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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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Additional Music
Harry Gregson-WilliamsHalli CautheryMatthew MargesonDavid Buckley
ComposerAdditional MusicAdditional MusicAdditional Music
Prince Of Persia - The Sands Of Time
Label: Walt Disney Records
Length: 66'19
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 (15944 votes)
  1. The Prince Of Persia (5:20)
  2. Raid On Alamut (6:32)
  3. Tamina Unveiled (2:34)
  4. The King And His Sons (2:59)
  5. Dastan And Tamina Escape (4:31)
  6. Journey Through The Desert (2:55)
  7. Ostrich Race (0:59)
  8. Running From Sheik Amar (3:27)
  9. Trusting Nizam (4:37)
  10. Visions Of Death (1:46)
  11. So, You're Going To Help Me? (2:20)
  12. The Oasis Ambush (1:54)
  13. Hassassin Attack (2:59)
  14. Return To Alamut (3:05)
  15. This Is No Ordinary Dagger (4:39)
  16. The Sand Glass Chamber (3:09)
  17. Sands Of Time (3:58)
  18. Destiny (3:38)
  19. I Remain - Alanis Morissette (4:57)
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SCORE reply Replies: 0 || 2015-09-24 00:56:13
Tracklist Sessions

01.- 1m1 Opening
02.- 1m1 Opening edit
03.- 1m2 Roof Escape
04.- 1m2 Roof Escape edit
05.- 1m5 Alamut Treachery
06.- 1m5 Alamut Treachery edit
07.- 2m6 I Must Pray
08.- 2m6 I Must Pray edit
09.- 2m7-8 Climbing The Wall
10.- 2m7-8 Climbing The Wall edit
11.- 2m9 The Victory
12.- 2m9 The Victory edit
13.- 2m10 Dagger Lost And Found
14.- 2m10 Dagger Lost And Found edit
15.- 2m11b Tamina Unveiled
16.- 2m11b Tamina Unveiled edit
17.- 2m11c Tamina Sees Knife And Dastan edit
18.- 2m14 Angry King
19.- 2m14 Angry Kind edit
20.- 2m16 Kill Tamina edit
21.- 2m17 Dagger Sting
22.- 3m18 A Great Man
23.- 3m18 A Great Man insert
24.- 3m18 A Great Man edit
25.- 3m20 Escape
26.- 3m20 Escape edit
27.- 3m22 River Rewind
28.- 3m22 River Rewind alt front
29.- 3m22a River Rewind A
30.- 3m22a River Rewind B
31.- 3m22a River Rewind C
32.- 3m24 Walk And Talk
33.- 3m24 Walk And Talk alt mix
34.- 3m24a Walk And Talk A edit
35.- 3m24a Walk And Talk B edit
36.- 4m32 Ostrich Race
37.- 4m32 Ostrich Race alt mix
38.- 4m32 Ostrich Race edit
39.- 4m32a Waitress Tamina
40.- 4m32a Waitress Tamina edit
41.- 4m35 Over Here!
42.- 4m35 Over Here! edit
43.- 4m38 Kings Coffin
44.- 4m38 Kings Coffin edit
45.- 4m40 Market Chase
46.- 4m40a Market Chase A edit
47.- 4m40a Market Chase B edit
48.- 5m44 Visions Of Death
49.- 5n44a-45-44b Visions Of Death-Training
50.- 5m45 Hassansins-Sanctuary
51.- 5m45 Hassansins-Sanctuary edit
52.- 5m47 Sands Of Time
53.- 5m47 Sands Of Time edit
54.- 5m49-50 Ostrich-Snake Attack
55.- 5m49 Ostrich edit
57.- 5m52-54 The Hassansin Attack
58.- 5m52-54 The Hassansin Attack edit
59.- 6m55 Cave Whip Fight
60.- 6m55 Cave Whip Fight edit
61.- 6m56-59 Back To Almut
62.- 6m56-59 Back To Almut edit
63.- 6m70 Seso Fight And Death
64.- 6m70 Seso Fight And Death edit
65.- 6m71-74 Tus Uses The Dagger
66.- 6m71-74 Tus Uses The Dagger edi
67.- 7m75 Sand Drain
68.- 7m75 Sand Drain insert
69.- 7m75 Sand Drain edit
70.- 7m77 Dastan Fights Nazam
71.- 7m77 Dastan Fights Nazam edit
72.- 7m78 The Fall & Final Battle
73.- 7m78 The Fall & Final Battle edit
74.- 7m81 Nazam Exposed
75.- 7m81 Nazam Exposed edit
76.- 7m82 Nazam Over The Edge
77.- 7m82 Nazam Over The Edge edit
78.- 7m83 Walk With Me
80.- 7m83 Walk WIth Me ALT ending
81.- 7m83 Walk WIth Me ALT edit
82.- 7m84 Tail Montage edit
83.- 7m85 Tail Montage

Warfighter reply Replies: 0 || 2013-04-16 03:27:17
Is it "true" the main theme was composed by HZ? Or is this just an urban legend. Considering this is a JB production; i imagine HZ was at the very least considered and possible involved in some way? Thanks!

Macejko reply Replies: 2 || 2012-12-09 21:22:00
I have a question, which was in my mind for a long time: didn't they consider Ramin Djawadi for this one? Because Prince of Persia would be a great fit for him, considering he is part iranian (persian).


Edmund Meinerts2012-12-10 12:02:26
Djawadi grew up in Germany, didn't he? Just because he has Iranian roots doesn't automatically make him the right choice. Correct me if I'm wrong but I THINK that the Persia shown in this movie probably has some slight differences to modern-day Iran. ;)


Macejko2012-12-10 12:31:50
You are, of course, right in every way, but I believe he knows a lot about iranian culture. I was just wondering, nothing more.

Tick Tock reply Replies: 2 || 2012-05-23 21:14:18
This is an Expaded Score Track list :)

1m1 Opening
1m2 Roof Escape
1m5 Alamut Treachery
2m6 I Must Pray
2m7-8 Climbing The Wall
2m9 The Victory
2m10 Dagger Lost And Found
2m11b Tamina Unveiled
2m11c Tamina Sees Knife And Dastan
2m14 Angry King
2m16 Kill Tamina
2m17 Dagger Sting
3m18 A Great Man
3m20 Dastan & Tamina Escape
3m22 River Rewind
3m24 Walk And Talk
4m32 Ostrich Race
4m32a Waitress Tamina
4m35 Over Here! R
4m38 Kings Coffin/ Trusting Nizam
4m40 Market Chase
5m44 Visions Of Death/ Training
5m45 Hassansins/ Sanctuary
5m47 Sands Of Time
5m49-50 Ostrich/ Snake Attack
5m52 The Hassansin Attack
6m55 Cave Whip Fight
6m56-59 Back To Alamut
6m70 Seso Fight And Death
6m71-74 Tus Uses The Dagger
7m75 Sand Drain
7m77 Dastan Fights Nizam
7m78 The Fall & Final Battle
7m81 Nizam Exposed
7m82 Nizam Over The Edge
7m83 Walk With Me
7m85 Tail Montage


Mr. Fate2012-05-24 01:03:44
ALRIGHT! Compared to the track list posted immediately below THIS one, we've lost the track lengths, but we now have slate numbers. Hooray for progress!


Expanded2012-05-24 20:12:30
Expanded Score


1. Opening (2:31)
2. Roof Escape (3:14)
3. Alamut Treachery (1:54)
4. I Must Pray (1:01)
5. Hassansins Sanctuary (1:50)
6. Climbing the Wall (3:51)
7. The Victory (3:40)
8. Dagger Lost and Found (1:19)
9. Tamina Unveiled (1:55)
10. Tamina Sees Knife and Das (0:56)
11. Angry King (2:19)
12. Kill Tamina (0:44)
13. Dagger Sting (0:17)
14. A Great Man (3:33)
15. River Rewind (5:29)
16. River Rewind (alternate) (1:15)
17. Walk and Talk (6:25)
18. Ostrich Race (0:45)
19. Over Here! (3:30)
20. Waitress Tamina (0:46)
21. Market Chase (4:41)
22. Visions of Death (3:46)
23. Sands of Time (5:42)
24. Snake Attack (1:56)
25. The Hassansin Attack (4:40)
26. Cave Whip Fight (1:57)
27. Back to Almut (3:56)
28. Seso Fight and Death (3:00)
29. Tus Uses the Dagger (7:07)
30. Sand Drain (4:13)
31. Dastan Fights Nazam (2:05)
32. The Fall & Final Battle (2:27)
33. Nazam Exposed (2:27)
34. Nazam Over the Edge (0:32)
35. Walk With Me (4:50)
36. Tail Montage (7:06)

They are missing tracks on the expanded score ;- Trust nizam & dastan and tamina escape and Ostrich track when Sheik Amar areested dastan and tamina........ where are these tracks ?

tomPoland reply Replies: 1 || 2011-11-05 10:24:40
Expanded score showed up


1. Opening (2:31)
2. Roof Escape (3:14)
3. Alamut Treachery (1:54)
4. I Must Pray (1:01)
5. Hassansins Sanctuary (1:50)
6. Climbing the Wall (3:51)
7. The Victory (3:40)
8. Dagger Lost and Found (1:19)
9. Tamina Unveiled (1:55)
10. Tamina Sees Knife and Das (0:56)
11. Angry King (2:19)
12. Kill Tamina (0:44)
13. Dagger Sting (0:17)
14. A Great Man (3:33)
15. River Rewind (5:29)
16. River Rewind (alternate) (1:15)
17. Walk and Talk (6:25)
18. Ostrich Race (0:45)
19. Over Here! (3:30)
20. Waitress Tamina (0:46)
21. Market Chase (4:41)
22. Visions of Death (3:46)
23. Sands of Time (5:42)
24. Snake Attack (1:56)
25. The Hassansin Attack (4:40)
26. Cave Whip Fight (1:57)
27. Back to Almut (3:56)
28. Seso Fight and Death (3:00)
29. Tus Uses the Dagger (7:07)
30. Sand Drain (4:13)
31. Dastan Fights Nazam (2:05)
32. The Fall & Final Battle (2:27)
33. Nazam Exposed (2:27)
34. Nazam Over the Edge (0:32)
35. Walk With Me (4:50)
36. Tail Montage (7:06)
37. Trusting Nizam (Film Version) (4:37)


Anonymous2011-11-05 20:07:15
Nope. Some mistakes in that version.

Bondo reply Replies: 2 || 2011-07-04 11:35:56
Does anyone know if Margeson's 'additional arrangements' are on this OST?


Evenstar2011-07-04 20:42:51
Margeson is everywhere :D


Bondo2011-07-04 22:37:28
Yeah, apparently he's the new Lorne Balfe! :P

pureocean reply Replies: 1 || 2010-07-17 00:00:00
Exactly as I expected, boring musics...

Disney's composer choice was wrong. Music Composer should be Stuart Chatwood & Hans Zimmer.

I advice everybody to listen of Stuart Chatwood's Prince of Persia game-series soundtrack compositions from Youtube.


Snake2011-06-06 05:11:53
pureocean.

This is an amazing score. Too bad for you that you haven't listened to the soudtrack well. Not every score should have epic tracks. NO! Because if it has them, the score would be boring!!!! This score has everything that every film score should have; relaxed, serious, dramatic and epic tracks among others which means this score is very complete and selective. Like Transformers: Revenge of the Fallen. Not every movie should have Hans Zimmer in charge of the music department (even I'm a fan of him). Besides, Zimmer wouldn't work with Chatwood because he only works with his disciples and former disciples such as Henry Jackman, Steve Jablosnky, Ramin Djawadi and even Harry Gregson-Williams himself. This was the right decision from Disney to put Harry Gregson-Williams in charge of the music because he's very well prepared for every film genre including this one and because he has experience working in the videogame industry if you didn't know and that's reason why I think it was the right decision for this movie. And by the way, the music from the game is good, but not that good. For the game, I always thought that Chatwood wasn't the right choice as a composer and Ubisoft should have included Michael Giacchino, Jeremy Soule or even Gregson-Williams because of their previous works in the videogame industry. Also, Chatwood only works on videogames, not in films.

HGW4 reply Replies: 0 || 2010-07-17 00:00:00
@pureocean
Actually, it is a great score; but not everyone has the same taste...are you sure you listened carefully :) I have to say, it is one of the best scores Harry Gregson-Williams has produced since Narnia. I think it deserves much praise!

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Anonymous reply Replies: 0 || 2010-07-04 00:00:00
ok is not bad good!

unknowncode reply Replies: 0 || 2010-06-13 00:00:00
amazing

Nerwen reply Replies: 0 || 2010-06-01 00:00:00
I've been listening to the soundtrack over and over again and I can admitt that I love it!!

There are a lot of things that identify HGW as its composer - like it's own mark on the music, Hans has it as well - and there are some particular themes I love! There is one in particularlly that reminds me something though I can't quite put my finger on it!

However, loved the soundtrack.

I've heard it before watching the movie - a thing I like a lot - and I couldn't wait till I watched the movie and give my opinion about it as a whole.

As for the movie; well, I'm not a fan of the video-game - never played it before - but I loved the movie every much! It's very Disney and Jerry, if you know what I mean, and adding this wonderful score gives an epic dimension to the movie.

Great Jobs Harry and thank you for the amazing music you've created... ^_^

gab reply Replies: 0 || 2010-05-31 00:00:00
I've already watched the movie...twice to be exact:) plan to watch it again for the third time...I love Dastan and Tamina tandem and the best track for me was when Dastan and Tamina escape...two thumbs up for the whole casts...one of the best movie i ever watched..:))

DK reply Replies: 0 || 2010-05-30 00:00:00
Sounds really good so far! The movie was awesome! Haven't had time to listen to the whole thing yet, but does anyone know if the music when Dastan uses The Dagger for the first time is on here? Possibly The Dagger's theme? Maybe it's "This Is No Ordinary Dagger?" Loved the music at that part, awesome.

DK reply Replies: 0 || 2010-05-30 00:00:00
Yes! You were right! It is "Dastan And Tamina Escape". It starts right at about 3:24. Love It.

Miles reply Replies: 0 || 2010-05-30 00:00:00
I haven't seen the movie yet, but I think it's on "Dastan and Tamina Escape."

blondie reply Replies: 0 || 2010-05-29 00:00:00
Well I just saw PoP and the movie and the score blew my socks off!! Thanks so much Harry, I've been waiting for a really good score from you since Prince Caspian! Shrek 4 is great as well! Keep up the good work and dont think twice about doing a PoP sequel if there is one!!!

Miles reply Replies: 0 || 2010-05-27 00:00:00
It looks like I was right: Tracks 11, 15, 16, and 17 do have different names depending on whether it's a US or UK release. No matter; it's still a good score--rich, epic and exotic.

Cloud reply Replies: 0 || 2010-05-27 00:00:00
I don't know about the digital release, but the track titles on the back cover of the physical release are a bit different.

HGW4 reply Replies: 0 || 2010-05-26 00:00:00
I LOVE this score!!!! Job well done!!! Fulfilled my need for a new Harry Gregson-Williams' score!!!! :)

tomPoland reply Replies: 0 || 2010-05-25 00:00:00
There are lots of 'borrowings' from other scores (HGW and others). But it works quite well in the movie. Especially to someone that doesn't know who HGW is (like my friends;).

Andrew reply Replies: 0 || 2010-05-24 00:00:00
Miles, I think what that person is referring to is the similarities between a small portion of the theme that starts around 0:37 in track 1 of Prince of Persia, and the love theme in Mummy Returns. Though it's too small to be called "Copy".

I too agree with HGW4, this is one of the better Gregson-Williams in recent years. I don't consider myself a hardcore Gregson-Williams fan, but I even enjoyed the bits that many people are calling "generic".

Two thumbs up!

HGW4 reply Replies: 0 || 2010-05-24 00:00:00
I agree...where are you guys getting this from? This is a great score...again Harry Gregson-Williams has composed a great score!

Miles reply Replies: 0 || 2010-05-23 00:00:00
Are you kidding? It sounds nothing like The Mummy Returns!

Anonymous reply Replies: 0 || 2010-05-23 00:00:00
There is no theme just a copy of Silvestri's Mummy Returns ! It's a shame and the action sequences are musically bad ! Where is the HGW of Kingdom of Heaven and Sinbad ?

Miles reply Replies: 0 || 2010-05-22 00:00:00
I mean Indiana's comment, of course. I like what I've heard so far!

Miles reply Replies: 0 || 2010-05-22 00:00:00
Most reviews of the film itself I've seen disagree with you...

HGW4 reply Replies: 0 || 2010-05-22 00:00:00
Actually...it is a very GOOD score!

Indiana reply Replies: 0 || 2010-05-22 00:00:00
Very bad score !

Miles reply Replies: 0 || 2010-05-18 00:00:00
Oh yeah, I like that one too. :)

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Prince Of Persia - The Sands Of Time soundtrack - Harry Gregson-Williams 2010