The Music of The Lone Ranger (2013 film)

Music by Hans Zimmer

Supervising Music Editor: Kenneth Karman

Music Wrangler: Bob Badami

Music Editors: Peter Oso Snell and Katie Greathouse

Music Production Supervisor: Monica Zierhut

Additional Music by

• Geoff Zanelli
• Rupert Gregson-Williams
• Steve Mazzaro
• Andrew Kawczynski
• Jasha Klebe
• Lorne Balfe

Featured Musicians

• Nico Abondolo
• Jason Bonham
• Ann Marie Calhoun
• Anthony Clarke
• Mike Einziger
• Pedro Eustache
• Aleksey Igudesman
• Arturo Sandoval
• Tristan Schulze

Supervising Orchestrator: Bruce Fowler

Orchestrations by

• Walt Fowler
• Kevin Kaska
• Suzette Moriarty
• Carl Rydlund

Music Preparation: Booker White, Walt Disney Music Library

Score Recorded by Joel Iwataki

Score Mixed by Daniel Kresco and Satoshi Noguchi

Digital Workstation Operators: Kevin Globerman and Vincent Cirilli

Orchestra Conducted by Nick Glennie-Smith

Score Recorded at Sony Scoring Stage and The Newman Scoring Stage

Score Recorded and Mixed at Remote Control Studios

Orchestra Contractor: Peter Rotter

Concert Master: Belinda Broughton

Music Production Services: Steve Kofsky

Score Coordination for Remote Control Studios: Czarina Russell

Technical Assistants

• Chuck Choi
• Brian Wherry
• Phill Boucher

Digital Instrument Design: Mark Wherry

Assistant Engineers

• Christian Wenger
• Tim Lauber
• Adam Michalak

On-Camera Supervising Music Mixer: Joseph Magee

On-Camera Music Arranged by Geoff Zanelli

Pre-Record Orchestrations by

• Marshall Bowen
• Dave Giuli
• Jennifer Hammond

Vocal Contractor: Jasper Randall

After the Battle of Aughrim

Arranged by Hans Zimmer and Ann Marie Calhoun

Hanson Place (Shall We Gather at The River)

Arranged by Marshall Bowen

Battle Hymn of the Republic

Arranged by Geoff Zanelli

Red’s Theater of the Absurd

Written and Produced by Jack White

Performed by Pokey LaFarge and the South City Three

Beautiful Dreamer

Arranged and Produced by Jack White

Performed by Pokey LaFarge and the South City Three

The Girl in the Flying Trapeze

Arranged and Produced by Jack White

Performed by Pokey LaFarge and the South City Three

Dixie

Arranged by Kenneth Karman

Stars and Stripes Forever

Written by John Philip Sousa

Arranged by Geoff Zanelli

Marse Henry March

Arranged by Geoff Zanelli

The Star Spangled Banner

Written by Francis Scott Key

Arranged by Geoff Zanelli

William Tell Overture

Arranged by Geoff Zanelli

Soundtrack Available on Walt Disney Records

The Music of Pearl Harbor (2001 film)

Music by Hans Zimmer

Music Supervisors: Bob Badami and Kathy Nelson

Music Editor: Jennifer Nash

Assistant Music Editor: Katie Greathouse

Music Production Services by Media Ventures

Score Recorded and Mixed by Alan Meyerson

Score Conducted by Gavin Greenaway

Supervising Orchestrator: Bruce Fowler

Orchestrations by

• Elizabeth Finch
• Walter Fowler
• Ladd McIntosh
• Suzette Moriarty

Concertmaster: Andre Granat

Soprano Solos by Julia Migenes

Additional Recording by Slamm Andrews

Additional Arrangements

• Fiachra Trench
• Klaus Badelt
• Steve Jablonsky
• James S. Levine
• Geoff Zanelli

Assistant Engineers: Gregg Silk and Kevin Globerman

Score Stage Recordist: John Rodd

Score Recorded at Newman Scoring Stage

Music Contractor: Sandy DeCrescent

On-Camera Production Music Recorded by Joseph Magee

Production Music Recorded at Signet Sound Studios

Music Preparation by Booker White, Walt Disney Music Library

There You’ll Be

Written by Diane Warren

Produced by Trevor Horn and Byron Gallimore

Performed by Faith Hill

Courtesy of Warner Bros. Records

Soundtrack Available on Hollywood Records / Warner Bros. Records

Hans Zimmer

Hans Florian Zimmer

Composer; his early work for Disney included additional music for White Fang and co-writing music for Cool Runnings. His work on The Lion King would earn the 1995 Academy Award for Best Original Score, followed by his contributions to Crimson Tide, White Squall, The Rock, Pearl Harbor, King Arthur, The Prestige, four Pirates of the Caribbean films (The Curse of the Black Pearl, Dead Man's Chest, At World's End, and On Stranger Tides), and The Lion King (2019). He was named a Disney Legend in 2019.

Date of Birth: September 12, 1957 (67 years old)

Birthplace: Frankfurt, Germany

Occupation

• Score Composer/Producer/Arranger
• Founder of Remote Control Productions, 14th Street Music and Bleeding Fingers Music

Instruments

• Guitar
• Keyboards
• Piano
• Synthesizers

Relatives

• Vicki Carolin (first ex-wife)
• Zoë Zimmer (daughter)
• Suzanne Zimmer (second ex-wife)
• Jake Zimmer (son)
• Max Zimmer (son)

Motion Pictures (My List)

Composer

1990: Green Card

1993: Cool Runnings

1994: Renaissance Man

1994: The Lion King

1995: Crimson Tide

1996: The Rock (with Nick Glennie-Smith)

1996: The Preacher’s Wife

2001: Pearl Harbor

2002: Spirit: Stallion of the Cimarron

2004: King Arthur

2006: Pirates of the Caribbean: Dead Man’s Chest

2007: Pirates of the Caribbean: At World’s End

2011: Pirates of the Caribbean: On Stranger Tides

2013: The Lone Ranger

2019: The Lion King

2023: The Creator

Music Department

1994: The Lion King — Score Arranger and Music Supervision

1996: White Squall — Additional Music

1996: The Rock — Score Arranger

1998: Endurance (documentary) — Music Producer

2002: Spirit: Stallion of the Cimarron — Songwriter

2003: Pirates of the Caribbean: The Curse of the Black Pearl — Music Producer

2006: The Prestige — Executive Music Producer

2008: Iron Man — Executive Music Producer

2019: The Lion King — Executive Music Producer

2023: The Creator — Synth Programming

2024: Mufasa: The Lion King — The Lion King Original Score Composer

Albums (My List)

1994: The Lion King (soundtrack)

1995: Rhythm of the Pride Lands — Lyrics and Music / Song Producer and Arranger

1995: Crimson Tide (soundtrack) — Music Composer and Producer

1996: The Rock (soundtrack) — Music Composer and Producer

1997: The Lion King: Original Broadway Cast Recording — Additional Music and Lyrics

2002: Spirit: Stallion of the Cimarron (soundtrack) — Music, Songwriter, Keyboards and Programmer

2013: The Lone Ranger

2019: The Lion King (soundtrack)

2024: Mufasa: The Lion King (soundtrack)

Theatre

1997: The Lion King — Additional Music and Lyrics

Awards (My List)

1994: ACCA Award — Winner

1994: CFCA Award — Winner

1995: Academy Award — Winner for Best Original Score

1995: BAFTA Award — Nominated

1995: BMI Film & TV Award — Winner

1995: Golden Globe Award — Winner for Best Original Score - Motion Picture

1995: Grammy Award — 2x Winner + Nominated

1996: BMI Film & TV Award — Winner

1996: Grammy Award — Winner

1996: Saturn Award — Nominated

1997: Academy Award — Nominated

1997: BMI Film & TV Award — Winner

1997: Saturn Award — Nominated

1998: Tony Award — Nominated for Best Original Score

2001: ACCA Award — Nominated

2001: GoldSpirit Award — 1 Win + 1 Nominated

2001: World Soundtrack Award — Nominated

2002: ASCAP Film & TV Award — Winner

2002: Golden Globe Award — Nominated

2002: World Soundtrack Award — 2x Nominated for Best Original Song Written for a Film

2003: ASCAP Film & TV Award — Winner

2003: Golden Globe Award — Nominated for Best Original Song

2004: Helpmann Award — Nominated for Best Original Score

2004: IFMCA Award — Nominated

2006: IFMCA Award — Nominated

2007: ASCAP Film & TV Award — Winner

2007: Grammy Award — Nominated

2007: IFMCA Award — 2x Nominated

2008: ASCAP Film & TV Award — Winner

2011: World Soundtrack Award — Nominated

2012: ASCAP Film & TV Award — Winner

2014: ASCAP Film & TV Award — Winner

2014: World Soundtrack Award — Nominated

2019: Disney Legend — Honoree

2020: Grammy Award — 2x Nominated

Production Notes of Spirit: Stallion of the Cimarron

Date of Production: 1998

DreamWorks Pictures newest animated feature, Spirit: Stallion of the Cimarron, is both an artistic and technical marvel, and illustrates that what is regarded these days as traditional animation, is anything but traditional. The advent of the computer in animation has revolutionized the genre, perhaps most notably with the inauguration of entirely computer-animated films. However, the computer has also had an ever-increasing impact on 2D, traditional animation.

Surprisingly, for all its painterly qualities, Spirit: Stallion of the Cimarron is DreamWorks most technologically complex animated film of any kind to date.

“The thing that is unique to traditional animation is what happens when an artist, an animator, gives life to a character with his or her own hand”, producer Jeffrey Katzenberg offers. “It's a direct creation of life with a pencil on a piece of paper. Computers can't do that… not yet.” But, Katzenberg adds, “The computer is not the nemesis of traditional animation. What I wanted to do with this film was to take hand-drawn animation and marry it together with state of the art technology to create a film that is the best of both worlds.”

Spirit: Stallion of the Cimarron is by no means the first traditionally animated film to incorporate computer-animated elements. However, this movie represents such a wholesale commingling of these two techniques, that some of the production team have referred to it as a hybrid form of animation. The primary example of this hybrid comes early on in the film, as we see the adult Spirit running with his herd. As they run, we are watching 3D animation not only of the herd, but also of Spirit himself. As Spirit comes up to the crest of a hill, the camera zooms in to circle around him, and we witness, but don’t see, an absolutely imperceptible 2D takeover of the shot. Then, as the camera moves back, there is another takeover, this time 3D, that is equally seamless.

Whether 2D or 3D, horses are notoriously difficult to draw and even more so to animate, which speaks to why Spirit: Stallion of the Cimarron is the first animated film to feature a horse as its central character.

There are several elements that have kept horses off the drawing boards of animators. They have a long, inflexible spine, a defined musculature seen in every movement and a wide range of gaits. Their faces also pose another kind of challenge, characterized by an elongated muzzle, with the eyes set high and wide and the mouth set low.

The entire animation team began an intensive crash course on equine anatomy, movement, locomotion and behavior. At the Los Angeles Equestrian Center, the animators spent hours studying and sketching real horses. The animators also benefited enormously from the expertise of two of the horse world's most respected authorities and the film's horse consultants, Dr. Deb Bennett and Dr. Stuart Sumida.

The doctors engaged the animators in a multi-pronged training program, teaching them about horses from the inside out. Aside from the fact that horses have that long, rigid spine, other parts of their anatomy are almost always moving, from the long neck that bends and swings and the tail that flicks and swishes, to the ears that pivot to capture sound and the lips that serve as their “hands”.

The animation team was further educated about the varying gaits of a horse - walk, trot, canter and full gallop. More than just the speed, animators had to learn the individual components of each gait and the emotions behind them. For example, the frolicking gallop of a horse at play is entirely different from a gallop instigated by fear.

One special character in Spirit: Stallion of the Cimarron is neither horse nor human. It is the landscape of the American West itself, at a time when the frontier was as untamed as the wild mustangs that called it home. The progress of civilization has forever changed much of the landscape, so production designer Kathy Altieri, art directors Ron Lukas and Luc Desmarchelier and the filmmakers began their research in books about the Old West. They also watched old movie Westerns and studied the paintings of the great Western artists, like Frederic Remington, Frank Tenney Johnson and James Reynolds.

But no painting, movie or photograph could be as inspirational to the filmmakers and design team as seeing firsthand the still-breathtaking vistas of the West. So eight members of the production team embarked on a whirlwind tour of eight of America's most treasured national parks in only four days.

Glacier National Park became the model for Spirit's homeland, with its magnificent landscape of lush green grass, open blue skies and rolling hills and valleys. In sharp contrast, the Cavalry fort was a re-creation of Monument Valley where the terrain is stark and more angular.

Aspects of both Yosemite National Park and Yellowstone National Park are seen in the Lakota village where Spirit meets his love Rain. Bryce Canyon, with its unique rock formations towering above narrow, winding trails, provides the perfect backdrop for the heart-stopping chase scene. To do the panoramic vistas of the American West justice on the screen, the filmmakers felt their only choice was to shoot Spirit: Stallion of the Cimarron in the wide-screen format Cinemascope. For the animation team, the decision meant they would be required to produce 40 percent more animation to fill the larger frames. At 24 frames per second, this translated to a great deal of work for both the traditional animators and the digital artists.

At the start of the film, the audience is carried into the world of Spirit on the wings of an eagle in what the production team dubbed the “homeland pan”. The shot is a three-minute camera fly through capturing some of the most recognizable landmarks of the American West, in what appears to be one long, continuous pan. Actually comprised of seven separate parts, the sequence features a perfect blending of hand drawn-characters and traditionally painted backdrops with digital environments and CG characters.

More than nine months in just the design stage, the homeland pan was one of the first sequences to go into production and one of the last to be finished. Achieving the exceedingly complex shot required literally tens of thousands of 2D and 3D elements, including more than 700 traditionally painted backgrounds and more than 2,500 drawings, another 1,800-plus painted elements that were then texture mapped onto 3D geometry to make the virtual sets and more than 12,000 frames of computer-generated elements. There were an average of 30 layers composited to produce any given frame, and the fly through involved 4,183 final film frames.