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Awesome Music / Hans Zimmer
aka: Pirates Of The Caribbean

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Works to which Zimmer has contributed with their own pages:


  • The Finale of The Lone Ranger: a beefed-up version of the William Tell Overture mixed in with variations and Zimmer's original compositions. One of the few saving graces of the film.
  • The Thin Red Line:
    • "Journey to the Line" starts as a weird repetitive pinging sound in the background; builds to a heart-rending climax.
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    • Probably his most unified orchestral work,note  the album flows seamlessly with the visuals from beginning to end. But that is easily the most famous snippet from the film and can be heard in other film trailers.
    • "Coral Atoll" when Witt is AWOL in the Melanesian village and reflecting on his mother's death; "Light" is probably the most contemplative piece about the aftermath of a battle; "Stone in my Heart" when Witt floats the wounded soldier downriver; And then the Melanesian singing kicks in at the beginning and end...
  • Black Hawk Down has a great score from start to finish, but the climax is with the last two pieces. The first is a beautiful song, "Gortoz a ran (I Await)," sung in Breton, and you can tell that it's a song of grief and loss even without understanding the lyrics (and they play it as they show the flag-draped coffins of the dead soldiers, the epilogue appears on screen, and an unknown soldier tells his wife to "be strong, tuck the girls in bed, and give them a kiss from daddy"). The second is "The Minstrel Boy", which runs as the credits begin. It has to be heard to be appreciated. Another music piece that stands out is "Tribal War", which is a more action-oriented piece. However, it subverts the typical "awesome" battle music by becoming immensely menacing in tone. It sounds less like an epic battle is happening and more like a monster is on the loose.
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  • Gladiator's musical finale is also extremely touching, climaxing with the track Now We Are Free, which is sung in a language that no one can understand but conveys the exact message as the title. The Battle is ten minutes of pure AWESOME.
  • King Arthur (2004) sadly didn't quite come off because of the script... but Zimmer's score and Clive Owen makes you feel it at the end: "All Of Them" (Marriage of Arthur and Guinevere). And as for "Budget Meeting", face it - that sheerly epic instrumentation is the sole reason (aside from scrumptious donuts) that people would even bother to attend budget meetings in real life.
  • For a film that is Exactly What It Says on the Tin, Muppet Treasure Island's "Shiver My Timbers" and "Professional Pirate" are some great pirate songs. Then again, music composed by Hans Zimmer and sung by Tim Curry is automatically bound for awesome.
  • Pirates of the Caribbean (2 & 3) - Absolutely fantastic. It's epic beyond epic. And hey, Klaus Badelt, who wrote the first POTC score, was Zimmer's protege.
  • Pirates of the Caribbean: "He's a Pirate".
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    • The Mario Paint version is pretty cool.
    • What could be better than "He's a Pirate" on its own? He's a Pirate plus epic guitar.
    • There is also a really good techno remix of it by DJ Tiesto.
    • BobGmbHs impossible remix of the song goes from a simple piano cover to a batshit insane remix to an epic orchestral cover.
    • Jack Sparrow's Intro Theme, "The Medallion Calls", first scored by Klaus Badelt. That one theme, with the character intro and The Reveal, made the whole movie for the first-time viewer. It's also the bridge melody in "He's a Pirate."
    • Davy Jones' Theme, which he plays himself on the organ.
    • Other notable tracks include the Bach-esque "The Kraken", particularly the moment where the leviathan smashes the Edinburgh Trader clean in two; and the love/adventure theme from At World's End, presented up-tempo in "Up Is Down, and more sedately in "One Day."
    • (Captain!) Jack Sparrow has an especially fitting theme in part 2: alternatively tense and sedate, somewhat ambiguous, and slightly drunk.
    • At Wit's End, an epic song when the crew of the Black Pearl undertake the journey to save Jack Sparrow. There is also a heartbreaking and dramatic rendition for Davy Jones theme as he is forced to destroy other pirate vessels under command of Lord Beckett.
    • "Hoist the Colors." What shall we die for takes "Hoist the Colors" and catapults it into Ominous English Chanting levels of awesome.
    • Finally, a small but beautiful motif from the "parasail" scene in At World's End: Here at 2:37 from the "Marry Me" suite which sadly hasn't seen nearly enough of the light of day. It was a crime to leave it off the soundtrack...
      • "Part of the Ship... Part of the Crew..."
      • Will and Elizabeth's theme. Just... God damn, Will and Elizabeth's theme is just heart-swelling. Anakin and Padmé have got nothing on these two. That theme alone could play on loop for several hours and the soundtrack would still be awesome.
      • Also in the grand finale of "One Day". First heard on the voyage to World's End, and then completed with The Big Damn Kiss, it's basically the unifying song of the third movie.
      • Sadly, the music from the climactic scene ("Part of the Ship"/"Hold On") is only used once in World's End, and not in any other track. Zimmer said he had come up with a musical cue so good, he kicked himself for using it in an existing work.
    • The wonderful Morricone homage "Parley" from the At World's End Soundtrack.
    • And the background score for the Battle of the Maelstrom (track listing; 'I Don't Think Now Is the Best Time') is a Moment of Awesome all by itself. The Royal Philharmonic Orchestra has a darker, alternative tribute version on their Best of Hans Zimmer album.
  • From The Da Vinci Code: "Chevalier du Sangreal." Also a Tear Jerker. Say what you will about the rest of the movie; the last scene WINS. It's so good that it's become Robert Langdon's theme, appearing prominently in the subsequent two films, usually to close out the movie as well.
  • Mission Impossible 2 had a pretty fantastic score, and not only because of Zimmer's badass reworking of the main theme. "Mano-A-Mano" is pure epic, and the track "Injection" made the scene it was used in surprisingly moving - especially considering the silliness of the plot.
  • Backdraft definitely deserves to be on here, if only for the song "Show me your firetruck", which, Food Network watchers might recognize... (Sadly, the rights expired for the use of Zimmer's score, and the old episodes of Iron Chef shown in reruns now use different music.)
  • Spirit: Stallion of the Cimarron is an animated movie about a horse. The horse, amazingly, never speaks more than a bit of narration. It doesn't matter, because Hans Zimmer wrote the score, and co-wrote several of the songs, and it is AWESOMELY expressive:
    • "Homeland" is equally graceful and majestic, especially with the big musical swell at the 2:46 mark. It helps that this track is basically an instrumental version of the film's thematic anthem, "I Will Always Return."
    • "Reunion" — it perfectly expresses Spirit's unbridled (pun intended) joy at seeing that Rain is OK, and finally being able to go home (though there is a brief moment where he shares a tear-jerking goodbye with Little Creek).
      • For that matter, there's "Swimming," a sweet piece that plays over the scene where Spirit and Rain begin bonding. Both tracks are instrumentals of the song "Nothing I've Ever Known," which narrates Spirit's conflicting feelings over his deepening love for Rain and his desire to return to his homeland.
    • "Canyon Chase" must be, by far, Zimmer's greatest chase cue to date, after "Stampede." It never fails to get your adrenaline pumping.
      • Almost immediately thereafter, we have "Leap of Faith" — the icing on the cake.
  • While he is known largely for his movie soundtracks, he also composed the soundtracks for HBO showsBand of Brothers and The Pacific. The latter's opening theme, Honor, is particularly breathtaking.
  • For an action movie example, The Rock. The first half of "Hummell Gets The Rockets" (from the opening scene) is an emotionally powerful piece.
  • No discussion of Zimmer's work would be complete without mentioning The Lion King (1994) — quite possibly the Crowning Moment of Awesome of his whole career.
    • For one thing, it's one of the few scores to use heroic marches and victorious music performed primarily by traditional African choirs. One particularly notable example is "Busa," which crops up throughout the score — Simba's decision to return home after talking to Mufasa's ghost, the shot of him running through the desert, and, of course, his Awesome Moment of Crowning.
    • ""Remember," the cue that plays when Mufasa apparates from the clouds, is a stunning accompaniment to Simba seeing his father for the first time since his death.
    • "Stampede" is one of the greatest pieces of chase music ever written, supported tremendously by the choral work, and the evocative percussion.
  • His collaboration on The Road to El Dorado with John Powell produced a few musical gems. For example:
    • "Entering the City" gives just the right atmosphere for the scene where Tulio, Miguel and Altivo reach their destination: Soft and mysterious at first, culminating in a glorious crescendo.
    • "Bull Chase" — a suitable track to accompany a Exit, Pursued by a Bull scene.
  • Angels & Demons:
    • The first track, 160 BPM, also known as the Illuminati theme, is something diabolically epic and yet again entirely different from Zimmer.
    • "Election by Adoration", carried by violin virtuoso Joshua Bell's solo, and an awesome backing on the organ.
  • Zimmer wrote the score to The Prince of Egypt, as well as orchestrating Stephen Schwartz's songs. Both sides of the soundtrack have many awesome moments.
    • On the instrumental side, Red Sea's masterful use of tempo and instrumentation make the listener feel every emotion present in the film, and while "Cry" isn't particularly famous, Zimmer's use of motif and vocals accentuates the pain felt by the slaves.
    • Among vocal tracks, there is the powerful opening piece, "Deliver Us," featuring Ofra Haza.
    • Try listening to "When You Believe" (including the multi-lingual version) and not tear up.
    • "The Burning Bush." Just... wow. Moses talking to God, and the music SHOWS it.
    • "Through Heaven's Eyes" is just full of this really great, fun energy!
    • "The Plagues," incredibly powerful and dynamic.
    • "Death of the Firstborn" is a gorgeous minute of string-based pain, possibly his most perfect example of Playing the Heart Strings.
    • "Goodbye, Brother." From the opening, where you can practically feel Moses' mounting rage at the injustices he witnesses, to the end, most especially the final chord before he runs away from Egypt forever, as Ramses calls out for him to stop.
    • "Chariot Race": Intense, exciting, and playful all at once.
    • On the softer end of the spectrum, there's the haunting, ethereal, and appropriately Mideastern-flavored "Following Tzipporah."
  • The score of Kung Fu Panda deserves a mention for its awesome combination of Western and Chinese motifs.
  • The beauty of his contibution for Planet Earth II will give you chills. Just watch the trailer and cry.
  • Dunkirk: "Supermarine" is appropriately tense in regards to both the intensity of the dogfights over the English Channel and the race against the clock the gigantic evacuation is.
  • His theme for The Critic, equal parts his score for Driving Miss Daisy and George Gershwin, complete with a clarinet glissando right out of "Rhapsody In Blue." It perfectly encapsulates the Big Applesauce feel of the show.
  • Driving Miss Daisy has easily one of the best all-electronic scores of any major motion picture. Even cooler is that there's not a single other musician playing in it other than Zimmer himself. Every note of it is him on synthesizers (it eventually got a proper orchestral version during his Live In Prague show and still managed to sound catchy).
  • "Skipping Stones" is a collaboration with Dan Reynolds of Imagine Dragons fame. If that doesn't convince you it's awesome, the rich violins and Dan's crooning voice will. It's probably the most heartwarming Hans Zimmer song this side of "Aurora".
  • One of Zimmer's earliest TV scores is that for Millennium: Tribal Wisdom and the Modern World, in 1992. The score to this series boasts such musical gems as "Stories for a Thousand Years" and "The Journey Begins" (the latter of which was later used as the trailer music for Fly Away Home).
  • While perhaps not as inspired as the original, Zimmer's score for the Lion King remake does have a few bright spots.
    • The stampede music is even more adrenaline-charged this time around.
    • "Rafiki's Fireflies" adds an extra touch of beauty and mysticism to the scene where the old shaman paints Simba's portrait.
    • The underscore for Nala's escape scene is suitably suspenseful, leaving you on the edge of your seat.

Alternative Title(s): Pirates Of The Caribbean

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