Starts out brilliant, but then loses it somewhat.

[Mr. Breathmask 480]

Why can't Hans just banish synths being used in the final performance, and record the orchestra normally, like everyone else...

Because then he'd just sound... like everyone else.

[Morlock 9]

Also, I think that Zimmer acknowledges, with his return to the solo cello, that that is the good stuff, not the big loud MV stuff. I think the later PoTC scores (and, in a different way, the films) are rather remarkable, in taking the general musical cess-pool (though not ineffective) that was the first score, and making it into something immeasurably better and more refined as it goes on, and, even more remarkably, doing that, yet still maintaining continuity.

[BLUMENKOHL 1,064]

taking the general musical cess-pool (though not ineffective) that was the first score, and making it into something immeasurably better and more refined as it goes on, and, even more remarkably, doing that, yet still maintaining continuity.

I think that's the part that makes AWE the score so fascinating to me. How we started out with the lowly drivel of PotC, evolved into the mediocre/average Dead Man's Chest and ended with that damn fun modern swashbuckler AWE and having it all still make sense is remarkable.

It shows a few things, that Zimmer wasn't just bashing away at a keyboard, and that he is open to and accepting of his criticism, which in my opinion, is more valuable to an artist than any formal education. It also shows something else very important, heart. It's something that most composers out there right now don't have, or at least don't exude.

[Pieter Boelen 633]

A good Zimmer example comes to mind. Jack Sparrow. Nice quirky little theme, sounds great on the cellos, and then is completely ruined by that MV wall of sound. Such poor taste.

I don't really mind the second half that much - it's somewhat likeable - but it certainly doesn't belong there. They played that track on Classic FM recently and wisely edited that part out. Sounds much better, really. That action music feels more at home in Wheel of Fortune.

[John Crichton 4]

Meeting Tom Riddle- Starts out well with some dark mystery music and a great statement of the B section of the Chamber theme, then devolves into the awful Stone theme/Mystery theme use and SS rehash.

John- who didn't bother reading any posts that contained a name starting with Z

[Genius_Gone_Insane 5]

I mean seriously what would JW say to this thread? I couldn't even finish reading it.

**Actually, what he'd probably say is: "Wow, these muthaf#@*ers really need to get laid." LOL myself included

[Koray Savas 2,095]

I think that's the part that makes AWE the score so fascinating to me. How we started out with the lowly drivel of PotC, evolved into the mediocre/average Dead Man's Chest and ended with that damn fun modern swashbuckler AWE and having it all still make sense is remarkable.

It shows a few things, that Zimmer wasn't just bashing away at a keyboard, and that he is open to and accepting of his criticism, which in my opinion, is more valuable to an artist than any formal education. It also shows something else very important, heart. It's something that most composers out there right now don't have, or at least don't exude.

I think Zimmer's Pirates scores are some of his finest achievements. They are lush with themes, he spent years working with the material, and in the end there was a great final product. My favorite is the love theme.

I think all he really needs is time. He spent a couple years working on the score for The Da Vinci Code, and look at how that turned out. If you give him good material to work with, he will exceed expectations. He's always been a fine composer.

Why can't Hans just banish synths being used in the final performance, and record the orchestra normally, like everyone else...

Have you heard his work with just orchestra? It sounds terrible.

[Ollie 859]

I mean seriously what would JW say to this thread? I couldn't even finish reading it.

**Actually, what he'd probably say is: "Wow, these muthaf#@*ers really need to get laid." LOL myself included

I'll keep that in mind when I'm having sex with my wife later on tonite.

[Koray Savas 2,095]

[whoopiecat 0]

"Hope and Memory" from Return of the King. It doesn't fizzle out, it just plain disappears! About 45 seconds into the track, there's a beautiful melody that comes in, and is gone just as quickly, never to be heard from again.

I was hoping there would be more once the complete recordings were released, but no luck.

Tom

[Maglorfin 195]

"Gourmet Valse Tartare" from Hannibal. It's a great piece to be sure, but it somehow diminishes after a great opening, luckily only to lead to a cool, quiet, slow 3/4 ending.