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And as far Zimmer scores that I don’t like for the most part, there is a small handful (Madagascar, MI2, etc.)That’s completely fair, and I honestly couldn’t defend this score and be genuine about it. I think it does help that I love this movie (despite being hard to watch) and have come to associate the music with it so much. Still, I can’t lie that I find portions of it to be incredibly effective, even when the music does become solely ambient. In terms of listenability/originality the best cue is, ironically, the 24-second “Washington” cue.<br><br>I would kill to know what Zimmer personally thinks of this score. I’m sure he had a great working relationship with Steve, hence him working on “Windows”, but I’m sure the temptrack must have been murder on his creativity...This is my least favorite Zimmer score, actually. Or else the one that I feel has the least going for it; I guess it doesn't make me mad like On Stranger Tides, but at the same time it lacks anything even remotely compelling. "Boat Trip to New Orleans" is the only halfway interesting cue and even then I don't really like to listen to it much. The experimental parts aren't interesting experiments (ooh...clapping...wow), and the Journey to the Line stuff is just tired and bland (on top of being super derivative). I get that it works in the movie or whatever but if I had a gun to my head with orders to delete one Hans score from my library and never listen to it again, I'm pretty sure this would be the one I'd go for.Even 5 years later, I’m still not sure how I feel about this score. <br><br>On one hand, the music complements the film extremely well. “Boat Trip to New Orleans” and “Soap” are both incredible in context, and even some of the more ambient cues are pretty effective. Alongside Interstellar probably Hans’ most minimilastic score, something which actually suits him well.<br><br>On the other hand, the Time/Journey to the Line temp is extremely blatant, and it definitely doesn’t help that 60% of the music used in film is basically a variation on that one idea (and some cues are purely sound effects). I still admire the score though, regardless of the familiarity issues.<br><br>With Windows coming out I’m very curious to see what approach will be. Personally, I like seeing Zimmer tackle a project with minimalism. Hopefully McQueen (who is a very talented director) doesn’t box Hans in with another TTRL temp... or any temp for that matter.Are you going to visit Russia?!) We are waiting for very much!)
He posted it before this site added the tracklist.Did you just copied and paste the tracklist above? lmaoThe reprise of "Batman on Fire" from Begins (1:59-2:30 in the Transfiguration suite) is good stuff! I wonder why Hans decided to reuse that particular idea.When are we going to see you in Chicago?Indeed, this score reminds me — in a good way — of The Rock.
Track 11, Onwards, here is my most favorite cue from the CoH franchise. It has that old school "power anthem" thing going on about it with full force. I truly wish this style is brought back to life again soon.Are there any more tour dates planned?Lord of the Rings - Shore<br>Battlestar Galactica - McCreary<br><br>Both are up there as my two favorite collection of works. GOT doesn't even compare to BSG. <br><br>For solo albums, my candidates are:<br><br>Titanic<br>The Lion King<br>Interstellar<br>Memoirs of a Geisha<br>Jurassic Park<br><br><br> <br><br>@superultramega<br>Honestly I feel like most of the issues with AUJ (and the other two hobbit films) were stemming from Peter Jackson editing the hell out of the music after the fact. It could be why they ended up dumping some themes in the following films.<br><br>Still, I don’t understand some of the criticism that the Hobbit trilogy scores received. DoS has some of the best action material imo, and the interpolations of Smaug’s theme(s) throughout the films are personally some of my favorite music from any LoTR project.<br><br>And this might be controversial, but I would put PoTC (the first three at least) on the level of Lord of the Rings in terms of the sheer amount of themes and development they receive. Maybe not quite as complex but they shouldn’t be overlooked.The Lion King and The Last Samurai are good choices, but I'm not as much of a fan as Zimmer's aesthetic or thematic work nearly as much as Howard Shore, or even Jablonskly at times. Game of Thrones I still can't comment on as I've never watched the show, or payed attention to Djawadi in general.<br><br>I would say Shore's heart wasn't in Desolation and Five Armies, but to say that about Unexpected Journey doesn't really feel right to me. Even themes like Gondor Restored and Nazgul's uses have some logic to them. <br><br>Gondor Restored was also used when the Ring is destroyed, meaning it also has a secondary meaning of victory against evil, (yes I know it affected Gondor too, but Gondor it isn't as direct). Which also applies in The Hobbit, as Bilbo saving Thorin was not only important for their relationship but also the future of Middle Earth as Thorin is vital to the battle against the orcs in Five Armies. <br><br>The Nazgul theme also makes sense as its first appearance is in Fellowship's opening, playing over Sauron's army of orcs, then Sauron himself. So it's linked both to Sauron himself and his servants, which includes Azog. Plus the version that plays in the film is the exact same variant (and lyrics) that plays in the Fellowship prologue. It serves almost as a precursor to the Nazgul. Plus I don't see why themes can't have several meanings anyway.  <br><br>Plus I love most of the new themes of AUJ (before they were abandoned in later films).
Not really a fair comparison, Hybrid, since videogames as a medium are much younger than films, and their scores weren't using real orchestras right until... mid 90's, would be my guess (feel free to correct me, guys).<br><br>The all time best film score for me would be a battle between The Last Samurai and Lion King. If "movie" includes TV shows, then it's Game of Thrones without a doubt, but I'm not gonna have this argument again ;)<br><br>Btw. I wouldn't mention Hobbit in the same sentence with LotR, even music-wise. A couple of great cues cannot hide the fact that Shore's heart wasn't in it.IS * lion kingBest film score of all time in lion king. Without any doubt. ;-)Can I just add, the album presentation for MW2 is really lame? It's a big, dare I say "epic" score in the 1990s Media Ventures mold. I think it's really solid. There are lots of different ideas from the first mission to the last, and a lot of them are written in the power anthem style that Hans ans co. don't really use much these days. Even Opening Titles is a throwback for Hans himself. <br><br>Unfortunately, almost none of the music as heard through the game is here. Instead, we got a bunch of shortened theme suites. :P<br><br>But the Gulag mission, the oil rig stuff, The Enemy of My Enemy, and lots of other missions all have pretty engaging and powerful music. I wish the RCP guys would do scores like this one more.Lord of the Rings (and even The Hobbit), are the only film scores that I'm buying an entire book for, just to fully understand the themes and motifs.
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Harry Gregson-WilliamsJohn PowellJames McKee SmithToby Chu
ComposerComposerAdditional MusicAdditional Music
Shrek (Complete Score)
Label: Unofficial Release
Length: 53'56
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (2860 votes)
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  1. Fairytale (1:28)
    Harry Gregson-Williams, John Powell
  2. Ogre Hunter (0:44)
    Harry Gregson-Williams, John Powell, Toby Chu
  3. Fairy Deathcamp (0:53)
    Harry Gregson-Williams, John Powell, Toby Chu
  4. Flying Donkey (2:53)
    Harry Gregson-Williams, John Powell
  5. Big Awkward Silence (0:39)
    Harry Gregson-Williams, John Powell
  6. Eating Alone (1:16)
    Harry Gregson-Williams, John Powell
  7. Whaaat? (1:28)
    Harry Gregson-Williams, John Powell
  8. Big City Adventure (0:54)
    Harry Gregson-Williams, John Powell
  9. March Of Farquaad (0:43)
    Harry Gregson-Williams, John Powell
  10. Magic Mirror (0:20)
    Toby Chu
  11. The Perfect King (1:16)
    Harry Gregson-Williams, John Powell
  12. Duloc Muzak (1:00)
    Harry Gregson-Williams, John Powell
  13. Welcome To Duloc (0:34)
    Hope Levy, Jill Bogard, Mike Himelstein, Eric Darnell
  14. Tournament Speech (0:50)
    Harry Gregson-Williams, John Powell
  15. Champion Shrek (0:24)
    Harry Gregson-Williams, John Powell, James McKee Smith
  16. What Kind Of Quest? (0:25)
    Harry Gregson-Williams, John Powell
  17. Smells Like Brimstone (0:31)
    Harry Gregson-Williams, John Powell
  18. The Castle (1:38)
    Harry Gregson-Williams, John Powell
  19. Dragon! (1:36)
    Harry Gregson-Williams, John Powell
  20. Fiona Awakens (0:33)
    Harry Gregson-Williams, John Powell
  21. One Of A Kind Knight (1:19)
    Harry Gregson-Williams, John Powell, James McKee Smith
  22. Saving Donkey's Ass (0:43)
    Harry Gregson-Williams, John Powell, James McKee Smith
  23. Escape From The Dragon (1:56)
    Harry Gregson-Williams, John Powell
  24. Helmet Hair (2:11)
    Harry Gregson-Williams, John Powell
  25. Delivery Boy Shrek (0:21)
    Harry Gregson-Williams, John Powell
  26. Making Camp (0:28)
    Harry Gregson-Williams, John Powell
  27. Constellations (1:00)
    Harry Gregson-Williams, John Powell
  28. Starry Night (0:57)
    Harry Gregson-Williams, John Powell
  29. Singing Princess (1:36)
    Harry Gregson-Williams, John Powell
  30. Better Out Than In (0:19)
    Harry Gregson-Williams, John Powell
  31. Merry Men (0:43)
    Vincent Cassel, Kirby Tepper, Andrew Adamson, Conrad Vernon
  32. Fiona Kicks Ass (0:27)
    Harry Gregson-Williams, John Powell
  33. Fiona's An Ogre (2:59)
    Harry Gregson-Williams, John Powell
  34. Sunflower (0:48)
    Harry Gregson-Williams, John Powell
  35. I'll Tell Him (1:09)
    Harry Gregson-Williams, John Powell
  36. Why Wait To Be Wed? (1:35)
    Harry Gregson-Williams, John Powell
  37. You Thought Wrong (0:23)
    Harry Gregson-Williams, John Powell
  38. Ride The Dragon (1:33)
    Harry Gregson-Williams, John Powell
  39. I Object (1:52)
    Harry Gregson-Williams, John Powell
  40. Transformation (1:50)
    Harry Gregson-Williams, John Powell
  41. You Are Beautiful (1:41)
    Harry Gregson-Williams, John Powell
  42. Is It You (I Have Loved) (3:59)
    Dana Glover, Harry Gregson-Williams, John Powell, Gavin Greenaway
  43. Fairy Tale Theme (1:44)
    Harry Gregson-Williams, John Powell
  44. Starry Night (Alternate) (0:58)
    Harry Gregson-Williams, John Powell
  45. Singing Princess (Alternate) (1:40)
    Harry Gregson-Williams, John Powell
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Cameron reply Replies: 0 || 2018-05-15 20:14:33
Has anyone noticed that the version of "I'll Tell Him" heard in the film is different than the OST? But there's no alternate listed here.

Bayhem reply Replies: 1 || 2018-05-15 12:28:43
I still remember how some people (critics, ugh!) were "complaining" that the Rabin's theme from Deep Blue Sea was very obviously re-used during the dragon sequences in Shrek.

I mean, yes, it kinda reminds me of Rabin's cue, but listening to the tracks now, it's certainly not as bad as some people made it out to be. Overall, I really like what Powell and HGW did with the Shrek score.

Speaking of Shrek, I really hope HGW returns for the upcoming fifth movie. Oh, who am I kidding - Lorne will probably steal this one as well.....lol.

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Edmund Meinerts2018-05-15 14:56:16
I mean, it's a four chords theme...there have been literally hundreds of those written over the years, it's hard to say which ones are ripping off which.

Marty McFly reply Replies: 0 || 2015-11-03 16:35:20
Will the complete score for Shrek 2, Shrek the Third, Shrek Forever After or not?

... reply Replies: 0 || 2013-10-14 16:29:47
May we have a track list?

Anthony reply Replies: 0 || 2006-11-24 00:00:00
All the extra stuff is just chopped up release material. Nothing worthwhile here.

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Shrek (Complete Score) soundtrack - Harry Gregson-Williams - John Powell 2001