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A long long time ago if you told me Id one day be scoring a big Hollywood blockbuster about King Arthur Id have probably imagined some sort of very
luxurious scenario that involved a fancy orchestra playing my music in the background of a very posh studio while I drunk the finest champagne and got my
back massaged at the same time by a litany of glamorous flunkies as I nonchalantly perused my latest notated masterpiece. I didnt imagine I would be up
at 2am with my face red and stinging having spent the last hour slapping it as hard as I could to get the best unusual percussive sounds for a particularly
fiddly assassination scene that we needed the next day. Nor phoning up my neighbours to not worry if they heard any screaming from my flat, I was just
trying an idea out on this piece of music.

But then again this wasnt your usual Hollywood blockbuster. It was a Guy Ritchie Hollywood blockbuster. And that means usual rules dont apply. In fact
no rules apply. All that matters is can you make a score that sounds like nothing else? That was the mission. Like pulling a sword out of a stone, just a bit
harder.

We wanted the music to feel physically visceral. There is so much rich imagery in the world of the film - the dirt, the grime, the metal, the leather, the wood,
the stones I wanted to bring as much of this into the score as I could. I wanted to capture everything from the struggle and fight of an orphan raised on
the streets to the nobility of a leader who could change history.

I started by researching the intriguing world of early music enthusiasts. Fascinating people obsessed with making, collecting and playing instruments
from hundreds of years ago. I met a wonderful player Clare Salaman, who introduced me to a wonderfully horrible instrument, the Tromba Marina
- a huge stringed beast from the 15th Century that pretty much makes only one very nasty and unpleasant noise. Fantastic. Well use that. I was lent a
pretty hokey Hurdy Gurdy. It was impossible to tune. It also sounded horrible. Lets use that too. It sounds insane pitched two octaves down.
Go round to visit this guy called Nicholas Perry who is a massive collector of ancient horns and wind instruments. He has this
crazy metal trumpet thats so big that the only way we can play it in his flat is if we put half of it in the toilet. Becomes known
throughout the production as the toilet horn. We re-record it in Abbey Road but use the test done in his bathroom on
my phone in a few places because it just sounds so awesome. I send one of our percussionists on a mission to find the
best sounding rocks he can get he ends up finding them in a garden center. The guitarist is tuning his guitar and it is
making such a great squeaking noise because the pegs are so old we end up using that over half a track. If it made a
cool noise and sounded like it could have existed a few hundred years ago I wanted it. Even the chopsticks from our
Chinese take away one night made it onto score.

So I started to curate this mongrel orchestra made up of the weirdest instruments and sounds
I could find and make. The next challenge was then working out how on earth to build it bit by
bit into a soundtrack that could take you on a journey the size and scale of the movie
itself. Luckily for me there were many knights at my round table from the always
fantastic team at Abbey Road, the amazing musicians (who also gracefully
indulged my sudden obsession with bad tuning), the timeless voice of Sam
Lee and most importantly Guys unbelievably talented and inventive editor
James Herbert who all helped me get that sword out of the stone.

Whenever you try and do something different it is always tough. There

have been many occasions in my life on film scores where I have wanted
to scream. But on this one I actually got to do it on the score. That was
a lot of fun. I hope you enjoy it.

DANIEL PEMBERTON
London, 2017
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 Score Composed and Produced by DANIEL PEMBERTON

Recorded & Mixed by SAM OKELL

Orchestrated by BEN FOSKETT and ANDREW SKEET
Recorded and Mixed at ABBEY ROAD STUDIOS, LONDON
Engineers: PAUL PRITCHARD, MATT MYSKO, GEORGE OULTON
Mastered by CHRISTIAN WRIGHT at Abbey Road Studios
Music editors: SIMON CHANGER and BEN SMITHERS
Composer Assistant: NATHAN KLEIN
Conducted by ALASTAIR KING and GEOFF ALEXANDER
Score Coordinator: GARETH GRIFFITHS
Music Preparation: JILL STREATER
Music Supervisor: KAREN ELLIOTT

FEATURED MUSICIANS

Tromba Marina, Nyckelharpa, Hardanger and Vielle: CLARE SALAMAN

Ancient Ensemble: SONIA SLANY, PAVLO BESNOZIUK, CLARE SALAMAN, PETER MCCARTHY, SUSANNA PELL
Hurdy Gurdy: STEVE TYLER
Medieval Horns: NICHOLAS PERRY
Ancient Guitars: ROBIN JOFFREY, LEO ABRAHAMS, DANIEL PEMBERTON
Bass: JON NOYCE
Harmonics Violin: EMMA SMITH
Londinium Bass Bulge: ADEM ILHAN
Percussion, Stones and Chopsticks: ROB FARRER and PAUL CLAVIS
Drums: IAN THOMAS
Jackseyes Cowbell: LILLY ALABAMA HERBERT
Screaming & Breathing: DANIEL PEMBERTON
Choir: RSVP SINGERS
Orchestral Elements: CHAMBER ORCHESTRA OF LONDON

Soundtrack Album Produced by DANIEL PEMBERTON

Executive Album Producers: GUY RITCHIE and LIONEL WIGRAM
Executive In Charge of Music For Warner Bros. Pictures: NIKI SHERROD
Executive In Charge of WaterTower Music: JASON LINN
Music Consultant: SAM LEE

Music Business Affairs Executives: LISA MARGOLIS and RAY GONZALEZ

Art Direction: SANDEEP SRIRAM

Score Published by WARNER-OLIVE MUSIC LLC (ASCAP)

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 THE POLITICS & THE LIFE
Contains interpolations of The Life
Written by Gareth Williams
Published by Human World Wide Publishing (ASCAP) & Microsoft Corporation (ASCAP)
Performed by Gareth Williams
Courtesy of Human LLC & Microsoft Corporation
2017 Human LLC & Microsoft Corporation. All Rights Reserved.

THE DEVIL & THE HUNTSMAN

Written by Sam Lee and Daniel Pemberton
Published by BMG Rights Management UK Ltd. (PRS) and Warner-Olive Music (ASCAP)
Produced by Daniel Pemberton
Performed by Sam Lee and Daniel Pemberton

DANIEL PEMBERTON WOULD LIKE TO THANK:

Guy Ritchie and Lionel Wigram for taking me on another of their fantastical adventures through the darklands to a coronation at Camelot;
Sam Okell: Legend Of The Desk for his immense patience, good humour, ability to wear a homemade paper crown and, most importantly,
flawless mixing skills; all the team at Abbey Road, especially Paul and Matt for putting up with my usual insane hours and fondness for one
more take; Niki Sherrod for all her help and support on such a very long journey; Paul Broucek and everyone at Warner Bros for actually
making this crazy soundtrack a reality; Andrew Skeet and Ben Foskett for keeping the ship running smoothly and sounding better than I could
have hoped; ultra-reliable Nathan Klein for brilliantly preventing my chaos becoming infectious; everyone from the early music community
who gave me their time and insights into the instruments of the past; Clare Salaman, an amazing multi-instrumentalist who is without doubt
one of the bedrocks in creating this score; Nicholas Perry for letting me come round his house and record horn sounds in his toilet; Seamus
Carey you can pick up your hurdy gurdy now, it still sounds awful; Sam Lee, lovely voice, lovely guy, its been a fun journey; Steve Lipson for
laying down the law; my neighbours, sorry about the screaming; Steve Price and his cut-price therapist service; Adem, Emma, Laura Moody
and Nick Pynn for odd random noises; Robert Messinger and Darrell Alexander for being more solid than that massive rock at the bottom
of the lake; Gareth Griffiths for gamely enduring some very mad sessions; Jeffrey Light for dotting the Is; Christian Wright for his cosmic
mastering ears; Simon Changer and Ben Smithers for their funky edits; Jason, Sandeep, and all the team at WaterTower Music for giving me
the chance to create a proper album and not just a soundtrack; all the many great musicians who played on this score and put up with many
an odd suggestion (can you play it more out of tune being the most common) to create some real magic; my sisters and family Pemberton as
always; the secret knights of the round table holding it all together behind the scenes Steve Clarke Hall, Siobhan Boyes, Phil Hedgecock,
Angus Munro and Will Howden; Chris, Dom, Jimmy and Luke on the super sound team; and finally the real Merlin - James Herbert - whose dark
arts, masterful edits, lack of sleep and genius crazy ideas gave this soundtrack so much more. Thank you.

SPECIAL THANKS:
Lionel Wigram, Akiva Goldsman, Joby Harold, Tory Tunnell, Steve Clark Hall, James Herbert,
Niija Kuykendall, Marc Solomon, Stephen Lipson, Jeff Ludwig

THANKS TO:
Jessica Alan, Darrell Alexander, Peter Axelrad, Joseph Bill, Siobhan Boyes, Rocco Carrozza, Simon Changer,
Linda Christie, Luke Gavin, Gareth Griffiths, Phil Hedgecock, Maria Holbrook, Joe Kara, Kevin Kertes,
Kolette Kleber, Amanda Narkis, Robert Messinger, Genevieve Morris, Daniel Paress, Sandy Roberton,
Ben Smithers, John Stanford, Christina Swintek, John F.X. Walsh, James Wells, Robert Zick

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ORIGINAL MOTION PICTURE SOUNDTRACK
Music by DANIEL PEMBERTON
1. From Nothing Comes A King 20. The Darklands
2. King Arthur: Legend Of The Sword 2 1. Revelation
3. Growing Up Londinium 22. King Arthur: Destiny Of The Sword
4. Jackseyes Tale 23. The Power Of Excalibur
5. The Story Of Mordred 24. Knights Of The Round Table
6. Vortigen And The Syrens 25. King Arthur: The Coronation
7. The Legend Of Excalibur 26. The Devil & The Huntsman **
8. Seasoned Oak
9. The Vikings & The Barons BONUS TRACKS
10. The Politics & The Life * 2 7. The Ballad Of Londinium
1 1. Tower & Power 28. Riot & Flames
12. The Born King 29. Anger
13. Assassins Breathe 30. Cave Fight
14. Run Londinium 3 1. Confrontation With The Common Man
15. Fireball 32. The Devil & The Daughter
16. Journey To The Caves
17. The Wolf & The Hanged Men * Performed by
18. Camelot In Flames Daniel Pemberton and Gareth Williams
19. The Lady In The Lake ** Performed by
Sam Lee and Daniel Pemberton

Soundtrack Album Produced by DANIEL PEMBERTON

Executive Album Producer: GUY RITCHIE and LIONEL WIGRAM
Executive In Charge of Music For Warner Bros. Pictures: NIKI SHERROD
Executive In Charge of WaterTower Music: JASON LINN
Music Consultant: SAM LEE

2017 WaterTower Music. Motion Picture Artwork 2017 Warner Bros. Entertainment Inc. Motion Picture
Photography 2017 Warner Bros. Entertainment Inc., Village Roadshow Films North America Inc. and RatPac-
Dune Entertainment LLC - - U.S., Canada, Bahamas & Bermuda 2017 Warner Bros. Entertainment Inc., Village
Roadshow Films (BVI) Limited and RatPac-Dune Entertainment LLC - - All Other Territories. All rights reserved.
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