> Actually, outside of the jack's action theme, past that point in the cue
> I'll contend that none of the theme are introduced exactly the same way.
> We go from the main theme weaving into the action theme from the first
> film (though certainly the best version this time, done in a different
> cadence and with a much fuller brass section) to the first variation on
> the Hoist the Colours theme that instead of fully rounding out plays the
> end of the main theme, then falls into the first film's action theme again
> before the love theme. These themes are certainly not
> "stacked"...in this track, they flow, and they flow wonderfully.

Of course they "flow wonderfully" because, as Cesar pointed out so fittingly in the post above, almost all the themes are based on the same harmonies and the same three notes. I'm not saying basing an entire arsenal of themes on three notes is per se bad, about a dozen or so themes of Howard Shore's LOTR are based on the same intervals, too. The thing is that Zimmer has zero ability to make this idea resonate or even remotely interesting.

> Didn't the plethora of woodwinds kind of surprise you? I was not ready for
> an oboe solo.

Yes, Zimmer writes an oboe solo (oboe/trumpet if you want to be precise), all bow to his versability! Come ON!
"Plethora of woodwinds"? My dear lad, woodwinds are an integral part to any fully orchestral work. The amount Zimmer incorporates here is average at best.

> Well, that's what happens when the moderator has an anti-zimmer cloud
> about him.

He has no anti Zimmer cloud, he's given Zimmer scores three and four stars often enough. Give me a break.