"Tell Me Now (What You See)" Written by Hans Zimmer & Moya Brennan Performed by Moya Brennan Produced by Trevor Horn & Mel Wesson
Music Composed by Hans Zimmer
Featured Vocalist: Moya Brennan Soundtrack Compiled by Slamm Andrews Additional Music by Nick Glennie-Smith & Rupert Gregson-Williams Orchestra Conducted by Nick Glennie-Smith Choir Conducted by Rupert Gregson-Williams Choral Music Arranged by Rupert Gregson-Williams & Alastair King Music Recorded by Nick Wollage & Geoff Foster Music Mixed by Al Clay Technical Assistant: Mark Wherry Music Editor: Mike Higham Assistant Music Editor: Justine Angus Music Recorded at Air Lyndhurst Studios & Abbey Road Studios, London
Music Mixed at Air Lyndhurst Studios, London
Assistant Engineers: Jake Jackson, Olga Fitzroy, Adam Noble & Jimmy McLuckie
Music Coordinator: Beckey Bentham, HotHouse Music, Ltd. Musician Contractor: Isobel Griffiths Orchestra Leader: Gavyn Wright Choir Mistress: Jenny O'Grady Choir: Metro Voices Drum Programmer: Mel Wesson Choral Music Preparation: Alastair King Music Preparation: Vic Frasier & Ann Banard Mastered by Pat Sullivan at Bernie Grundman Mastering
Executive Soundtrack Producer: Jerry Bruckheimer Soundtrack Album Producers: Bob Badami & Trevor Morris Executive in Charge of Music & Soundtracks for the Buena Vista Motion Pictures & Music Group: Mitchell Leib Music Production Supervisor: Monica Zierhut Director of Soundtrack for the Buena Vista Music Group: Desirée Craig-Ramos
Special Thanks to: Jerry Bruckheimer, Antoine Fuqua, Pat Sandston, David Abdo, David Agnew, Lesley Allery, Laurie Andersen, Bob Badami, Lorne Balfe, Colette Barber, Jeff Biggers, Connie Boylan, Leon Brennan, Tom Broderick, Ken Bunt, Alison Burton, Bob Cavallo, Ronni Chasen, Dick Cook, Charlie D'Atri, Christy Dean, Nancy Dolan, James Dooley, Craig Eastman, Curt Eddy, Kris Ferraro, Eric Ferris, Justin Fontaine, Kaylin Frank, Vicki Gabor, Tami Goldman, Michael Gorfaine, Emma Gregson-Williams, Bruce Hendricks, Scott Holtzman, Ryan Hopman, Nina Jacobson, Steve Jablonsky, Carolyn Javier, Dorothy Joo, Enny Joo, Robyn Klein, Alison Koerper, Abbey Konowitch, Sylvia Krask, Becky Mancuso-Winding, Brian Martin, Moanike'ala Nakamoto, Blake Neely, Carolyn Norman, Kevin O'Connell, Deb Paris, Chris Phife, Tony Pleeth, Gina Polcaster, Martin Robertson, Sam Schwartz, Steve Scramuzzo, Fred Selden, Dave Snow, Sharrin Summers, Lori Tedds, Martin Tillman, Ryan A. Watkins, Don Welty, Keith Wilson, Reggie Wilson, Andrew Zack, Suzanne Zimmer & the "Mini Z's", Zoe Zimmer & Brigitte Zimmer
Release date : 07/27/2004 TREVOR MORRIS: "Of all my times writing additional music and arranging for Hans, this score was the most memorable. Some for good reasons, some for how hard it was to cross the finish line. We actually moved to London for 6 weeks to finish this score. We set up studios in all the spare rooms we could find at Air Studios in Hamstead. Myself and a team of people built make shift writing suites in the photo copy room above the Cantina, in old dub rooms, anywhere we could fit. We had to employ a woman's touch to spruce up the rooms, give them some vibe. So we made up a budget, like 200 pounds or something, and sent some staff from Air off to buy candles and drapes and pillows, anything to help vibe up the rooms.
Antoine Fuqua the director and Jerry Bruckheimer would come in, sit on the dusty couches and listen to cues. Hans and I would make adjustments and fixes and then they would make their way to the scoring stage, just down the stairs. Kind of a cool way to work actually.
"King Arthur" was one of the first movies where I felt Hans really trusted me completely, and we worked together closely on it. I also got to, by nature, really witness in amazement Hans' ability to come up with "the big idea". He played me a single piano line, a dirge, and turned to me and said "there's Reel-7". I laughed out loud, then realized he wasn't kidding. Everything came from that one idea, it was an amazing thing. Hans and I would each vamp on his composition, he'd work then lay on the couch and I would jump in and work, which sparked an idea in him and he would jump back in, and on it went. A fun collaborative process with one of the greatest film composers of all time LOL.
There's a reason Hans is who he is, and the fruition of a big idea is it. Helping write and arrange along side him on this movie and specially this cue (7m44c Final Battle Pt 3), showed me the power of a great idea in a way I never thought of before. Hard to believe this cue germinated from a single piano line, amazing.
We arranged together Hans' idea over the span of weeks (if not months) and I had a blast just running with it. And having access the size of orchestra Hans gets on his films is enough to make any composer smile, very big.
Have a listen, the "piano line" Hans wrote is stated right at the top of the cue. Then sit back and behold the power of London's finest Orchestra & Choir." (from TrevorMorris.com)
MEL WESSON: A dark, earthy, interpretation of the Arthur legend, this was never going to be a tale of knights in shining armour. Hans Zimmer had come to London to provide the score. I handed over various tribal rhythms which we expanded with live percussion. A few weeks later we pushed the ideas further at Hook End Manor, with eight percussionists in a field...interesting!
The end titles song grew out of one of Hans's themes, I figured out an arrangement, Moya Brennan of Clannad wafted a few lyrics over the mixture a few days later Trevor Horn came onboard and ran off with it down the power balled road! At Hans's suggestion the production credit was split between Trevor and myself, a nice gesture. Finally, the Stonehenge scene was always going to bring back visions of another legendary British institution." (from MelWesson.com)
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Hybrid, did you ever get the chance to speak about this score with Hans? It is in my opinion one of the (if not THE) most epic stuff he's written, but curiously I've never heard him mentionning it in any interview. And it wasn't featured during the Revealed concerts (the most notable omission, along with The Last Samurai). Didn't he enjoy doing it? Or is it just because this movie has a bad reputation?
I'm asking this because I'm curious, and because I just replayed it for the first time in several weeks, and it blew me away (again).
I personally like this film a lot and of course the score (Well when you have a score done by Hans with Jablonsky, Morris, Dooley, NGS, RGW, Blake Neely, it's not exactly the ugliest team who worked with Hans ! :D).
I did mention him this score last year, he told me he wrote some suites for it (which are unreleased) which he likes a lot. Not sure he's a huge fan of the film though, the track title "All Of Them!" is actually a joke about a scene that got cut which just made no sense, where Arthur was asking how many saxons were there and he got as an answer "All of them !", and the scoring team had quite a good laugh...
I think this is one of the most underrated scores in the Zimmer canon, some of his most unadulterated BIG action writing. I see it kind of as a badass take-no-prisoners sibling to the more calm, reflective Last Samurai. I wish (but doubt) that Hans would return to this mode sometime soon.
It really is the incestuous son of POTC 1 & Last Samurai... And it's direct son is POTC 2... lol
Edmund, I like your comparison with TLS, so true!
Hybrid, thanks for taking the time to answer :-)
I would love to be able to perform an Inception on Hans, to make him add "Budget Meeting" to his next tour's setlist :p
Dr. D. Cobb
If you are interested, contact Mr. Charles at 528491, Limbo Street, at 4:35 p.m. precisely. Be on Time.
Budget Meeting is a fantastic piece of action music as the second half of Woad To Ruin. Both have a fantastic combination of rhythmic percussions and wonderful melodic string parts. good old rcp action music. would love to hear hans doing such music again.
Lars, you pointed out exactly what I love the most in this soundtrack. By the way, do you like the track "If you love these people" from MoS? It gave me exactly the same sensation as King Arthur (powerful rythmics and majestic melody).
Anyone hear "Hello Beastie" From POTC 2 in the last part of "Do you think I'm Saxon"
Not saying anything bad, Hey if you wrote it you are allowed to use it as much as you want.
More like the other way around. And yeah, I've always wondered why more people don't pick up on that. It's like three straight minutes of copied material.
another interesting similarity, is the fact that "Hold The Ice" has some portions that sound a lot like "Davy's Death" from "At World's End" recording sessions.
Yeah...At World's End owes quite a bit to King Arthur, actually. The beginning of "One Day" is quite similar to the very beginning of the first cue of KA. Davy's Death you mentioned. There's also a tiny little duduk theme in AWE's "Bootstraps/Elizabeth Locker" at 1:19 that's out of KA as well!
Coincidentally, those two are among my Top 3 Zimmer scores (Prince of Egypt is the third).
this movie is the most shitttest movie on earth i have ever seen
You talk out ya arse, its one of the best.
Congratulations on replying to something that's almost a year old.
Areozz you are the biggest condescending prick ever! lol Who cares when he replied!
Way to overreact, genius. Take a step back and look at yourself...Look at yourself in the mirror and think about what you've been doing this whole time. Does it feel good to call people names? Do you get a rush out of it?
Less hate more love
I have noticed there have been rude comments 'round here at times. I love to use this site for Hans Zimmer and RCP info. Sad people come here to hate ^_^ #RCP for the win
lol, I just listened to this score for the first time since it came out and straight away I wondered if Jablonsky worked on it. Sure enough, he did. He's so versatile, this sounds almost nothing like Transformers xD ahahaha
Caitlin,i think the song is awesom,too bad disney is behaving like this.they will gain nothing by keeping the song unreleased,instead someone should persuade disney to release the song by any means like threatening to boycott their work and also that the song will earn them nothing like this but may make some disney fans to turn away from them.
They didn't include the best song "Song of The Exile (We Will Go Home)" because Hans-Zimmer didn't write it, instead it was written by Caitlin Matthews. I'd guess it was either a songs rights or credits discrepancy that prevented it's inclusion.
This is, IMO, one of Hans Zimmer's greatest scores... just listening to the start of 'All of Them!' sends me off into some strange trance-like state where I can feel all my hairs stand on end... the voice, the ominous synth notes playing in the background... I'd buy the CD just for this one track. May you continue your genius work for many years to come, Hans! =)
Great music, as always from Hans Zimmer, I like it a lot! it's a shame the song of exile wasn't recorded on the CD, still a great soundtrack! I am looking forward to every new film featuring Hans Zimmer's outstanding soundtracks!
@ Vladan Gecin: I hear you, would like to know the orchestra that played the soundtrack as well and King Arthur isn't the only one where it isn't named. However, I think in this case it was the Lyndhurst Orchestra.