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Maybe this is just the sceptic in me speaking, but the process is a bit different this time around to when he did the original. This time, he has an existing score to pull from. Those themes are set in stone. And this is, from what I understand, essentially a shot-for-shot remake, so all this really will be is an 'adaptation' rather than a completely fresh score. Beyonce is working with Tim Rice and Elton John for the songs as well, so the responsibilities seem to be as split as they were the first time round.<br><br>If nothing, I guess this will all result in an interesting look at how Zimmer would reinterpret an older score of his. Not many composers get that opportunity.Yeah, I think he has to do The Lion King first because they have to incorporate the songs with the score. There was even an article saying that Beyonce was working with Zimmer.DT-2017<br>It depends, because it's a musical, and some tracks have to be prepped prior to filming, so he might do a little bit of each throughout this year I'm guessingDark Phoenix is out later this year, The Lion King won't be out until next year. It's a pretty safe bet he'll score Dark Phoenix first.hank you
Are the war-cry vocals in Red Warrior part of the music or are they added in for the OST?@Hybrid Really? I guess itís not a total surprise considering how much of a mess the film turned out to be. Divergent was a similar situation where the score in-film was butchered...The funny thing with Dark Tower, is that the production was so lost they made him write the score 3 times... Who knows what were the other versions like...Itís interesting with Junkie. As a composer on a purely scene basis, heís not that good (this is coming from someone who loves his music). My primary issue with him is that he tends to score scenes with ambience, or stretched out sound design. That was a huge problem I had with Dark Tower.<br><br>But like I said elsewhere, heís still growing as a composer. Watch something like Black Mass where the music in film complements the scenes amazingly.Hans does not have the credit as a producer on this.<br><br>XL is limited, I agree, but I hope he does something fun (the film is not even taken seriously).
Funnily enough, I'm far more critical of Hans than Junkie, given how much the former relies on ghostwriters, but the fact of the matter is that Hans fundamentally understands how to write a film score, and Junkie, from what I've heard, simply doesn't. Mad Max, although a success, is more a function of the film suiting an extremely rhythmic, percussive sound, rather than Junkie being competent, IMHO. So - somewhat joking here, as I know it won't happen - I'd be down for Hans writing a suite for this and Junkie basically copy/pasting it into the film.Hybrid, do you have credits for this version by any chance?welp, looks like we're back to the whole "tom holkenborg aka junkie XL" thing againPoint Break is fantastic!!!!I like Dark Tower, not a terrific score, but i liked it.<br><br>But Point Break... oh, god
What about the Dark Phoenix score? Did he finish it already or doing it in between the Lion King?Wow, I never realized that the oscorp theme is basically Watergate from Frost/NixonI wish so much more! The movie promises to be as good as the last Jumanji! I'm not a big fan of Point Break or Dark Tower, but I think XL has a lot of stuff to explore this time, like in Mad Max.It does not have to be anything extraordinary, just something that gives life to the film.Yes he has, for a few months now actually...Hybrid, do you know if Hans has started on the new Lion King yet?

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Hans ZimmerLorne BalfeBenjamin WallfischAndrew Kawczynski
ComposerAdditional MusicAdditional MusicAdditional Music
Label: WaterTower Music
Length: 59'46 rating:        Not yet rated
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  1. The Mole (5:35)
    Hans Zimmer (Sir Edward Elgar)
  2. We Need Our Army Back (6:28)
    Hans Zimmer
  3. Shivering Soldier (2:52)
    Hans Zimmer
  4. Supermarine (8:03)
    Hans Zimmer
  5. The Tide (3:48)
    Hans Zimmer (Sir Edward Elgar)
  6. Regimental Brothers (5:04)
    Hans Zimmer, Lorne Balfe (Sir Edward Elgar)
  7. Impulse (2:36)
    Hans Zimmer
  8. Home (6:02)
    Hans Zimmer, Benjamin Wallfisch (Sir Edward Elgar)
  9. The Oil (6:10)
    Hans Zimmer
  10. Variation 15 (Dunkirk) (5:51)
    Benjamin Wallfisch, Hans Zimmer (Sir Edward Elgar)
  11. End Titles (Dunkirk) (7:12)
    Hans Zimmer, Lorne Balfe, Benjamin Wallfisch (Sir Edward Elgar)
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NTNB reply Replies: 13 || 2018-01-25 19:03:46
So, Zimmerís scoring X-Men: Dark Phoenix. What?!

badbu 2018-01-25 19:31:22
YES! :-)

Olive2018-01-25 19:57:28
Apparently he does not keep his promises. Does he return to DC?

George2018-01-25 20:58:33
Wait seriously?! Wow definitely surprising (in the best way)

FaresTdkr2018-01-26 08:27:20
Well Hans never said that he will stop scoring superheroes movies ever he just did like to score two kind of batman movies in the same time I mean two themes for the same character in brief time.

Waymann2018-01-26 09:12:04
I don't get it, first he announces he will retire from all those awful superhero movies we get stuffed up with these days and now he returns already after 2 years to a mediocre superhero movie ? I don't get it.

Lynk2018-01-26 11:27:13
This one doesn't have any of those characters for whom he created a tune in the past. I am sure they pay good money too. Why shouldn't he? :-)

...2018-01-26 12:11:29
In fact, when Zimmer first announced his retirement, he acknowledged that it probably wouldnít be permanent ó as long as he could find a good script, he told Inverse. ďRon Howard actually said something very smart to me,Ē Zimmer recalled. ďHe said, ĎDonít say you will never do a superhero movie again, wait for somebody to turn up with an amazing script for a superhero movie.í And I suppose thatís what Iím saying: Can I please have the amazing script?Ē

Meta2018-01-26 14:16:57
Sorry but I dont know why this is being nominated...It's derivative repetitive nonsense. Does it service the film? Sure...110%. But as a score I dont really see what's so great about it...

Joshua2018-01-26 19:50:01
@Meta That makes no sense what you just said.

ďDoes it service the film? Sure...110%. But as a score I don't really see what's so great about it...ď

A film score solely exists because of the film itís attached too. Without it, their would be no music. Itís main and MOST important function is to serve the film and elevate it. You said the score serviced the film ď110%Ē for you. So then doesnít that make it a great SCORE? I think you meant to say, as music on itís own, you donít see whatís so great about it.

Ian2018-01-26 21:35:39
"I don't get it, first he announces he will retire from all those awful superhero movies we get stuffed up with these days and now he returns already after 2 years to a mediocre superhero movie ? I don't get it."

To put it simply: Hans often seems to care more about saying things that sound good than things that end up being true. Just look at his claim that he worked on the Nolan Batman films for twelve years; given The Dark Knight Rises came out in 2012, this would mean he was working on Batman Begins in 2001, even though Nolan wasn't even hired until 2003.

Max Potcats2018-01-26 23:29:53
Ian, don't leave logic aside, Hans said that Batman was 12 years of his life when he was talking about BvS back in 2016, I let you do the math (2016 - 2012 = 2004 :P ). Sure he finished the score in 2012 with Rises, but I think these kind of work doesn't leave you like that, he composed Aurora after he oficialy finished to work on TDKR, he was still working on for his tour and he was working on another batman movie so I think we can agree that he didn't cast his batman work with TDKR in 2012.

And I think he is tired to see the 'classical superhero movie' and really wants something fresh to work on. As the Wonder Woman character in BvS, maybe he found something cool in the Dark Ph&#339;nix that we don't found on ever superhero script and get inspired.

meta2018-01-27 02:26:17

Just because I said it services the movie 110%, which it does, does not mean that I will remember it or care to stick in it my playlist in the forseeable future. As a standalone listening experience? Nah...

nvictor2018-02-09 12:10:10
well you guys know Hans? "they made him do it" : )

Kingfannypack is the Milfcommander reply Replies: 6 || 2018-02-08 19:07:02
Still havenít seen that expanded Dunkirk score Iíve heard weíll get...

.... 2018-02-08 19:47:21
And who exactly is supposed to give this out? No wonder people who have these scores like to hold onto them....

Ahmad2018-02-08 21:14:49
LOL! I guess he meant an FYC release.
WB sent the commercial soundtrack album to voters so no complete score.
I don't even know how something like that would exist to be honest. Nolan and Zimmer weren't joking when they said that the score is one 106 minute long track.
But there is a cuesheet so I'm really confused.

mpolonest123 2018-02-08 21:20:04
@ahmad I donít think they meant a literal 106-minute cue. It would be impossible to record. Going by the cue sheet itís a bunch of shorter cues that bleed into each other to form the film score. Even then I think there are one or 2 pauses in the music, although Iíve only seen the movie twice so Iím not 100% on that.

Ahmad2018-02-08 23:16:05
@mpolonest123 It's true about the pauses. The score kinda gets divided into 4 tracks:
1. Beginning to Collins' rescue
2. Home to train
3. Variation 15
4. End Titles

The reason why I believe it's an actual long cue:
Nolan said in a Q&A that they lay tracked every sound in the score and they didn't cut tracks or cues but used automation graphs to bring sounds in and out, and when ever the picture changed the music had to change in other places drastically. Also, not to forget how crazy the tempo tracks are on this film. It's constantly changing.
Hans seems to be quite secretive about the process though.

mpolonest1232018-02-08 23:45:55
From some interviews it seems like Hans ďmappedĒ out the score, most likely with a long demo. But yeah, there are still a lot of things they havenít told us.

kek2018-02-09 04:20:20
you can still just put all of the tracks together like usual if you just plan for it, fading them into one track after everything is done

nvictor reply Replies: 20 || 2017-12-24 02:28:04
dunkirk is far superior to interstellar, period. tired of you guys. please no more mention of interstellar on dunkirk's page. hope dunkirk wins. in my heart it did. just saving now to get a old school vinyl player and a a vinyl version. happy holidays : )

James (now James Callahan)2017-12-24 11:46:24
I think that Greenwood will take this prize for home.

Edmund Meinerts2017-12-24 13:28:51
I can't agree.

Dunkirk is a functional score that does the one thing it sets out to do (add tension) and basically nothing else. Interstellar is so much more complex and interesting, has so many more emotional facets to it. It's just as tense as Dunkirk when the scene calls for it, but it can also portray the vastness of space, humanity's triumph and ingenuity in the face of forces far stronger than it, the intimacy of family bonds...There's so much more going on in that score than in Dunkirk, which basically shakes you by the shoulders for 90 minutes, screaming "ARE YOU TENSE YET???" in your ears.

Medigo2017-12-24 13:31:09
eh I'd say half of the score is about tenseness
and the other half (tracks like The Tide) is about despair

Ahmad2017-12-24 15:17:46
The way some judge scores here is skewed. Comparing two different scores for two very different movies.

To me, it's not valid criticism. Nolan wanted to make a movie that is not sentimental or theatrical therefore he instructed Zimmer to strip the score of emotion (for the most part) and it's clever. When Nimrod played, it was so effective because the movie was very tense and dark and they you're hit with this very uplifting cue. The score is all about tension and horror, and that was the intention and it totally works.

You cannot compare a space epic with a family drama at its heart to a WWII action thriller that almost plays as a horror film.

I'd like to point out that some people are judging this score like they would judge a pop album. "It's not interesting" or "It doesn't have enough melodies". Composers don't write their scores thinking about the soundtrack album and what listeners will think of it. The main purpose is how it serves the film. The soundtrack album/listening experience is a bonus thing.

Mephariel2017-12-25 01:30:16
Dunkirk is not even in the same league as Interstellar. Interstellar is quite possible the best minimalist score in the last 10 years, and one of the best scores of all time.

Dunkirk is an effective score within the film and that is all I can say about it.

dunkirk vs interstellar2017-12-26 05:44:38
lets acknowledge both films are different fingers of the same hand.
one is emotional and other is suspense, period

Boldizar2018-01-15 15:22:38
@Edmund Meinerts Hit the nail on the head. Dunkirk is great as a functional aid to the film, but doesn't extend beyond that role like Interstellar does. Interstellar's score is a masterwork. It is functional as an aid to the film, but it speaks the emotion and events of the film just as well on its own (and reordered).

Jor-El2018-01-24 01:40:05
"The thing that I'm proudest about Dunkirk is you can't separate it from the film."
- Hans Zimmer, GQ

Mike (OTM)2018-01-25 18:43:06
Dunkirk is superior to Interstellar? I can respect your opinion, but I don't see how you got there.

Dunkirk is a functionally-efficient, overly-simplified score with a bunch of wailing siren sounds and escalating tension ó it's devoid of a central motif, borrowing its emotional core from a 19th century English composer. It builds and builds and builds for an hour and a half, then gives us Nimrod to cap things off. Does it work? Sure. I was moved precisely in the ways Nolan and Zimmer wanted me to be moved.

Interstellar, on the other hand, is emotionally resonant despite its scaled-back style of writing, it makes brilliant use of the pipe organ, it has several standout moments that you can't help remembering (Cornfield Chase? Coward? Mountains? No Time for Freaking Caution!), and it both elevates its film and works beautifully on its own.

Interstellar is Zimmer writing from his heart, by his own admission. Dunkirk is Zimmer working against himself every step of the way to deliver the experience in tension that Nolan wanted Dunkirk to have.

Ds2018-01-25 20:24:11
@Mike OTM: you summed it up perfectly, I can only applaud!

superultramegaa2018-01-25 22:21:56
Exactly Mike and Edmund. Anyone can listen to Interstellar and enjoy it on its own. Without the film, it's still an emotional ride of suspense, horror, and heartfelt. It has melodies, it has themes/motifs, it has subtle features, like the beats in Coward, actually spelling out S.T.A.Y. in Morse code.

Dunkirk serves the film, has very little you can analyze about it, most people would be bored hearing it outside the film, and only 1 or 2 themes/motifs. Maybe there's more, but it's sure as hell not noticeable. Interstellar had a chance of winning, and probably should have, but this one does little more than do its job. If it wins, by that logic, Deepwater Horizon should have won an Oscar for best original score.

Ahmad2018-01-25 22:42:22
But does that really matter? It's not a pop album. It's a film score. Its sole purpose is to serve the film. You listening to it on it's own is a luxury.
I understand that a lot of you want more melodies and more traditional score but those exist already. I'm one of the people who enjoy concepts and sound design and textures. I love all the layers and all the new and creative sounds Hans and co. come up with in addition to the simple melodies/themes/motifs that hit harder than some of the micky mouse scores out there.

People complain about the lack of themes from Hans' latest two scores. I counted about 10 themes in BR2049.

I also feel like people are going about scores the wrong way. First watch the movie, you like the music? Get the album and listen to it. Film scores are not made for you to enjoy themselves. That doesn't happen all the time. Interstellar and Dunkirk are two completely different movies from two different genres. It's like comparing THE LEGO BATMAN MOVIE to THE REVENANT.

Just my two cents.

Mike (OTM)2018-01-25 23:10:28
@Ahmad, I see what you're saying, and I wouldn't mind more scores like Dunkirk...if Hans were scoring more films these days. But he's hardly doing any projects at the moment. When his only big score for the first time in a while (and for a little while to come) is a sound-design-tension-score, I don't think it's unreasonable to be a bit disappointed.

I don't dislike Dunkirk. It did what it set out to do, and more power to it. But if these is what we have to look forward to from Zimmer for the next few years, I may have to pass on his next few scores. That being said, Blue Planet II had a nice theme to it, and I'm looking forward to his re-tread of The Lion King.

superultramegaa2018-01-25 23:30:33
Ok, music itself is built on motifs/themes. Even in rap, the background may be the same for most of it, but people listen to whatever themes/stories are being told in the lyrics. Music is about telling a story. In any genre, even pop. Film score is meant to tell a story, even more so than the other genres. Look at the greats everyone loves: Lion King, Lord of the Rings, Pirates of the Caribbean, any John Williams score, Batman '89, Every Spider-Man score from 2002 onwards, even Hans Zimmer's less melodic stuff like The Dark Knight Trilogy and Interstellar.

Every one of these scores, and what every good score should do, is tell the story with the movie. The music should progress with the characters, and every motif should signal a specific event/story beat happening. You don't necessarily have to go crazy and break down every theme/motif throughout the film series like Howard Shore, but the music needs to tell the film's story, alongside the film. It should be the film's story, communicated differently. There are films like Steamboy and D-War that I've never seen and the music gives me enough to understand the basics of the story.

I listen to Dunkirk and I think "Wow! Something tense is going on!" Then I think that again, and again, and again, until the ending tracks where I'm thinking, "Ok something inspirational is happening- ohiguessit'sover." Sure it serves as tense noise, but does it tell a story? I'm going to say no. I haven't seen the movie but I've heard all of the spoilers, and there's much more than tense action going on for the entire movie. Sure it works, but is that enough?

I'll always remember this review of Deepwater Horizon's score. The basics of it was "Yes the music has to serve the film, but that's the bare minimum. After you get past the basics of that, you have to show your own vision, you have to contribute." Scores like Dunkirk and Deepwater are the equivalent of what I did for gym class. I showed up, I did what I was told. I left. I'm not saying Steve and Hans are lazy assholes, because they both usually do great work, and work their asses off, even for scores I don't like. But as a composer, you can't do nothing but create noise for the film so the audience isn't bored. You have to tell the story in a way only you can. That's my view on "its sole purpose is to serve the film."

Also... micky mouse scores? What is that even supposed to mean? Disney is not the only company that has melodic scores for most of its films.

Gotham Rogue2018-01-25 23:37:21
@superultramegaa mickey mousing is a film composing term for when the music matches the action literally. If a character runs upstairs, then the music rises, stuff like that. Itís called mickey mousing because the early films that used the technique guessed it, Mickey Mouse cartoons.

superultramegaa2018-01-25 23:51:16
Ah, ok. I don't think film scores have to do that. In fact sometimes that can come across as annoying. Yeah, that technique is not important to me.

Ahmad2018-01-26 00:09:00
@Mike (OTM) I understand. I think you shouldn't give up on his next scores. Remember that Dunkirk is the result of what Nolan wanted. Nolan specifically didn't want a melodic score even though they actually recorded a more traditional score but it didn't work and they scrapped it. So it depends on what the future directors want. It's a collaboration.

I think this score still tells a story. Yes, the main theme here is the race against time. The story here is quite nuanced. It's not always about tension. You get fear, loss, desperation, melancholy. Listen to "The Tide" (one of my favorite tracks on the album and one of my favorite sequences from the movie).

It wouldn't make sense if you haven't seen the movie. Dunkirk is designed to feel like a 106 minute 3rd act. The intention is for it to be as intense as possible. Not to mention its unusual complex structure. I always tell people to think of Dunkirk as a horror film rather a war/drama film and that to me explains the music. Also, Nolan wanted the music to be deprived of emotion as much as possible.

By the way, the soundtrack album should be thought of as a selection of some of the highlights of the score (for those who haven't seen the movie yet).

About Mickey Mousing, I couldn't have explained it better than @Gotham Rogue

superultramegaa2018-01-26 00:58:52
Hey, glad you could find something interesting in the music. I didn't. But you enjoy it, if you actually have legitimate reasons for liking it, and you understand why you like it. Also, good for you for actually taking criticism, applying it, and using it to respond. You might think it's obvious and not a big deal that you did so, but it's amazing and annoying how often people don't do that.

I think this type of score just isn't my thing. I'll always love melodic scores, or Dark Knight type semi-melodic ones. These just aren't entertaining to me. Whether I've seen the movie or not.

Ahmad2018-01-26 01:45:03
Well, people (especially on the internet) can be quite defensive and quite aggressive to others. It's always nice to have a conversation about music.

Art is subjective. I'm pretty sure Hans will return to do more melodic scores but it has to be appropriate for the project. Plus, he was busy with the tour in 2016 and 2017 so hopefully more projects to come.

rockhound2018-01-26 09:10:31

i haven't seen Dunkirk, but Deepwater Horizon. the blu-ray also has a making of, where peter berg and steve jablonsky talk about the music. berg just wanted the music for tension. he didn't want a melodic hollywood score, because the story is based on a true event and he wanted to create a real feeling for the audience. like they are in the middle of the action, which happened for real. a melodic orchestral hollywood score would have been out of place there, at least for bergs intention. you also don't hear the last score track from the album in the film, because of that reason. just this guitar motive at the beginning of the movie.

Kingfannypack is the Milfcommander reply Replies: 1 || 2018-01-24 21:17:01
So we should expect to see a FYC or expanded/complete/ReordingbSessions score soon?

badbu2018-01-25 07:51:42
i dont think so. The FYC Score is the "standard" Score.

Mikkel reply Replies: 34 || 2018-01-16 16:13:22
is there a complete score out there? the score is so amazing!

MaxPotcats2018-01-23 14:14:34
If it's nominated for the Oscar, the complete score will be released. So it should be out these weeks.

Badbu2018-01-23 14:34:11
YES HANS!!! The second Oscar is COMMING! :D

Edmund Meinerts2018-01-23 14:39:56
I'd like Hans to win another Oscar but please, not for this.

Ahmad2018-01-23 14:57:17
The score is brilliant. It does its purpose very well and it is an essential part of the movie. It's also the most creative of the bunch with the way it was recorded and edited.

badbu2018-01-23 15:06:28
yep ahmad! 100% right

George2018-01-23 15:10:31
Well it has officially been nominated. Fingers crossed for the complete score now

Ahmad2018-01-23 15:21:37
@badbu &#128077;

I honestly don't know how a complete score is going to work. They weren't kidding when they said the music is done like one long track.

What I understood from a Q&A with Nolan is that they didn't do it the usual way which means there are cues that are cut together / exist as segments. This was done in a different way where to create such cues, they used automation graphs to bring the layers in and out. Very complex.

One of the reasons why I think this deserves to win so many awards.

Anonymous2018-01-23 15:26:58
I hope Dunkirk wins just to make the so-called "reviewers" and those who say it isn't music, more frustrated and annoyed.

Ahmad2018-01-23 15:29:53
*That was a thumbs up but it didn't work :D

^This how I feel lol.

badbu2018-01-23 15:30:39
@Ahmad i only need "The Oil (Film Version)" :D Then i'll be happy :D

Edmund Meinerts2018-01-23 15:34:56
I hope it doesn't win if for no other reason than so we don't have to go through 5 years of Dunkirk temp tracks (although if 12 Strong is anything to go by, too late).

George2018-01-23 15:38:44
Here's an interesting opinion: I want Hans to win this one so that he DOESN'T continue making music like this. Sure its functional, but if he could reinvent the melodic score again and get back to writing memorable melodies I'd be pretty happy. He won for Lion King and then essentially abandoned that tone of music which transitioned into the Crimson Tide/The Rock sound... so maybe, just maybe, if he wins this year he'll completely reinvent his sound again and give us something both melodically memorable but also be a total game changer in terms of modern scores.

AndrewP2018-01-23 15:49:26
Edmund - gets you facts right please . 12 Strong was written before Dunkirk

Edmund Meinerts2018-01-23 16:09:39
Source? I find that hard to believe considering the release dates. Even if it is true, Balfe might have been concurrently working on Dunkirk and brought over some of the ideas. I find it spectacularly improbably that he and Hans just HAPPENED to come up with the same ideas at the same time.

MaxPotcats2018-01-23 16:44:21
Well, the credits say that Supermarine or the oil are pure Zimmer, and also the 3 first track I think. So Balfe helped him to develop some ideas during his tour but the majority of the score is Hans' work.
And it does deserve an Oscar. I never heard a score like that.. If you have a problem with the score I think it comes from the script. A classical melodical music wouldn t work for this film i think.

Mephariel2018-01-23 17:42:13
Doesn't deserve an Oscar. Hans Zimmer is my favorite composer but if he didn't win for Interstellar, he shouldn't win for this.

I can seriously say that I object this score winning based on that principle. This winning over Interstellar just isn't right.

Ds2018-01-23 17:53:40
Edmund, in all honesty what are the similarities between 12 Strong and Dunkirk? I know both scores and fail to see how they connect.

Ahmad2018-01-23 18:10:44
I've only heard the suite Hybrid made. The only similarity I was aware of is the siren-like sound.

People don't realize how difficult scoring Dunkirk was. Just because you love Interstellar (I do too - it's my favorite HZ score) but that doesn't mean Dunkirk doesn't deserve to win.

AndrewP2018-01-23 18:10:55
Edmund - the release dates do not matter . Check out Balfeís Facebook page and you will see he was recording 12 Strong early last year .

Peter2018-01-23 18:40:51
Edmund - how do you think Zimmer wrote Dunkirk when he was on a world tour !!!Congratulations to Ben, Lorne also .

Ahmad2018-01-23 19:24:57
Hans finished the bulk of the score before he went on tour, you could find an interview where he himself says so.
Ben worked solely on Variation 15.
Scroll down on this page and you'll find the full cuesheet with the credits.

Olive2018-01-23 20:39:43
Balfe's hiring came out in May, when Dunkirk's production was already at the end. No contest.

filmmusicreporter. com/

Miguel2018-01-23 22:39:11
Olive that is when it was announced !!! Not when he did it

Olive2018-01-23 23:15:16
I understand, but it does not make sense.
You're arguing that the score for a movie released in January this year was produced before of the score of a movie that went to theaters in July. If Balfe started working on "12 strong" a year before the movie release, the same can be said of Dunkirk. It is easy to infer that the Dunkirk's score has been working since the middle of 2016! Or even before, because of the tours that Zimmer has done.
The music/sound design, even being simple, was not made and recorded between January and May of last year.

superultramegaa2018-01-24 01:41:38
I'm with Edmund in that I'd love for Hans to win more Oscars, but not this score. I feel like even Blade Runner 2049 is more deserving of an award than this. Sure, it works great in the film, but that shouldn't be reason enough for an Oscar. I feel like Desplat's nominated score is more deserving than this one.

"But this one has a unique sound and recording!"

Okay... a lot of scores have that. A lot of Zimmer's work has that. Doesn't make them all masterpieces.

"But we have to spite those evil reviewers who hate this score!"

Why do you let their opinion get in the way of your enjoyment? If you love it enough, the critics' opinions should only make you enjoy it more because you see something in it they don't.

I agree with George in that Hans needs to go back to a melodic sound. I don't think whether this score wins or not will change Hans' mind on that, but I do want his next Oscar winner to mean something other than, "Oh cool! I won this award because I made weird sounds!" (Which by the way, involves things like programming and a lot of other technical adjustments that have nothing to do with Hans' composing ability).

Kingfannypack is the Milfcommander2018-01-24 06:37:45
All those people who complain that Hans isn't sticking to more traditional scores forget that at heart, hes a synth man who loves his synthesizers and keyboards. Hans is just as much as a musical artist as Bowie or Paul Mccartney, in the sense that he goes through musical trends and his style adapts or changes. That's just the way it is, enjoy it for what it is.

Crucify me for comparing a human to David Bowie!

Mike2018-01-24 12:30:26
Olive the problem is to me at least 12 Strong sounds very like 13 Hours. That then totally messes your argument up !13 Hours must be nearly 3 years old now.

Edmund Meinerts2018-01-24 12:49:19
What if I told you it was possible for a score to sound like two different things sometimes?

Max Potcats2018-01-24 13:41:28
That's why the album is almost only suites and not the real score from the movie I guess.

Olive2018-01-24 15:20:06
"13 hours" sounds like Black Hawk Down (2001), The Thin Red Line (1999) and Tears of Sun (2002). The first track of the score is a carbon copy of the Prince of Egypt theme (1998). What do you guess? They were composed even before Balfe worked with Zimmer.

What's more likely? Zimmer look through the three scores he composed in the past or look at the latest war score produced by Balfe?
The problem here is that you want to elevate Balfe the category of composer wronged of everything that comes out in Rcp these days. Transformers 5? Balfe was a ghostwriter here. The Crown? RGW did not even bother to write a single note. Do you know all Zimmer scores for the last 10 years? This man is an old bastard, Balfe has been carrying him on his back for years.

If Balfe had made up half of the score as in KFP3, that would already be known to all of us. Hybrid does not hide anything. Nor is there any reason to do so. These reactions are normal and understandable to some extent. Zanelli is another composer who has very ambiguous credits (he made the arrangement of the current theme of Pirates of the Caribbean! And many of the themes known in the franchise were co-composed, arranged or produced by him!) The same can be said of Balfe in several other situations, but not in Dunkirk.

It's simple. 13 hours is a regular score, 12 strong is not the type of music I like to listen to, not even Dunkirk, but there is no reason to create discussion about who came up with the idea first. It's like to say that Jablonsky created the sound of the Transformers when there were already King Arthur, Tears of the Sun, Crimson Tide and The Rock. Or that Djawadi created the sound of Game of Thrones when we already had Gladiator, Pirates, King Arthur and The Last Samurai out there as well. Or that the current DreamWorks animation style is not derived from the animation scores made by Powell and HGW.

I know all this is a result of the fact that they have all worked together for so long. Their styles come together and at the same time this is the style of production that is asked by the directors and producers to them. But 12 strong is not original, Dunkirk is not either, and 13 Hours has never been.

Olive2018-01-24 15:20:07
"13 hours" sounds like Black Hawk Down (2001), The Thin Red Line (1999) and Tears of Sun (2002). The first track of the score is a carbon copy of the Prince of Egypt theme (1998). What do you guess? They were composed even before Balfe worked with Zimmer.

What's more likely? Zimmer look through the three scores he composed in the past or look at the latest war score produced by Balfe?
The problem here is that you want to elevate Balfe the category of composer wronged of everything that comes out in Rcp these days. Transformers 5? Balfe was a ghostwriter here. The Crown? RGW did not even bother to write a single note. Do you know all Zimmer scores for the last 10 years? This man is an old bastard, Balfe has been carrying him on his back for years.

If Balfe had made up half of the score as in KFP3, that would already be known to all of us. Hybrid does not hide anything. Nor is there any reason to do so. These reactions are normal and understandable to some extent. Zanelli is another composer who has very ambiguous credits (he made the arrangement of the current theme of Pirates of the Caribbean! And many of the themes known in the franchise were co-composed, arranged or produced by him!) The same can be said of Balfe in several other situations, but not in Dunkirk.

It's simple. 13 hours is a regular score, 12 strong is not the type of music I like to listen to, not even Dunkirk, but there is no reason to create discussion about who came up with the idea first. It's like to say that Jablonsky created the sound of the Transformers when there were already King Arthur, Tears of the Sun, Crimson Tide and The Rock. Or that Djawadi created the sound of Game of Thrones when we already had Gladiator, Pirates, King Arthur and The Last Samurai out there as well. Or that the current DreamWorks animation style is not derived from the animation scores made by Powell and HGW.

I know all this is a result of the fact that they have all worked together for so long. Their styles come together and at the same time this is the style of production that is asked by the directors and producers to them. But 12 strong is not original, Dunkirk is not either, and 13 Hours has never been.

AndrewP2018-01-24 15:53:26
But Olive , Hybrid doesnít know everything !

Olive2018-01-24 17:40:22
And who among us knows more than he? ;)

Michael2018-01-24 20:15:35
Me !

Hardy reply Replies: 0 || 2018-01-24 11:45:51
where can i find the cue sheets? thx

Anonymous reply Replies: 6 || 2018-01-13 16:24:49
Excuse me , would you please explain what is the additional music ? And dose all of the composers have some other composers to write additional music for their project ?

Mandarin2018-01-13 17:30:05
The main composer hires a team of other composers which may work on extra themes. This is the addiional music. But hiring these people is not necessary

Mephariel2018-01-13 21:54:55
Nearly every composer in Hollywood uses ghostwriters. Horner, Elfman, Beltrami, you name it.

Olive2018-01-14 01:22:54
I've never heard of Horner or Desplat, but Beltrami, Tyler, Doyle, McCreary, Elfman, JNH, all the composers of the Zimmer team and even Williams have additional composers listed or not on CD credits.

The role of the additional composer is very clear. He writes what the lead composer does not write because of lack of time. Delivery time is short and there is a lot of work involved in producing a score. Several professionals are involved in the process. And there are composers who grab a lot more work than they can do alone. Bear McCreary is an example. The man works on several television shows at the same time and still finds time to write music for movies. And the guy has a family (children need attention xD). It is almost impossible for him to control everything himself. The same goes for the others.

Anonymous2018-01-14 18:23:25
Thank you very much for your answers. Because i never saw other composers like wiliams or elfman credit other composers i had misunderstanding that only hans has additional music. Thank you again

Olive2018-01-14 21:18:20
The ghostwriter's identification on the soundtrack is subjective. Elfman, for example, gives credit for additional composer (the best known are Steve Bartek and Debora Lurie, now in JL Geoff Zanelli and Pinar Toprak have been credited so, and there are various situations like these), Zimmer gives credit as an additional composer as well , but sometimes masks the name of one or another composer by designating it under the function "ambient designer" and "additional arrangements". And Williams gives orchestrator credit as well as Goldsmith (since the two are musicians per lineup the contribution here is far less than in the cases of Zimmer and Elfman which are songs without technical training), and that works best for them.

oliver2018-01-15 00:17:01
# who are musicians***

Max Potcats reply Replies: 2 || 2017-12-28 01:53:04
This is two differents movies with two differents tones, we can just note how well Interstellar can be warm and emotional and how well Dunkirk is tension and suspense. Hans excels at both so it's hard to choose one best but obviously they arn't ment to be compare so can we stop this pointless debat here?
However, it deserve an Oscar as Interstellar, but will be ignored (as Interstellar)?

badbu2017-12-28 07:37:56
i don't care for what...but he has to get his second oscar!!! and i think dunkirk has good chances :-)

linus2018-01-14 17:58:24
YEEEESSSSS!!!! Hans has to win the Oscar. I mean: Maybe this soundtrack is not beautiful. But it is so intense and it makes the movie so much better. The music is just perfect.

R reply Replies: 7 || 2018-01-08 06:36:31
Lost to shape of water..Guess the jury has listening disabilities

Edmund Meinerts2018-01-08 09:42:41
Shape of Water is a lovely score.

MrZimmerFan2018-01-08 11:33:54
Agreed with Edmund

Mephariel2018-01-08 18:41:27
Shape of Water is a better score than Dunkirk.

k2018-01-09 04:46:24
i cant even think of a single person who even bothered to listen to that score

HZ fan2018-01-09 07:25:39
Agreed, If you are fan of shape of water, donít post it on Dunkirk forum

Edmund Meinerts2018-01-09 08:48:49
I wouldn't say I'm a "fan" of it exactly, but there's nothing wrong with it winning. It's a fine score, not a masterpiece, but by the standards of scores that usually win awards it's perfectly okay. As for Mr "k", what a stupid statement considering that the three replies above you clearly are from people who did, in fact, listen to that score.

Ian2018-01-09 09:29:22
^ LOL, classic Edmund (intended as a compliment, btw)

I've not listened to Shape of Water, but Dunkirk (although it's growing on me) is blatantly not award material IMO; it plays much more like a standalone experimental piece than a film score - a bit like Inception, but with far less substance.

Speaking of which, some of the clicking/clanging effects in cues like The Mole sound to be almost directly lifted from some of the ambient cues from Inception.

Gotham Rogue reply Replies: 2 || 2018-01-08 07:14:10
Does anyone think if a (more) complete score had been created for FYC purposes that Dunkirk would have had a better chance of winning best score at the Golden Globes? Because purely based on album experience, Shape of Water is obviously a better listen. That being said, a complete score of Dunkirk would have made a huge difference; even the first 10-15 minutes of score would have been quite a good listen compared to the first 10-15 minutes of the official soundtrack release.

Gotham Rogue2018-01-08 07:15:51
And I'm sure voters watch the film as well when deciding on best score, but they must use the included CD to some extent or it wouldn't be given in voting packets.

mpolonest123 2018-01-08 17:22:49
You are absolutely right. The album edit for Dunkirk is such a disappointment, especially considering it is a score that not only is designed to compliment its film but work as one long musical piece. You take one section out (as Nolan said regarding the editing in film) you ruin the whole. Honestly I wish they wouldnít have even put out an album if they werenít going to use the whole score.

As for the GG win, Iím happy Shape of Water got it. Itís a very strong score, nothing groundbreaking but definitely better than say, The Last Jedi.

nvictor reply Replies: 1 || 2018-01-07 01:33:19
just listened to Hans podcast about Dunkirk. it confirmed a few things i suspected.

Hans started afresh __but__ he took with him everything he has gathered on his score making journey. writer Stephen King said one should build a toolbox. Hans has a big one.

you guys said Interstellar many times. yes it is. DK? MoS? BvS? you are right. you forgot all that ambient sound from the Langdon series and Inception. it's all in the technique. the little things that work.

Dunkirk presented many of that in a concise form. that's why i love this score so much.

comments like the one below will come up often. but all i can wish is more scores like this. i absolutely can't get enough of it.

i don't blame you guys... really. onwards and upwards like Junkie said ; )

Max Potcats2018-01-07 13:55:27
What is the podcast name please?

Tom reply Replies: 6 || 2017-10-03 16:37:33
I hate to be a party pooper here, but IMHO Dunkirk is a horrible soundtrack. Just a couple of sustained dissonant chords played over and over and over, ad nauseum. I mean come on Hans, can't you write beautiful and epic melodies anymore? This movie screamed for an epic theme that never materialized.

Now I know I am about to be attacked by all the die-hard Zimmer drones here but I'm just voicing my opinion. I long for the days when you could always count on Hans to deliver goose bump inducing epic memorable themes.

Waymann2017-10-03 16:57:24
I will not attack you but I don't agree that this film screamed for an epic main theme. Dunkirk is an expensive indiefilm, not Hacksaw Ridge or Saving Private Ryan. I think it was pretty clear from the beginning that this would be a more atmospheric score. Be prepared for Blade Runner 2049 this friday. It will be just the same.

Ahmad2017-10-03 16:58:58
"I mean come on Hans, can't you write beautiful and epic melodies anymore? This movie screamed for an epic theme that never materialized."

I hate to be the first one to break this down for you...

but maybe, just maybe, the guy who is in charge doesn't want that? If Nolan wanted an epic melodic theme, Zimmer would've written one. What part of collaboration you people don't understand?
It's not Zimmer's film it's Nolan's, he liked the score PERIOD.
You don't like it? that's okay, but it's perfect as it is and it served the film well. #TrollHarder

Ahmad2017-10-03 17:06:51
Wow that last line came off rude.
There are many ways and approaches to score a film and it makes me sad that some people want the same thing over and over again.

Although I disagree with you, I respect your opinion @Tom

Ds2017-10-03 17:40:08
Hans himself said that this score was more like "music by Christopher Nolan".

Christopher Nolan himself said this score had to be frustrating for Zimmer because his hands were tied for the whole process.

Der-Profl2017-10-03 21:40:27
What I like about humans is, that everyone has a different taste of music. It would be so boring if everyone would like the same. So, you don't like it, Tom, it's okay and I'm fine with that, and I like the score pretty damn much, cause it represents for me the pure sound of suspense, what the film also is, pure suspense. The score suits the film so well, that it is a great score. For me, of course!

Michael Conway Baker2018-01-06 23:52:29
I absolutely agree, Tom. I feel the score ruined the film.

Sami_Fares reply Replies: 0 || 2018-01-06 22:08:44
Hello Zimmer lover just want to ask what's the next project of him if anyone know something please enlighten us.

FaresTdkr reply Replies: 3 || 2017-12-30 09:24:38
Well yesterday I watched Batman vs superman and I really (100%)heard a lot of cues similar to Dunkirk. So I believe Hans did again and just copied from his previous work...disappointed!
this cues didn't exist in the soundtrack so you don't believe me watch the movie again.

Hybrid Soldier2017-12-30 21:05:40
Mmmmh... Nope.

Everan2018-01-05 23:28:12
Amazing. Every word of what you just said was wrong.

Kingfannypack2018-01-06 05:56:10
Even if he did ďcopyĒ from his past work, itís inevitable. When you score as many films as Hans has, repeating yourself just happens voluntarily or involuntarily. John Williams does it all the time, but never gets criticized for it- he shouldnít anyways.

Dunkirk reply Replies: 5 || 2018-01-05 10:16:48
In a Deadline interview, Zimmer reveals (at 14:45) that they had made an entirely different, orchestral score for Dunkirk and had to scrap it because it didn't pair well with the movie. Too bad it wasn't released.

Hybrid Soldier2018-01-05 10:58:06
Well it's part of the process.

Hans can write 2 or 3 scores for certain movies. Matchstick Men was written 3 times, so was I'll Do Anything... Rango too...

Dunkirk2018-01-05 13:05:21
is there a phisycal fyc cd out there? maybe with other cues from the movie? @Hybrid

Dunkrik2018-01-05 13:05:53
edit: physical

badbu2018-01-05 13:10:19
Yes! But the standard Score!

CalendarMan2018-01-05 19:50:20
interesting to hear Zimmers oppinion about this score in that interview. "it's a strange hybrid of ... things!". it pretty sums it up.

pipin reply Replies: 3 || 2017-12-29 11:37:56
the fyc score is on ebay

Medigo2017-12-29 11:49:05
the only images I see include the regular soundtrack release

badbu2017-12-29 15:37:48
yes, but the standard score...

Der-Profl2017-12-30 22:00:00
@pipin: Can you send a link? Or isn't it allowed here?

dunki reply Replies: 1 || 2017-12-22 17:26:10
The Shape Of The Water FYC on the website is the CD, but the ones being sold on Ebay are the complete score. So maybe there's one from Dunkirk as well.

ffaa2017-12-23 15:31:39
send the link

Frank reply Replies: 18 || 2017-12-19 04:50:23
So the Academy posted 141 scores eligible for nomination and Dunkirk is in! I was so worried about the use of Nimrod might disqualify it.

JBSO992017-12-19 09:13:30
So the nomination is almost assured ( and I would say that even the winning, but that depends on the other nominations)

Cynist2017-12-19 16:42:19
if he didn't win for interstellar he's certainly not gonna win for Dunkirk

Max Potcats2017-12-19 19:30:34
the academy desn't deserve Hans

JBSO992017-12-19 21:28:21
@Cynist Yeah, I think Interstellar was a better score for winning an award. I think this year might go for Master Williams (Star Wars and The Post) but there might be some surprises.

From the RCP family, I wish benjamin Wallfisch got at least nominated. He has had a really great year (A Cure For Wellness, It, Blade Runner, and well, collaborating in Dunkirk), and he deserves some recognition.

Macejko2017-12-19 21:54:11
Yeah, sure, let's jerk Williams' old cock some more. God forbid he didn't get nominated every time he squeezes a tune through one buttcheek.

Brian72017-12-19 22:22:33
Why isnít Balfe and Ben mentioned as co writers for the awards?

Ds2017-12-19 22:41:48
From what I remember, Interstellar was kind of snubbed for the major awards nominations (best picture, director, actors, etc.), and was only nominated in the technical categories and the score. No surprise it didn't win.

Dunkirk on the other hand has more chances to get nominated in the top categories, thereby increasing its chance to win best score.

But anyway I don't think Hans will win. There are enough Academy members who love him to secure a nomination, but not enough for a win.

Ahmad2017-12-19 23:09:54
Interstellar was perfection, but you people are ignoring how incredible Dunkirk's score is. It's not just background music, it's part of the movie. Hans and the music department did a wonderful job.

Anyway, the academy is inconsistent. There are many scores that had incredible melodies which some might call "real music" and were snubbed because the movies themselves were snubbed. This time, it seems like Dunkirk will release more recognition (best picture, best director and many technical awards probably) so I say it definitely has a chance at winning.

james (now james callahan)2017-12-20 02:38:51
The victory for Dunkirk is given as an assured thing. Good or bad, this happens several times, either to guarantee the most beloved film of the year the largest possible number of Oscars or because of social awareness policies. Tan Dun's victory in 2000 came mainly because of the latter. His score is wonderful, but Gladiator had the advantage of having been nominated for many more categories.

But I think that Matt Reeves will be remembered. Or not. The man did a great job with Apes. However he can be ignored this year to be remembered in the future. Nolan was forgotten by The Dark Knight simply because this movie was a blockbuster. Reeves will be no different. but it is sad the lack of recognition.

james (now james callahan)2017-12-20 02:49:49
About Williams, The Post has not yet been released, but I find hard he to win for any of them. He did a great job with TLJ, even not innovating with themes.But this year is not his. Maybe an honorary award in the future. As one that Morricone received years ago.

About Balfe and Wallfisch, they were credited as additional composers along with Andrew K, Steve Mazzaro, Andy Paige and Satnam R. That's the problem of the Academy with HZ.

isildur2017-12-20 10:47:35
Yeah. If Hans actually cared about getting an Oscar, just like other composers he would've put only his name on all his scores. Gladiator was disqualified just because Hans refused to drop Lisa's name event though she didn't compose any of the score. He values and acknowledges the contribution of all those who even remotely helped him on his scores so much and still gets the hatred for having so-called "Ghost Writers".

If it was Hans who scored the recent "Justice League" movie and had Geoff Zanelli, Pinar Topak as an additional composers everybody would've said Hans did very little but as it was someone else nobody mentions it even once. Meh.

James (now calahan)2017-12-20 11:12:01
Lisa wrote all her vocal contributions in Gladiator. Most of them along with Badelt. Hans alone is responsible for 80% of the album perhaps. "Roma is Light", for example, is Gerrard and Badelt.
People tend to relativize when other composers use additional composers. Zanelli and Toprak would appear in the eyes of these people as main composers if Zimmer signed the album.

I think the main problem is that the Hans composition process varies widely and is incomprehensible. Sometimes he makes a suite and lets several teams take care of certain parts of the score (at worlds end, angels and demons), other times he does the same and leaves it in the hands of a single composer (inception, the dark knight rises),others that he co-signs, but that clearly has almost no material truly composed by him (Boss Baby, The Little Prince) and which he works with several people, but still make up more than 50% of the song (Dunkirk, Gladiator). Apart from the fact that he needs conscious orchestrators who need to correct mistakes and improve the presentation of the music so that it can be played by real instruments.

Edmund Meinerts2017-12-20 13:01:26
Macejko, do you have to be a dick about everything?

isildur (Original)2017-12-20 14:48:46
Hey! That isn't me. Get your own name dude.

Macejko2017-12-20 16:03:29
No, but I do enjoy it, Edmund.

Jessica2017-12-20 16:05:22
@ Edmund: why is he a dick? just because he's talking about JWs ol' dick? He's right, so don't be a pussy.

Edmund Meinerts2017-12-21 17:27:37
I AM a pussy. Everyone knows.

Edmund Meinerts2017-12-22 10:18:51
^ not me, obviously.

Yes, he has a point, Williams does get nominated for everything, deserved or not (as does Thomas Newman and increasingly Alexandre Desplat), but there are less...distasteful ways to put things.

Ahmad reply Replies: 19 || 2017-12-11 15:09:10
The score is nominated for a Golden Globe!
Other nominations: Best Picture and Best Director.

badbu2017-12-11 15:21:04
YEES!!! And Best Director :-)

nvictor2017-12-11 20:27:55
hope it wins the golden globe nomination as well.

Kosto82017-12-11 21:05:39
Congratulations to Hans, Ben and Lorne.excellent music

FaresTdkr2017-12-13 20:11:49
If this nominated for golden globe or even Oscar and win the title I'll kill my self.

This score is nothing compared to interstellar or even to POTC 3.

Macejko2017-12-13 20:14:58
If only every annoying film music fan would be so willing to take his own life as this one...

Hybrid Soldier2017-12-13 23:15:02
Now I have ONE true reason to want this score to win !

PEACE ! lol

Bob2017-12-14 00:22:57
wow man, hybrid. this isn't right from you. actually really embarrasing and an absolute no-go from a staff/member of this site to write such a comment. even if it's a joke, this is a shame and sad.

JamesT2017-12-14 05:11:39
Hybrid, yes!

badbu2017-12-14 07:40:17
haha hybrid :D made my day

Ds2017-12-14 08:23:31
An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-p

Ahmad2017-12-14 08:54:40
I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work.

Brent2017-12-14 10:13:49
This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.

Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).

Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.

Excuse me while I go listen to No Time for Caution yet again.

Edmund Meinerts2017-12-14 11:00:09's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.

For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.

Gringo19762017-12-14 12:00:06
hans should win the oscar for best sound effects and not for the best music/score. just as a statement.

Olive2017-12-14 13:34:58
@ds the same for desplat's victory with Budapest Hotel.

Hybrid Soldier2017-12-14 21:03:24

Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o

Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)

Ben2017-12-16 11:10:12
quote: "This score is nothing compared to interstellar or even to POTC 3."

How do you know or how do you judge? By musical complexity, number of themes, etc.? I think the Dunkirk score perfectly serves the movie - which is what it's supposed to do.

Hans' last and only Oscar-wining score was Lion King, and that one wasn't so remarkable either - on its own. So it would kind of make sense for a score like Dunkirk to get him the award.

After all, when it comes to the academy, I don't think they look at a score in isolation - like we do as Zimmer fans - but rather how well it serves the film. If they love a film and let it win best picture and other categories, it's very likely they'll also give it "best original score".

FaresTdkr2017-12-16 11:28:54
In the last 7 years or so the only Oscar that I think was deserved is Gravity by Steven price. By the way hybrid it was a tough comment for me. Thanks to all people here who think it was.
I totally agree that the music fit the movie perfectly Hans always did great job in this but as a standalone music for me and again (for me) the docking in interstellar do all the job on Dunkirk ( I mean suspense) so for me all Dunkirk soundtrack = docking in interstellar.

James2017-12-16 14:57:37
@Ben: "Hans' last and only Oscar-wining score was Lion King, and that one wasn't so remarkable either."

The original presentation, of 1994, is not very good to confess. They left out the score to emphasize the songs. However the latest launches "expanded score" and "Legacy Collection" (in my opinion) are among the best as Gladiator, the last Samurai,Prince of Egypt, House of Spirits, Rain Man,
Backdraft, regarding Henry,Beyond Ragoon, the Rock, King Arthur, Interstellar, Rush, At worlds End and the Dark Knight (The Collector's version). I like many themes by Hans, but when I come to head the organization factor of the albums most satisfactory these are some of the few that comes to mind.

George reply Replies: 3 || 2017-12-12 19:17:52
From the bonus features, Turning Up the Tension is indeed about Hans' score. Very interesting, definitely watch it if you can!

AndrewP2017-12-13 00:52:59
Strange Balfe is not mentioned ?

RR2017-12-13 02:49:05
hope we get the complete score soon..It's just adding salt to the wound watching this features

badbu2017-12-13 07:36:20
And Hans say nothing about the score :D The Complete Score...i don't think so...the FYC Score is the standard Score...maybe in 2-3 years...fml

badbu reply Replies: 1 || 2017-12-11 09:52:13
is there any making of out there? (making the score)

babdu2017-12-11 15:38:06
okay there is a making of out there :-)
(youtube making of dunkirk)

Hybrid Soldier reply Replies: 21 || 2017-12-03 12:06:14
Full Dunkirk cuesheet (in alphabetical order) :

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andy Page

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch, Lorne Balfe

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer, Lorne Balfe

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Satnam Ramgotra

Hans Zimmer

Hans Zimmer, Alex Gibson

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer

Hans Zimmer

Hans Zimmer, Steve Mazzaro

Hans Zimmer

Hans Zimmer

Hans Zimmer, Ryan Rubin

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer

Hans Zimmer, Andy Page

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer, Alex Gibson

Hans Zimmer

Hans Zimmer, Satnam Ramgotra

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

badbu2017-12-03 12:22:00
WOW! Thanks :-)

Ian2017-12-03 13:36:19
I get the sense many of the above cues are variations of one another, but nonetheless it's cool to see that Hans seemingly did the bulk of the work here.

Ahmad2017-12-03 14:36:56
Thanks for cuesheet! "Sauerkraut Sauce" LOL!
"STRETCHER CARRY"... That's the one I want the most!

babdu2017-12-03 14:39:55
ich liebe Sauerkraut...aber was zum Teufel soll Sauerkraut Sauce sein? :D

Mike (OTM)2017-12-03 14:59:02
That's pretty interesting... I wouldn't have guessed that Zimmer did 95% of this alone.

Also, I never understood the logic that the film arrangement of these cues couldn't be put on album. Why not? Stitch two or three together at a time if need be. I think it would work fine.

...2017-12-03 15:40:03
I really hope we get a FYC score like we did for Interstellar. There's so much interesting stuff in the score that isn't on the OST.

Der-Profl2017-12-03 22:07:15
Is there a reason why the cuesheet is leaked now? Does this mean that we get the full soundtrack leaked in the next time? I hope so. Like Ahmad, I want to listen to "STRETCHER CARRY".

Hybrid Soldier2017-12-03 22:30:26
"Is there a reason why the cuesheet is leaked now?"


Because ASCAP finally added it to its website ? Mayyyyyyybe ?

Der-Profl2017-12-04 00:58:57
Haha. Sorry, I don't know how that all works with leaking information about soundtrack and scores. Dunkirk and Ghost In The Shell are the first ones, which I follow. (I don't know, if I can say that like that and you know what I mean.)

mpolonest123 2017-12-04 01:27:23

Are suites ever included on the cue sheets?

Hybrid Soldier2017-12-04 08:45:48
Cuesheet shows exactly what appears in the film, from the first to the last second of this film... Whatever was written for it but doesn't appear in it won't be in the cuesheet.

isildur2017-12-04 11:40:38
Want. Want. Want. It will be glorious if we get the whole thing.

...2017-12-04 12:43:44
We won't get a FYC version because WB has added the OST to their For your Consideration site. I wonder how this is even allowed, being as there's so much on this OST that isn't in the film (suites etc)

Medigo2017-12-04 13:00:10
well screw WB then
greedy bastards

...2017-12-04 13:22:20
Yeah why the hell would they upload the OST:/

Mike (OTM)2017-12-06 02:00:54
Anyone know what the chronological order of this would be?

Mike (OTM)2017-12-06 02:00:54
Anyone know what the chronological order of this would be?

badbu2017-12-08 07:52:35
The "alternate" version from "Oil" when Tom attacks the german plane oO it's soooo much better! <3 The extra strings, the ticking...gosh

Ahmad2017-12-08 09:58:03
I really love the variation of Supermarine that plays right before the torpedo scene. I'm guessing it's either HEINKEL 11 O'CLOCK or FARRIER ATTACKS HEINKEL.

I love the album but I wish we got more. So many good varations.
At least, I wish they would release STRETCHER CARRY like they did with NO TIME FOR CAUTION.

badbu2017-12-08 10:03:09
Ahmad you're so right :-)
Maybe we get the FYC :D

Ahmad2017-12-08 11:17:14
After watching the scene again, I'm sure it's HEINKEL 11 O'CLOCK.

@badhu Unfortunately, WB has been sending the commercial albums to critics and voters for Dunkirk and BR2049, so I kinda lost hope on an FYC unless things change.

Goodness Hans, do you have to do this to us on almost every movie? :D

isildur reply Replies: 0 || 2017-12-06 06:25:57
So, as the rumors of Nolan directing the next Bond movie haven't died down yet, do you think we'll finally get a Hans' Bond score. I really hope we do. It would be so kick ass.

Mephariel reply Replies: 3 || 2017-11-23 18:09:18
Should have gotten one for Interstellar, not this.

nvictor2017-11-30 14:41:51
should have got a nomination for this, not interstellar.

Edmund Meinerts2017-12-03 15:35:18
Should definitely have gotten one for Interstellar, not this.

Ian2017-12-04 08:39:45
I've never found Interstellar compelling as a whole (although it has a couple of very strong cues), but it is indeed drastically superior to Dunkirk.

Anton reply Replies: 0 || 2017-12-02 16:47:22

What a great gift from Maestro Zimmer for a charity

Miguel reply Replies: 0 || 2017-12-02 03:56:05
Here is a great auction on for a signed soundtrack by Zimmer lorne and Ron Howard and itís personalised

Mephariel reply Replies: 7 || 2017-11-28 18:15:45
2018 Grammy Nominations:

Arrival ó Jůhann Jůhannsson, composer
Dunkirk ó Hans Zimmer, composer
Game Of Thrones: Season 7 ó Ramin Djawadi, composer
Hidden Figures ó Benjamin Wallfisch, Pharrell Williams & Hans Zimmer, composers
La La Land ó Justin Hurwitz, composer

Zimmer nominated twice but this is a tough field with La La Land and Arrival.

Olive2017-11-28 18:40:19
La La Land, Arrival and Hidden Figures are not recommendations from last year?

Dom2017-11-28 18:40:47
Why are the Grammys so weird? Hidden Figures, La La Land and Arrival are 2016 film and Dunkirk is a 2017 film. It opened 7 months later.

Olive2017-11-28 19:05:42
And still mixes television series with films

Olive2017-11-28 19:06:59
La La Land will win, anyway.

Ian2017-11-29 02:57:01
^ Yeah, although I can appreciate that folks have different tastes, I really struggle to see how one could reasonably argue for anything else winning.

Edmund Meinerts2017-11-29 10:14:44
I'd argue against it because taken on its own, the actual score for La-La Land is nothing special. It's only going to win because it's carried by the songs.

nvictor2017-11-30 14:41:01
nomination acquired. now we just need to win right? ; )

badbu reply Replies: 5 || 2017-11-22 12:26:59
They're starting to send screeners. Finger crossed for the FYC :D

nvictor2017-11-22 21:02:15
this one is my pick for the oscar as well. hope it wins : )

badbu2017-11-23 08:09:53
jaa. but i think he will never get his second oscar...:-(

Edmund Meinerts2017-11-23 12:02:06
If he does I hope it's not for Dunkirk.

Max Potcats2017-11-23 13:06:01
An Oscar (or at lease a nomination) for Dunkirk or Blade Runner ; it would be great from the academy to reward this kind of score. In the last decade, only Gravity had also this kind of """""sound desing""""""" score.

Olive2017-11-23 15:50:00
Maybe a honorary in the future.

nvictor reply Replies: 2 || 2017-11-11 02:44:41
i listened to Blade Runner. for that, i want to take a minute to say my deepest admiration for Ben Wallfisch for his collaboration with Hans Zimmer (Ben is truly amazing!).

i came back to this soundtrack after Blade because i needed to understand. and after that, i went back to Batman v Superman, Inferno, and Rush.

now, i understand. i think understand it all. where the music is going, in my own uneducated opinion. and i am very happy to live in this day and age with such great composers.

i wish i can meet you all one day and tell you in person all the things i have found and discovered that make me so happy.

love you all : )

Olive2017-11-11 12:16:31
"now, i understand. i think understand it all. where the music is going"

I do not understand.

nvictor2017-11-18 01:04:13
Olive i love your pseudonym : ) i wrote that comment in a rush, i was overwhelmed by the music!

listen to the latest soundtracks by the remote control people, slow each of them a tad bit, and let me know if you still don't understand : )

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Dunkirk soundtrack - Hans Zimmer 2017