KING ARTHUR, 2004, Directed by Antoine Fuqua

FILM CREDITS

"Tell Me Now (What You See)"
Written by Hans Zimmer & Moya Brennan
Produced by Trevor Horn & Mel Wesson
Performed by Moya Brennan

Music by Hans Zimmer

Music Editor: Michael Higham
Assistant Music Editor: Justine Angus
Featured Vocal Perfomance by Moya Brennan
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
Musician Contractor: Isobel Griffiths
Music Coordinator: Becky Bentham, Hot House Music, Ltd.
Orchestra Leader: Gavin Wright
Choral Music Preparation: Alastair King
Choir Mistress: Jenny O'Grady
Choir: Metro Voices
Music Recorded at Air Lyndhurst Studios & Abbey Road Studios
Music Mixed at Air Lyndhurst Studios
Studio Managers: Alison Burton & Colette Barber
Assistant Engineers: Jake Jackson, Olga Fitzroy, Adam Noble & Jimmy McLuckie
Additional Arrangements: Mel Wesson
Music Preparation: Vic Frasier & Ann Barnard

ALBUM ASSEMBLY

Tell Me Now (What You See) : Song (Album Version)
Woad To Ruin : 1m0 Opening Titles + 1m1AB Woad Attack + 3m13 Knights Journey Begin
Do You Think I'm Saxon? : 6m43 Knights Rejoin (2nd part) + 6m43A Fog Of War (Edited) + 1m3 Meet Merlin (Edited) + 2m6 Final Order
Hold The Ice : 4m28 Lancelot Sees Guinevere Bathe + 4m30 Guinevere Leads Arthur To Merlin (Edited) + 1m4 Knights Arrive To Wall
Another Brick In Hadrian's Wall : 6m43 Knights Rejoin (1st part) (Edited) + 5m34 Ice Battle (Edited) + 5m35 Knights Are Granted Freedom + 5m37 Arthur & Guinevere Chat
Budget Meeting : 7m44A Final Battle (Part 1) (Edited) + 7m44C Final Battle (Part 3) (Edited) + 7m44C ALT Final Battle (Part 3) (Edited) + 7m44D Final Battle (Part 4) (Edited) + 7m44E v18 Final Battle (Part 5) (Edited)
All Of Them! : 6m40 Love Scene + 6m40A Knights Leave (Edited) + 8m48 Aftermath - Lancelot Funeral

COMMENTS

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 (Part 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." (originally 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." (originally from MelWesson.com)