's the hottest ticket in town, this guy is merely posting information that has already been found online prior to this.
Errbody chillll ;)
@Mitch: i agree--if he were trolling, he wouldve been waving this tracklist like a big dick and getting everyone all excited and rowdy. by the way how do you know this is real...?
Well if I came off as obnoxious I'm sorry, I just don't want to get my hopes up, I guess. XD
that tracklist ist without all the alternate and unused cues though, that's why its called complete, but it's not a session
I absolutely adore the way you are all CERTAIN of what you say about "sessions / complete / bootleg / promo / recordings"... xD
aaaahahahaha how funny
... not. -.-
Honest question, Hybrid: how do you differentiate?
what creg said.
I think he's laughing because you guys flip out every time a new tracklist of any score is posted......
Because sometimes these tracklists are legitimate.
Because there's NO suck categories !
You just have sessions recorded and then mixed.
Then, you get all of them or some of them, that's all. Most of the time several things are missing.
then why not explaining it from the beginning and not laughing at some guys who don't know about it like a prig.
seriously, that was a dumb-ass behaviour from you and unworthy for a hz.com worker!
if you want to contribute something to this site, then put some informations, explain others what you know and don't show with a finger to someone else and laugh about him!
Let me try (although I am not an expert):
Demos - the music from the composers computer. Created in the computer with the use of virtual instruments. May also contain recordings of some (usually stringed) instruments. The quality is not important here.
Recording sessions - after finishing with composing, these demos (computer mock-ups) get transcribed into sheet music. Then this sheet music gets played by a live orchestra in some acoustic hall (the recording quality is very important here). Also keep in mind that only films with big budgets can afford recording sessions (live orchestra).
Complete - it depends on what you consider complete. Some people consider recording sessions a complete score, others consider recording sessions + other music used as complete, like trailers, modified cues or maybe some other music not recorded by live orchestra.
Promos - used for promotional purposes. They "advertise" the composer to some directors, film studios and other people in film industry to whom the promo score has been given. They usually contain tracks for which the composer thinks are the best. Example: filing candidacy for oscar by giving a promo score to the members of the academy.
Bootlegs - fan-made versions of scores. They usually call them "expanded" and since they are not authorized by the composer, they can contain literally anything: the music from the official release, bad quality tracks ripped from youtube, music from DVD or blu-ray releases (they are usually accompanied with sfx), etc. Alterations, transpositions, modifications (like adding "epic drums" in order to make the track more "epic") and other immoral things may also be found. And of course, "mixing" two or more existing tracks together just to bloat the running length is very common. All in all you need a good ear to differentiate a good quality bootleg from a poor quality one.
The end :)
@Macak : Bootlegs are simply versions that are not commercially available / not meant to be available. This can be either expanded/complete/recording sessions. Once it's available on the internet, it may of course contain bad material such as DVD/BR rip with SFX, cues used twice etc... depending on the people putting their hands on it first.
I think there's a lot of fuss when it comes to the comparison complete score / recording sessions. Complete score literally means "all the music used in the movie", when Recording sessions are more about "everything that was recorded for the movie" (complete score + alternate material/demo music/trailer music/unused cues...), though I already got recording sessions that were labeled "complete scores" for exemple. I'd say it's the same thing, more or less.
I even have "complete scores" that are incomplete, but everybody labels them as complete as the most important cues are available on it !
I'm with Dawn on this one. Think about it, the recording sessions is when the entire orchestra sits and records all of the cues. It's a session. The complete score is strictly everything used in the film. Nothing more, nothing less. (More or less, anyway). The complete score is sourced from the recording sessions.
Example: Superman Returns. The complete score is 58 tracks, white the sessions has 75 tracks
then i dont know why this hybrid kid is lml'ing about our use of terminology when what i said, at least by your definition (of recording sessions), makes perfect sense.
and yeah, i go by the same definitions as you just explained.
I think hybrid soldier wasn't laughing at the terminology, but more about conjectures people are making based on a tracklist.
This tracklist might be the real thing, time will tell. Rare things will eventually show up. Try not to be too harsh about this hybrid guy, there are many things going on "in the dark of the web" and many people trading rare unreleased material. All the mysterious trading/sharing is necessary for things to spread, and we'll all have an answer soon or late.
on facebook, hans have uploaded a track from the last samurai. why have he done this?
a sign for an expanded release? just to look if there are any interest with that track and how people react? god please, release an expanded or an recording session. this score is just too beautiful to be only 59 minutes long :(
I do not think it is up to God to release an expanded or an recording session. It may not even be up to Hans Zimmer, himself. Who knows, in this wacky and crazy world?
You know, just because a CD's running time is shorter than that of the movie that doesn't universally mean they took lots of good cues out of the album. I have watched this particular film several times and, in my personal opinions, all the cues that stand out in the movie are either already on the commercial disc, or on Geoff Zanelli's website. Sure enough, I can think of some sequences in the movie with music not available at all, but can you name a particular scene with "beautiful" music that's not on the CD already? No disrespect is intended, of course. Just curious, coz I think this CD is easily the best album Hans Zimmer has compiled in his career.
i haven't analyzed the movie now for a long time, but what i would like to hear are the scenes where he remembers about the past, having those nightmares, the scene where he screams to have some sake, where he arrives at tokyo, the scene where algren plays with the kids that kind of baseball - there is a beautiful alternate ending, etc.
and who knows what alternate cues there exists... i just want to hear and enjoy it in his full-beauty.
the same goes to the thin red line. hans has written with his team more then 7 hours of music for this movie. and what did we get? a shame!
Why can't they just leak this already?? I imagine there's at least two hours of sound they recorded for this film, and that's discounting what they released commercially.
I would still pay good money for the sessions...why don't they just sell it online? Seriously, what's there to lose if they just sell all of it online for money...? I'd buy it in a second.
The answer is simple, Sean. Posts like that of yours are giving certain individuals the impression that this is one valuable asset that they can profit from. Who'd leak such a thing? So do us all a favor: PLEASE, stop complaining. Hopefully La La Land or another label can sort it out with Warner Brothers soon. Personally I'd rather wait longer for a nice treat from a record label than beg those elitist bastards for new music.
@Anonymous: I'm not complaining, I'm just asking why the record companies don't release it via iTunes or Amazon, since there's no expense for manufacturing CD's and the logistics for distribution. It's only profitable for them--I'm assuming that I'm missing a bit of info relevant as to why they don't do this. And just to clarify, I'd wait ten-plus years for a complete release before getting onto my knees and start pathetically pandering to "elitists" who dangle music over everybody's head because they feel that their little ego needs stroking and they like to think they're special.
I've seen the movie yesterday again and the music was soooooo beautiful. please please, release an expanded version =(
i think it will never come out. those elite people won't let it go.
how do i get in touch with those elite people?
You don't, that's how. Most likely, you may bump into one accidentally and they may or may not have what you're looking for.
God damn, I would PAY for those scores. Why can't they just release them... :(
i am with you man. Instead of those uncomplete crappy original soundtracks, just releasing the recording sessions. THAT is what fans wanting and they could earn a lot more money instead of those uncomplete ones -.-
Now, see, that's where you're wrong. Casual movie-goers, and casual listeners of movie scores far outnumber the folks like us. There is a much larger market out there for them--for those who just want to get a snapshot of the score and then move on. There are not so many people who want the whole complete score.
They would not earn a lot more money if they simply released recording sessions or complete scores; rather they would only satisfy a small minority of their followers. The larger scores would likely cost more than the typical $15 (U.S.) OST range, and those casual listeners wouldn't care enough to buy it. Hell, we probably wouldn't care enough to buy'em either; we'd wait for someone to upload it and share it for free. It's sad but it is the truth.
This is one of those times that a picture of an alternate parallel reality comes to my mind--one in which complete scores to movies are actually a common thing. Wouldn't it just be so cool if you could reach through a gate to another universe and get all the scores to fulfill your heart's desire?
> Hell, we probably wouldn't care enough to buy'em either; we'd > wait for someone to upload it and share it for free. It's sad but > it is the truth
Nice... if you are a fan you could at least buy them to support the artist and labels.
That's weird...you quote stuff just like someone I know...
Yeah, if money wasn't an issue, I would totally buy stuff to support the artists and labels an whatnot. Not that I really think money is an issue for me--I haven't had much experience in buying scores, if you know what I mean. As I said, this just isn't the world to be in if you're a person who greatly enjoys the full score to a movie.
"...this just isn't the world to be in if you're a person who greatly enjoys the full score to a movie."
Sad but true.
actually the composers are earning SO much money, so they don't care about a score release, when it comes to earn some money through those releases.
I don't ask for any CD release etc, but make them available through a download, like itunes etc. there are a lot of people who are interested in what was composed for the movie. all the ideas, variations, new stuff, etc.
it would be really a parallel universe, a paradise, if composers would release every work as a recording session.
but until the paradise comes... WE WANT THE LAST SAMURAI as a RECORDING SESSION.
why can't any of those "elite" guys have a heart for us =( pleaeese...
there is an expanded cue in the movie where nathan plays with with the children in the village. the ending is so beautiful, but not in the score cd. why don't we already have an expanded version of this?
it was his 100th score. so beautiful scores are only as originals out there, but no expanded etc.
would love to have a recording session of this, would pay good money for this!
So would I. I would pay very GOOD money for the recording sessions.
i've heard that a recording session will be out very soon.
keep watching. ;)
i've heard that people like to make up a bunch of bull-honky.
[don't] keep your hopes up.
[Recording Sessions don't just *come out*. They usually get leaked by someone who doesn't know what all is going on. People can't usually foresee when a full score is going to "be out very soon"--especially if it is from RCP.]
Oh... : Well could you tell me how exactly stuff gets leaked and where from? And what do you mean "by someone who doesn't know what all is going on"? I'm not 100% on how this stuff works when it comes to scores like these.
It is all very complicated. I still don't understand largely what all this means. However, if you are after a complete score to something from RCP, you are not just going to happen across it somewhere on the internet. They do not exist on the internet.
Sometimes a guy is given permission to upload a rare score by the superiors from whom he got it. Other times, a guy will share something he will think is safe to share, and then his superiors freak out.
There are many other people who frequent this website who could provide you with a much more solid explanation.
lol Yeah I see, if this was floating around on the Internet, I would have it by now :P I think you forgot to mention that the guys upstairs give the sharer a foot in the ass once they find the leaked material...hahaha Thanks though...I hope someone does leak it soon.
after King Kong and Pirates 4 Recording Sessions... it is time for THE LAST SAMURAI RECORDING SESSIONS! Come on guys, bring it oooon! :)
yes please, ... does that even exists?
sure. everything exists anywhere!
Yes, PLEEEASE a release for the recording sessions for The Last Samurai! p.s. Where can I find the Pirates 4 recording sessions?
As I mentioned for Dead Man's Chest, the On Stranger Tides Demos reside in the same place as the Dead Man's Chest expanded score. On a Shrine in your fantasies. Use Google, it's your best friend in this instance.
Ahh haha ;) Yeah I got it from that Shrine just a few hours ago. Thanks
@ Hybrid Soldier: Any chances on getting a recording session or complete score from TLS? Or maybe also The Thin Red Line? Shame that these two beauties didn't get that much love as many others. Maybe you can get again in touch and see how the chances are for these two? :)
I think Morris was some sort of overall music arranger, working on a LOT of cues, but mainly to add drums here, brass there etc... Because the "sound" of TLS is very close to King Arthur (which Morris co-wrote & co-produced) or recent Morris things like Pillars Of The Earth... ;)
Neely & Zanelli actually wrote cues on their own using Hans themes & style, even writing subthemes (like that Sake theme for Neely)... Ninja Attack is 100% Geoff...
You also have to keep in mind that all these guys (HZ, Geoff, Blake and a bit less Trevor) were working AT THE SAME time on POTC 1... Starting a cue for TLS right after finishing a POTC one... :P
Zanelli had two cues from TLS on his website : The Final Charge & Ninja Attack. A while ago, Blake Neely had a cue called "Sake" on his website and, if I remember correctly, it was the beginning of OST track 3.
As always, we don't know what means those credits, did Zanelli & Neely made those cues all by themselves or did they helped Hans finishing the job ? For exemple, Trevor Morris had a cue of TLS on his website, and he explained that this cue was all Hans, but he was asked to add some brass in the background... It's far from a "composing task" !