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Didn't he fight for writing credit and royalty rights to the first POTC film (and won) which led to his leaving the Zimmer factory and return to Europe?
Or am I misremembering?
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I always found him to be one of the stronger Zimmer minions.
Not quite Mark Mancina or John Powell level, but way better than most of the others.
Yes, RESCUE DAWN score is really good.
So too is NED KELLY and BEAT THE DRUM (co-composed with Ramin Djawadi).
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K-19, Promise and the Werner Herzog movie are splendid scores.
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Posted: |
May 6, 2025 - 1:07 AM
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By: |
Thor
(Member)
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I always found him to be one of the stronger Zimmer minions.
Not quite Mark Mancina or John Powell level, but way better than most of the others.
Yes, RESCUE DAWN score is really good.
So too is NED KELLY and BEAT THE DRUM (co-composed with Ramin Djawadi).
Yes, several other good Badelt scores. Like his mentor at the time, he was always good with ethno elements. My favs outside of K19 are THE TIME MACHINE, 30C COULEUR, QUEEN OF THE DESERT (needs to get a commercial release already!) and yes, BEAT THE DRUM with Djawadi - which IMO remains the best thing Djawadi has done, although I don't know who did what.
But K19 has this self-contained, almost concert music-like aspect to it (even beyond the four suite tracks) that sets it apart.
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My favourite of his has to be The Promise - big, lush, exotic, melodic.
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I always wondered just how far the original composer on the film got before leaving/being fired/what ever. Can't recall who it was at the moment and cant' find it via a Google search. I think it was Zbigniew Preisner. Google A.I. has the audacity to tell me it was Yared, which I have not only never heard of, but seems like an A.I. hallucination.
EDIT:
The originally hired composer was David Hirschfelder.
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I really like Badelt's work on Solomon Kane, Ultraviolet, Scorpion King 2, Starship Troopers 3 Marauder, TMNT, Dragon Hunters, Poseidon and Warrior's Gate.
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Posted: |
May 11, 2025 - 1:31 PM
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By: |
jackysoul
(Member)
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His personality? He came across as a down-to-earth and humble guy to me.
He seems nice in interviews.
But his former colleagues omit him whenever the good old days come up. If they bring up working near someone else, it’s not him. Hans used to mention him in interviews before Pirates, at least with regards to The Pledge. Ramin talked about being his assistant. Matthew Margeson recalled the abundance of tech in his room. That’s about it over a twenty year span, which honestly is the exception, and odd given how many folks worked with (for?) him on POTC.
Music editor Lee Scott once suggested Klaus had a more significant role on The Thin Red Line than he’s usually credited for. And Badelt’s exclusion from the recent Gladiator liner notes suggests a nastier implosion of the Hans relationship than has been publicly revealed.
John Powell was recently interviewed by Austin Wintory and the subject of guys who don’t make it came up. Powell said something to the effect of “people go, ‘what ever happened to that guy’ and you say ‘well, have you met him?’” But then of course that could have been about someone else entirely.
Hello,
As for The Thin Red Line and other scores from that era, I personally think Klaus Badelt had a huge influence on Hans Zimmer and the Remote Control sound at the time. If you listen to K-19: The Widowmaker, it practically echoes The Battle—especially the waltz-like section. Badelt’s solo scores from that period (like Equilibrium) also have a distinctly Zimmer-esque feel.
Mission: Impossible 2 sounds like pure Badelt from start to finish. Same with Pearl Harbor. There was a very specific sonic identity in those scores—from The Prince of Egypt (1998) to Pearl Harbor—and one common denominator is Badelt’s involvement.
But again, that’s just my personal point of view.
ASCAP and BMI cue sheets even co-credit a surprising number of tracks from Hannibal to Badelt.
I also recall reading an old-school interview—one of those 90s fan-site articles—where Badelt mentioned arranging a lot of the string parts on The Thin Red Line. He said Hans would hand him piano demos, and he’d sketch out the orchestral arrangements.
Interestingly, over the past 15 years or so, if you watch interviews with Zimmer or other Remote Control composers, you’ll notice that Klaus Badelt’s name rarely comes up. It’s almost like a taboo.
I think it’s an open secret that there was some legal conflict between KB and Zimmer.
And that’s fine—it’s all in the past.
Badelt also had his “French film” period. But these days, he doesn’t seem interested in film scoring anymore, which is a shame. He had a real gift for drama, melody, and emotional storytelling in music.
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