Gardner, III, Fred Craig, Vincent Massy de la Chesneraye, Emil Mitev, Pierre Fassel, Lisa Souza, Richard Carl Livingston, Antonio Navarro, Bill Thyen, Simon O'Leary, Mike Hodgson, John Puglisi, Tom Shannon, Allen C. Alles, James Beihold, John Byrne, Frederick J. Principal Location Designers: Paul Felix, Loïc Rastout, Emil Mitev, David A.(Buck) Lewis, Rick Maki, Henry Mayo, Sergio Pablos, Teddy Newton, Tina Price, Jeffrey Resolme Ranjo, Harald Siepermann, John Watkiss, Rowland B. Ken Turner, Chen-Yi Chang, Guy Deel, Peter de Sève, Vance Gerry, Jean Gillmore, Joe Grant, Ian S.
Additional Screenplay Material by: David Reynolds and Jeffrey Stepakoff.
Ure, Mark Walton, Stevie Wermers-Skelton, Kelly Wightman, John Ramirez Stephen Anderson, Mark Kennedy, Carole Holliday, Gaëtan Brizzi, Paul Brizzi, Viki Anderson, Don Dougherty, Ed Gombert, Randy Haycock, Don Hall, Kevin Harkey, Glen Keane, Burny Mattinson, Frank Nissen, John Norton, Jeff Snow, Michael Surrey, Larry Scholl, Christopher J.
All the different versions are designed to appeal to different markets, but it makes listening to the album a chore - especially since there is no marked difference between the film version of the song and the radio version, apart from Collins' vocals. "Two Worlds" is included no less than four times, "You'll Be in My Heart" comprises two tracks, and "Trashin' the Camp" is here twice, once as a duet between Collins and *NSync. The only problem is, they're repeated and repeated and repeated. The main theme, "Two Worlds," is a particular standout, eerily echoing his former colleague Peter Gabriel's worldbeat explorations at times, but all of the songs (exception: "Trashin' the Camp") are quite strong. Meanwhile, Phil Collins' songs are surprisingly strong, much more melodic and appealing than anything he's done since But Seriously.
#Tarzan 1999 movie#
The excerpts from Mark Mancina's score may push the melodrama buttons a little hard, but they are effective blends of African and movie music. The core elements, however reminiscent of The Lion King they may be, aren't bad in and of themselves (apart from "Trashin' the Camp," a jive lyric-less doo wop parody). As recently as Aladdin, Disney's animated films had rich soundtracks filled with robust songs and surging, dramatic scores. It's an exercise in recycling, essentially. It follows the same formula that's informed every Disney soundtrack since The Lion King - take two sweeping ballads and one up-tempo dance number, and surround them with reprises and re-recordings for radio, as well as excerpts of the score. Undoubtedly inspired by Elton John and Hans Zimmer's soundtrack for The Lion King, the soundtrack for Tarzan, Disney's summer 1999 blockbuster, has little of the freshness that makes the film a visual treat.
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