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So, is that Elfman's score in the trailer? It seems a bit early, but if that is, I just MIGHT be okay with him taking over from Junkie.Okay, point taken, but at least his previous scores for Nolan were obviously music and had an emotional presence. And the two note Batman theme was actually something Hans had to convince Nolan about. Nolan wanted this heroic theme that was left unused.@Mike Hans himself said sometimes a movie does not need a melody theme. It depends on the movie and the characters in it.<br>the main character here is fear threat and so on... in that regards the score respects that.<br><br>@hybrid: in order to have the full soundtrack we will then have to wait for bluray and rip the music & effect out of it. ^^This was one of the most emotionally engaging movies I have ever seen.  I suspect it has to do with the fact that my father was a WW II vet who was on a ship going through the Straits of Gibraltar when they were bombarded by German airplanes.  The selection of Elgar's Nimrod was a stroke of genius.  It rises and falls like the ocean, like a wheezy organ.  I wept.  This movie is a tribute to the Everyman who did his or her part.  We need to be reminded.It's not iTunes ????? Hybrid any examples you can post ?
I’m going to see the movie again on Tuesday, but after the first viewing I would say yes and no. The cues on the album are mostly in chronological order (towards the end at least) and I would say ‘Home’, ‘The Oil’, ‘Variation 15’ and ‘End Titles’ play basically unchanged in the movie. However, in my experience the ticking sound is much more present throughout the entire movie and speeds up and slows down during tense moments. On the top of my head, there is not a cue that played in the film that stood out for not being on the album, except for the one when Tommy and Gibson are racing the stretcher across the beach. It’s the staccato violin or cello cue. I don’t know what kind of cue was composed for the prologue since I haven’t seen it, but judging from the comments here that cue is missing as well.Totally agree on that note . Genius has been one of most unique scores in ages and the music is greatQuestion to all the people who watched it<br><br>Is the score a good representation of the movie? Or do we have another score which misses the best music from the movie like 'Escape from ship' or 'No time for caution'.<br><br>Very enjoyable score and after watching the show last final last night bought the soundtrack. BrilliantWhat? Mike, this is definitely inherent to the Zimmer/Nolan relationship and to Nolan's absurd soundtrack direction. Two-note Batman theme ring a bell? Nolan hasn't just been tying Zimmer's hands behind his back. He's unwittingly brainwashed him and, subsequently, most of Zimmer's remote control production minions into thinking the way forward for soundtracks is in non-melodic, non-developing constructs.
Found one of the main themes.....<br><br>Sounds pretty much like the rising music in Pirates 2 when the Kraken shows up to eat Jack Sparrow....Heard Hans Zimmer at Merriweather Post Pavilion. What a mind bowing performance.Hey Hybrid,<br><br>Will they ever release the track they pieced together for the 7 Minute IMAX Preview/Prologue?just commented on the WaterTower Music yt channel. (i waited a day lol!) <br><br>Hans and his team made me the best birthday present ever : )<br><br>i like seeing the "few notes" principle Hans explained in his Masterclass. this score takes it to a master high level.<br><br>i would like to say in passing that the experiment on Inferno  (ambient music) can be felt through this score. and i love it!<br><br>thanks Hans, Lorne, Andrew, Benjamin, and anyone involved. thanks Hybrid Soldier, your fan website is the best!The rendition of What Are You Going To Do When You're Not Saving The World in the new Justice League trailer is pretty cool, at least it shows they have not forgotten this theme :-p
My one hope is that this doesn't mean Chris Nolan will be tying Zimmer's hands behind his back for future scores. If he wants to do that here, okay. I can get over one score. But I hope Nolan doesn't keep calling for this non-melodic approach.That was one of my favorites, wish it was on the OST.Yeah, was also looking for that track.Nolan's liner notes, which explains a lot on the score :<br><br>"British people are raised on the story of Dunkirk. The events of the evacuation are sacred ground, not to be ventured onto without great care. Daunting for a filmmaker. But the things that place Dunkirk so firmly at the heart of a nation's self-image are the very qualities that make it one of the greatest stories in human history. Irresistible to a filmmaker.<br><br>This film required a remarkable creative team, and Hans Zimmer, as well as having been a valued member in the past, knows how to assemble his own great team. From our first meeting, where I described to the percussionist, Satnam Ramgotra, the unusual rhythmic structure of the script and how it needed to be amplified by the music, through the finishing touches applied by Lorne Balfe during our last weeks of mixing, the importance of teamwork was paramount. The process nicely echoed the circumstances of the events we were trying to honour- a triumph of communal effort, not individual heroism.<br><br>When I called Hans one night with a one word suggestion- "Nimrod", I wasn't sure he'd accept experimenting with an existing theme for the climax of the film. To my surprise, he knew just who to call to achieve the deconstruction of Elgar's monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It's a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father's coffin on my shoulder. Hans brought in Benjamin Wallfisch, who, in collaboration with the great music editor Alex Gibson and myself, fashioned a modern reworking that grows out of the sights and sounds of the movie- tapping the original's resonances without feeling unearned. Hans's brass accents complete the piece's power to move without sentimentalizing.<br><br>Hans went on to incorporate Elgar's theme elsewhere in the score, a score that on this album has been divided into cues, but which in the film plays as one long piece with a unifying and complex rhythmic and tonal structure. The structure of the screenplay itself builds upon the shepherd tone concepts I first explored with composer David Julyan in the soundtrack for "The Prestige", but here Zimmer's team (in particular Andy Page and Andrew Kawczynski) and I added a whole new rhythmical structure. This can't be fully represented on the album, but in the film it is able to integrate sound effects and even story structure into the very fabric of the music in a new and unique manner.<br><br>The rigid structure, to which we adamntly stuck, at times proved frustrating for the musicians, but they persevered and produced extraordinary cues based on unusual solutions (such as a recording of my watch that Hans and his team adapted into many different rhythmic voices). The disciplined procedural approach stopped the music for "Dunkirk" from ever resorting to arbitrary cinematic emotionalism, something Hans and I always felt was vital, given the inherent emotional heft of the real life events. This has been a long and hard journey, but I am proud of the final results, and hope that you will share my appreciation for the talent of the artists who worked so hard for so long on this score.<br><br>CHRISTOPHER NOLANI don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.
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Rupert Gregson-WilliamsThomas FarnonTony ClarkeTom Howe
ComposerAdditional MusicAdditional MusicAdditional Music
The Legend Of Tarzan
Label: WaterTower Music
Length: 71'29
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4675 votes)
  1. Opar - Zoe Mthiyane (3:28)
    Rupert Gregson-Williams, Lebo M.
  2. Diamonds (4:50)
    Rupert Gregson-Williams
  3. Togetherness (1:44)
    Rupert Gregson-Williams
  4. Steamer And Butterfly (2:40)
    Rupert Gregson-Williams
  5. Orphaned (2:46)
    Rupert Gregson-Williams, Tony Clarke
  6. Returning Home (4:01)
    Rupert Gregson-Williams
  7. Campfire (2:40)
    Rupert Gregson-Williams, Thomas Farnon
  8. Tarzan And Jane (3:39)
    Rupert Gregson-Williams
  9. Village Ambush (4:41)
    Rupert Gregson-Williams, Tom Howe
  10. Catching The Train (2:16)
    Rupert Gregson-Williams, Tom Howe
  11. Rom's Plan (2:11)
    Rupert Gregson-Williams, Tom Howe
  12. Akut Fight (2:16)
    Rupert Gregson-Williams, Tony Clarke
  13. Elephants In The Night (3:12)
    Rupert Gregson-Williams, Lebo M.
  14. Jane Escapes (2:44)
    Rupert Gregson-Williams
  15. Jungle Shooting (2:41)
    Rupert Gregson-Williams
  16. Kala's Death (5:15)
    Rupert Gregson-Williams, Thomas Farnon
  17. Where Was Your Honor? (2:29)
    Rupert Gregson-Williams, Thomas Farnon
  18. Boma Port (4:04)
    Rupert Gregson-Williams
  19. Stampede (4:33)
    Rupert Gregson-Williams, Thomas Farnon
  20. On The Boat (3:10)
    Rupert Gregson-Williams
  21. The Legend Of Tarzan (2:36)
    Rupert Gregson-Williams
  22. Better Love (Film Version) - Hozier (3:23)
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Danna reply Replies: 0 || 2017-03-21 18:47:24
Anyone know where to find the sheet music for this?

Swordroll reply Replies: 1 || 2016-12-21 00:01:24
Does anyone know where to find the film version of Stampede? There are a few slight differences.


Anonymous2016-12-21 03:39:31
On the blu ray

Hybrid Soldier reply Replies: 3 || 2016-12-04 17:43:06
Little composer credits here...


Felix2016-12-07 10:55:53
@hybrid

Will you upload Rupert's site any time?


Hybrid Soldier2016-12-07 20:43:51
Yes, I've started working on it, takes time to catch up ! lol


Felix2016-12-07 21:35:49
Great Thanks! :)

Frenchans reply Replies: 0 || 2016-09-30 20:31:15
Opar is amazing ! The chords used and the sublime voice of Zoe Mthiyane remind me of the good old days of RCP.
It's nice to see that RCP haven't totally forgotten their origins !

rockhound reply Replies: 1 || 2016-07-30 08:29:48
is it true, that rupert is also working on mel gibsons Hacksaw Ridge together with john debney?


lanlan2016-07-30 11:09:21
yes

Miles reply Replies: 4 || 2016-06-17 01:24:06
It's now available for listening and pre-order (or maybe accidental early release!) on iTunes! Tracklist is as follows:

1. Opar (performed by Zoe Mthiyane) - 3:28
2. Diamonds - 4:50
3. Togetherness - 1:44
4. Steamer and Butterfly - 2:40
5. Orphaned - 2:46
6. Returning Home - 4:01
7. Campfire - 2:40
8. Tarzan and Jane - 3:39
9. Village Ambush - 4:41
10. Catching the Train - 2:16
11. Rom's Plan - 2:11
12. Akut Fight - 2:16
13. Elephants in the Night - 3:12
14. Jane Escapes - 2:44
15. Jungle Shooting - 2:41
16. Kala's Death - 5:15
17. Where Was Your Honor? - 2:29
18. Boma Port - 4:04
19. Stampede - 4:33
20. On the Boat - 3:10
21. The Legend of Tarzan - 2:36
22. Better Love (Film Version) (performed by Hozier) - 3:23


Ds2016-06-17 07:48:20
It is indeed available for purchase on iTunes, and it's just 4,99€, I don't see any reason not to buy it! Just bought it, and so far it sounds good!


callmee2016-06-20 14:37:16
Will there be a CD release or it's download only again?


Russel2016-06-20 21:45:29
It's not accidental.


callmee2016-06-21 08:02:40
OK, now I have found it: manufactured on demand CD-R only. Well, I still prefer it to mp3 download only versions.

Morgan Joylighter reply Replies: 1 || 2016-06-20 08:08:10
Really surprising to hear something so intense and epic from Rupert...I had basically given up on him since he got typecase into doing bland comedy scores, even though his early 2000s output (Jack & The Beanstalk, Bee Movie) showed tons of promise. Wish there were more composers writing music like this...people complain about the Zimmer sound taking over Hollywood but honestly there are only a handful of scores that sound like this every year. And this one is orchestral enough to please both sides I think!


Anonymous2016-06-20 11:47:59
Well there was a time many scores sounded like this.

But since Zimmer has evolved, Hollywood has evoled with it too. Every score now sounds like a Zimmer/Junkie simulation.

That's why this score sounds refreshing and a bit more old skool. After all this type of scores got me into film music years ago.

Anonymous reply Replies: 1 || 2016-06-19 13:25:59
Great score. It really sounds like the great scores Hans used to make pre-inception. Love it!


Ds2016-06-19 18:20:52
Indeed. At first I thought it was good but not great, but after a few listens I really dig it, great stuff! Nice themes and subtle orchestration, nice job from RGW.

Hybrid Soldier reply Replies: 5 || 2016-05-16 22:03:58
Yep and since it's in a month & half, better I add it ! lol


Ds2016-05-16 22:45:18
So HZ is "musical consultant" here... official or officious? :-)


Hybrid Soldier2016-05-16 22:46:19
He didn't write anything on this. Just did a little communication. Well at least that was the case 1 and a half month ago !! lol


Ds2016-05-16 22:51:35
... but surely WaterTower won't resist the temptation of putting his name on the cover, right? :-p


Miles2016-06-17 01:25:38
Cover's up. Just has Rupert's name; no mention of Zimmer.


0-^-02016-06-17 13:22:41
It may not have Hans Zimmer's name anywhere on it but the music does have his style emulated in the work. Good score, nevertheless.

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The Legend Of Tarzan soundtrack - Rupert Gregson-Williams 2016