Which, I mean, we all know that now, as adults, but when you’re a child you just take for granted that there’s music there. Like, this music is written specific to this movie. But I do recall, like, just sort of, like having this little epiphany, like “this movie and this music were, like, born together.” You know what I mean. I wouldn’t have seen it in the original run, so I must have caught it on television, you know, when it started hitting cable. It was Willy Wonka and the Chocolate Factory, the original one. Can you remember the first movie you saw or the first moment where you actually recognized the use of score in cinema? I’ve done all five of them, and, you know, with a bigger role now.ĬS: Well, let’s pause there, because I know we’re going to get into more Pirates in a bit, but let’s flash back to those early days. And I guess with Pirates, at this point I’ve realized that I’ve spent more time working on Pirates movies than I have, like, in high school (laughs). I’ve heard people say it’s like “there’s no more toothpaste left in the tube,” you know, at the end of every movie, and I think that’s a pretty good description of it.ĬS: I absolutely love that analogy. But, you know, you’re also just always exhausted and I leave it all in the score. So when a movie like that comes to an end, I just kind of say, “Isn’t there something else I can do for you guys?” I’ve been lucky. I just like them, you know what I mean? Like, I’d be a fan, I’d be in line to go see this movie. I actually have with all the Pirates, they’re just kind of like dream projects for me. Geoff Zanelli: With some of them, you know, I just start to miss them right away, and I did with Pirates. Enjoy!Ĭ: When you finish a giant film like Pirates, is there a sense of relief when it’s over? Or is it like the circus has left town? How do you feel? In this exclusive new interview, we speak to Zanelli (who has a long formative history writing pop music as well) about creating that larger-than-life score for Norwegian director’s Espen Sandberg and Joachim Rønning ( Kon-Tiki) rollicking family action film, as well as getting insight into his background and creative process. This time, however, Zanelli has been given the sole key to the sonic kingdom, his first time handling a Pirates film’s sound alone. In the first four films, iconic composer Hans Zimmer has been credited as the man who sculpted the soundtracks, but he’s always been assisted and supported by co-composer Geoff Zanelli ( Secret Window, Into the West, Disturbia). Pirates of the Caribbean: Dead Men Tell No Tales looks to be a classic slab of Pirates escapism and, like all of the films in the famous franchise, features majestic music to propel its high-seas, supernatural shenanigans. At the helm of the Dying Gull, his pitifull small and shabby ship, Captain Jack seeks not only to reverse his recent spate of ill fortune, but to save his very life from the most formidable and malicious foe he has never faced. Jack’s only hope of survival lies in the legendary Trident of Poseidon, but to find it he must forge an uneasy alliance with Carina Smyth ( Kaya Scodelario), a brilliant and beautiful astronomer, and Henry ( Brenton Thwaites), a headstrong young sailor in the Royal Navy. In it, Johnny Depp returns as the iconic, swashbuckling anti-hero, now down-on-his-luck and feeling the winds of ill-fortune blowing strongly his way when deadly ghost sailors, led by the terrifying Captain Salazer (Javier Bardem), escape from the Devil’s Triangle bent on killing every pirate at sea – notably Jack. Walt Disney Pictures’ upcoming fifth Jack Sparrow adventure Pirates of the Caribbean: Dead Men Tell No Talesis primed to sail onto screens on May 26th. Pirates of the Caribbean 5 composer Geoff Zanelli discusses his process making the music for the new Jack Sparrow adventure
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