"The Mole" & "The Tide" Include a Theme by Sir Edward Elgar
"Regimental Brothers" By Hans Zimmer & Lorne Balfe Includes a Theme by Sir Edward Elgar
"Home" By Hans Zimmer & Benjamin Wallfisch Includes a Theme by Sir Edward Elgar
"Variation 15 (Dunkirk)" By Benjamin Wallfisch Produced by Hans Zimmer Based on a Theme by Sir Edward Elgar
"End Titles" By Benjamin Wallfisch, Lorne Balfe & Hans Zimmer Includes a Theme by Sir Edward Elgar
Music Composed by Hans Zimmer
Soundtrack Album Produced by Christopher Nolan & Hans Zimmer Supervising Music Editor: Alex Gibson Music Editor: Ryan Rubin Score Produced by Lorne Balfe Additional Music by Satnam Singh Ramgotra, Andy Page & Andrew Kawczynski Sequencer Programming: Steve Mazzaro Technical Score Engineers: Chuck Choi & Stephanie McNally Technical Assistants: Steven Doar & Derrick Werlé
Soloists: Bass: Nico Abondolo Electric & Acoustic Cello: Tina Guo Cello: Steve Erdody Violin: Ben Powell Viola, Violin, Hardanger Fiddle: Michael Levine Trumpet: Jon Lewis & Johnny Britt Exotic Instruments: Chas Smith Percussion: Satnam Singh Ramgotra
Synth Programming: Hans Zimmer Music Production Services: Steven Kofsky Digital Instrument Design: Mark Wherry Supervising Orchestrator: Bruce L. Fowler Orchestrators: Walt Fowler, Suzette Moriarty, Carl Rydlund, Jeremy Levy & David Krystal Orchestra Conducted by Gavin Greenaway & Benjamin Wallfisch Orchestra Leader: Perry Montague-Mason Score Recorded at Lyndhurst Hall, Air Studios
Score Recorded by Geoff Foster Score Mixed by Alan Meyerson Assistant Engineers: John Witt Chapman & Forest Christensen Additional Engineering by Seth Waldmann & John Witt Chapman Assistant to Hans Zimmer: Cynthia Park Studio Manager for Remote Control Productions: Shalini Singh Orchestra Contractor: Isobel Griffiths Los Angeles Contractor: Peter Rotter Sampling Team: Taurees Habib & Raul Vega Synth Design: Howard Scarr, Drew Jordan & Ed Buller Music Preparation: Booker T. White Music Librarian: Jill Streater Score Mixed at Remote Control Productions, Santa Monica CA
Air Studios Sessions: Air Studios Booking: Alison Burton ProTools Recordist: Laurence Anslow Orchestra Timing: Chris Barrett Assistant Engineer: Alex Ferguson
Album Mastered by Patricia Sullivan at Bernie Grundman Mastering Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executive: Lisa Margolis
Hans Zimmer would like to thank: Emma Thomas, Lee Smith, Jake Myers, Andy Thompson, Hoyte Van Hoytema, Toby Emmerich, Kevin Tsujihara, Paul Broucek, Lisa Margolis, Christopher Dowell, Jason Linn, Sandeep Sriram, Richard King, Paul Thomson, Christian Henson & the Spitfire Team, Olafur Arnalds, Gregg Landaker, Gary Rizzo, Ny Lee, Hannah Haidar, Colleen Young, Susie Gillis, Charlotte Matthews, Urs Heckmann, Candace Carlo, Jillian Abood, BeBe Lerner, Rae Murillo & the ID Team, Ryan Ouchida, Chris Strong, Brigitte Zimmer, Suzanne Zimmer, Vicki Zimmer, Zoë, Jake, Max & Annabel
Release date : 07/21/2017
The Mole (5:35) Hans Zimmer (Sir Edward Elgar)
We Need Our Army Back (6:28) Hans Zimmer
Shivering Soldier (2:52) Hans Zimmer
Supermarine (8:03) Hans Zimmer
The Tide (3:48) Hans Zimmer (Sir Edward Elgar)
Regimental Brothers (5:04) Hans Zimmer, Lorne Balfe (Sir Edward Elgar)
Impulse (2:36) Hans Zimmer
Home (6:02) Hans Zimmer, Benjamin Wallfisch (Sir Edward Elgar)
The Oil (6:10) Hans Zimmer
Variation 15 (Dunkirk) (5:51) Benjamin Wallfisch, Hans Zimmer (Sir Edward Elgar)
End Titles (Dunkirk) (7:12) Hans Zimmer, Lorne Balfe, Benjamin Wallfisch (Sir Edward Elgar)
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Bob,The Training is basically Ramin Djawadi and Mr.Charles is Balfe
Michael Baker
2019-05-23 16:25:14
Not as simply as that.... Training is Ramin's arrangement of a Hans theme, and the core of Mr. Charles when the Fischer theme isn't playing is a Hans idea, too, as far as I know. Take the Zimmer out and those moments wouldn't be the same.
Mr.Unbreakable
2019-05-23 22:44:24
Hybrid confirmed that training is composed by Ramin and Hans and it is obvious that Ramin's influence is superior to that of Hans.
Mr.Unbreakable
2019-05-23 22:50:05
Lorne also confirmed that he took charge of Mr.Charles, and without saying that Lorne was on the good side of Score in general, so his influence was substantially high.
Edmund Meinerts
2019-05-24 14:17:33
In what way is it "obvious", exactly, that Djawadi had more influence on that Training cue than Zimmer? It's basically just a statement of Zimmer's theme, and doesn't really sound notably "Djawadi-esque" to me in any way.
Very interesting. Wonder if anything happened between the two, or if Zimmer was even asked to do it?..
That being said, I’m not exactly by this news. Don’t get me wrong, I LOVE the Nolan/Zimmer collaborations, but part of me is excited for HZ to move beyond that relationship (for now) and pursue new projects and innovate film scoring even more.
I also partially blame Nolan (not sure whether I should or shouldn’t) for pushing Zimmer away from melodies and towards the atmosphere of and textural type of scoring.
mpolonest123
2019-05-22 19:07:20
I like Ludwig Göransson so this doesn’t bother me too much, I’m more concerned about Zimmer and Nolan’s relationship. I hope Dunkirk wasn’t THAT taxing on them.
Hybrid Soldier
2019-05-22 19:09:03
You can't say I didn't warn you !
isildur
2019-05-22 19:16:20
You did. But Hans-Nolan personal relationship is fine though, right?
Mephariel
2019-05-22 19:56:19
I am actually very intrigue by this. When I heard that Zimmer may not be scoring it, Ludwig Göransson was my pick.
I honestly think Ludwig Göransson has a chance to be the future Zimmer.
Mephariel
2019-05-22 20:00:44
I also wonder whether or not this is a fallout or is Zimmer too busy? Or a mixture of both? It could be a amicable separation and may not be permanent.
mpolonest123
2019-05-22 20:12:25
@mephariel It’s hard to compare the two stylistically but I can definitely see Ludwig being on a similar level of fame down the line if he picks the right projects. Another excellent composer who is just as experimental as Zimmer is Daniel Pemberton.
It will be interesting to see if Zimmer sticks with Denis Villeneuve and/or scores any of Nolan’s future films, they are fairly similar directors in terms of approaching music in their films.
George
2019-05-22 20:16:16
I can’t imagine this was a scheduling issue. He was on tour and made time for Dunkirk. And HZ always seemed to be on board so far in advance with the Nolan projects, so you’d presume he would’ve known about this project for awhile if he were doing it and would have blocked time off for it.
So maybe it was an either/or situation with Tenet or Dune, which would mean he CHOSE Dune over Tenet...
Who knows lol. I’m still building my excitement for Dark Phoenix next month, and then WW84, Top Gun, Dune, and even Spongebob. Lots of fun potential there!
challenge
2019-05-22 20:19:45
So Dunkirk really was that awful an experience then? Wow.
Mephariel
2019-05-22 20:37:09
@mpolonest123
I am not sure if I am sold on Daniel Pemberton. I still think his music never goes beyond sonic wallpaper most of the time.
Mephariel
2019-05-22 20:41:02
@George
Like I said in another forum, Nolan/Zimmer is one of my favorite collaborations, but if the choice is Zimmer scoring Tenet or Dune, I much rather he than score Dune.
I honestly probably rather he score Wonder Woman 1984 than Tenet, because Zimmer needs to do more fun films. But then maybe I am making too much assumptions about Tenet. A Nolan espionage movie sounds incredible, but it is probably a cold and dark film.
ThePhantasm
2019-05-22 20:42:07
This is actually pretty shocking and completely unexpected. Even if he wasn’t gonna score it, I was a 100% sure it was gonna be Lorne Balfe. I’m not crazy about Ludwig so for the first time ever in a long time I’m not particularly excited about a Chris Nolan movie soundtrack. I wonder if it’s cause Zimmer is damn busy with concerts and movies, could sworn he’d go with someone from RCP
mpolonest123
2019-05-22 20:44:41
@mephariel I can definitely see that, especially with King Arthur and Spiderverse. I do think his music adds a lot to the films he scores (Steve Jobs and Man From Uncle being two great examples) where he consistently switches up styles and tones to keep things fresh. Maybe not the strongest theme writer but I do love his approaches.
mpolonest123
2019-05-22 20:46:17
And if I’m completely honest, I’m more excited by WW84, Spongebob, Top Gun, and Dark Phoenix than another potential Nolan collab.
George
2019-05-22 20:49:05
@mephariel @mpolonest123 - glad I’m not the only one who’s more excited for those compared to cold and dark Nolan/Zimmer scores. I’m kinda over those to be honest.
Mephariel
2019-05-22 21:00:57
@George
To be fair, Interstellar is a genuine masterpiece score and maybe one my favorite score of all time, but I am not sure when Nolan will allow Zimmer to return to that type of scoring.
Hell, Time is my favorite cue ever, but again, I am not sure if Nolan is interested in that kind of music anymore.
I guess we will see with Tenet. And yes, I absolutely think Göransson can be a future star in the making and if anyone is allow write his or her own "Time" cultural moment, it may as well be him.
George
2019-05-22 21:21:44
@Mephariel - you’re right. However Interstellar and Inception, musically speaking, are simple scores. They are moving, beautiful, and masterpieces, but still simple. Which is great!
But if we are wanting Zimmer to return to a type of music, I’d much rather prefer something along the lines of Pirates, The Rock, The Last Samurai, Crimson Tide, etc. Tonally, of course it would be more modern and new, but melodically a return to those forms would be a dream come true.
Ds
2019-05-22 23:26:56
@mpolonest123: those Pemberton scores are indeed pure gold, very cool on album but insanely good in the movie. My favorite is still his King Arthur, that was a beast of a score that stuck with the movie like glue and really enhanced Guy Ritchie's dark, twisted, trippy vision.
Miralsice
2019-05-22 23:34:49
I think I am the only one, who would be glad about David Julyan return.
I really like his music for early Nolan's films, especially Insomnia, and it's what i can call an "atmospheric experience".
Don't know how his music fits for espionage timetraveling movie, but, for me, i'st would be something interesting to hear.
Mr.Unbreakable
2019-05-23 02:44:42
I really believe that Nolan has made a mistake as a composer.I think Lorne Balfe, David Julyan or Justin Hurwitz would be much better options than Ludwig Goransson.
Mephariel
2019-05-23 04:12:54
Justin Hurwitz I can see. I enjoyed La La Land and First Man. But Both Hurwitz and Göransson are several notches above Lorne Balfe.
I think 80/100 directors would rather work with Göransson than Balfe.
Bob
2019-05-23 08:54:24
I hope these two team up again. Zimmer's score is the main driving force for some memorable scenes. Just a few Batman Begins-The Training TDK- Joker crash the party, Gordon's speech and ending Inception - Time, Mr.Charles, TKDR - the climb, imagine the fire and orphan Interstellar-Stay, Docking, coward, mountain Dunkirk - well the entire movie
Mr.Unbreakable
2019-05-23 15:50:41
I think Balfe working with Nolan would have done a great job
Apparently, the new Nolan film is a romantic thriller described as North by Northwest meets Inception. I can't even imagine how Hans' score would sound like. But I am so pumped for this score. Probably they'll go full orchestral with beautiful themes!?
Nolan has always been a pretty cerebral filmmaker, so seeing him do a romantic film in the vein of Hitchcock has me very excited. As for the music, I really would kill to hear Zimmer do an old fashioned “Bernard Hermann esque” type of score. I love Zimmer’s experimenting but it’s been a while since we’ve gotten a big orchestral score from him. Especially since he is capable of writing some beautiful love themes (think “Marry Me” or Pearl Harbor).
Mephariel
2019-03-06 01:23:33
This sounds interesting as hell. I wonder what Zimmer will come up with.
With the complete cue sheet out now. Does anyone know what the chronological order of the album would be?
Mike
2019-02-21 03:01:21
It's not really possible to chronologically order the album because the album doesn't use the same tracks as the movie. Plus, the album is more or less chronological anyway, given the areas where they are the same.
mpolonest123
2019-02-21 03:30:17
Comparing it to YFM’s sfx edit this is what I’ve got;
“The Mole” seems to be an alternate of the opening sequence. The first minute or so is used, while the rest isn’t. “We Need Our Army Back/Regimental Brothers” are both made up of several cues from different points in the film. “Home” is completely different in the film, which makes me think it may have been recorded specifically for the album. Similar situation with “Oil”. “Supermarine” is definitely a suite. The rest is chronological.
Interesting thing to note, it seems like a lot of the tempo changes/ticking effects/bass overlays were removed from the album release, making almost every track sound different from the actual film versions. The music in context has a constant pulse going, especially in the way cues segue into each other and change tempo.
Mike
2019-02-21 04:52:38
I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train.
I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product?
While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
Ahmad
2019-02-21 10:32:55
The Mole P1 (0-1:57) Regimental Brothers P1 (0-1:19) The Mole P2 (1:57-3:44) Regimental Brothers P3 (2:44 onward) We Need Our Army Back Shivering Soldier Supermarine P1 (0-2:47) The Mole P3 (3:45 onward) We Need Our Army Back (again) Supermarine P2 (*5:33) Impulse The Tide Home The Oil Variation 15 End Credits
As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film. The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different.
So if you were to order the tracks as first heard in the film it would be: The Mole Regimental Brothers We Need Our Army Back Shivering Soldier Supermarine Impluse The Tide Home The Oil Variation 15 End credits
As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.
mpolonest123
2019-02-21 14:10:39
@Mike Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.
I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.
Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Mike
2019-02-21 23:03:38
That's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it."
I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?
YFM
2019-02-22 04:23:51
Most of the album is comprised of suites, with one consistent tempo per track.
The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)
I watched the movie and tried to put the cuesheet that Hybrid posted into chronological order... This is what I was able to gather from watching the movie:
1. Opening Pt. 1 - HZ 2. Opening Pt. 2 - HZ, SM 3. The Beach Pt. 1 - HZ 4. The Beach Pt. 2 - HZ, AK 5. The Air - HZ 6. Stretcher Carry - HZ, AK 7. Approaching Trawler - HZ 8. Bandit 11 O’Clock / Off You Go - HZ 9. One Bandit Down - HZ 10. Meeting Rear Admiral - HZ 11. Shivering Soldier - HZ 12. Fortis Leader Down - HZ 13. Stuka Bombing Medical Ship - HZ, Andy Page 14. U-Boat - HZ 15. Boarding Destroyer/Below Deck - HZ, Andy Page 16. I’m Not Going Back to Dunkirk - HZ 17. Heinkel 11 O’Clock - HZ, Satnam Ramgotra 18. Torpedo - HZ, Satnam Ramgotra 19. Soldier Locked Below Deck - HZ 20. Collins Water Landing - HZ 21. Torpedo Aftermath - HZ 22. Wait for Another Lifeboat - HZ 23. Turn it Around! - HZ 24. George Falls - HZ 25. Farrier Attacks Heinkel - HZ, LB 26. The Bodies Come Back - HZ 27. I Can’t See - HZ, Alex Gibson 28. Farrier Turns Back - HZ 29. Activate Small Vessels Pool - HZ 30. Waiting for the Tide - HZ 31. Should We Turn Back - HZ 32. Smoke From the Spitfire - HZ 33. Dutch Sailor Comes Back - HZ 34. Collins Crash Landing - HZ 35. There Was No Chute - HZ 36. Target Practice - HZ 37. Collins Struggles / Ditch Ballast - HZ 38. Sauerkraut Sauce - HZ 39. Collins Underwater HZ 40. Minesweeper Bombed / Trawler Floats - HZ, AK 41. Plug the Hole - HZ 42. Nimrod - HZ, BW 43. Covered in Oil / Abandon Ship - HZ, AK 44. Where Are You From - HZ 45. 109 Approaching - HZ 46. Engineless Flight - HZ, BW 47. Rail Yard - HZ 48. Variation 15 - HZ, BW 49. End Credits / 5MEC1 - HZ, BW, LB 50. End Credits Long Note Harmonics v.12.7 - HZ 51. End Credits Air - HZ v.31.07 52. End Credits Tommy v8.00
I'm missing the following in this list: Attack Aftermath / Navy Requisition, Decent Altitude, Destroyer By, Farrier Chasing 109, Farrier Chased by 109, and Little Boats. Anyone know where those go?
Andrew K
2019-02-19 22:50:51
I recommend you check out YFM’s edit cause it has all those cues properly where they belong as well as a slightly different order.
Mike
2019-02-20 01:11:03
Thanks for the heads up. Haven't checked his stuff in a while. Like I said, I figured some stuff was off here.
Q: Do you plan to work with Nolan on a next feature film? A: No idea! I spoke to Chris a few months ago. I asked him how it was and he said, "I'm sitting in front of a blank page now." [Laughs] I understand that.
Kind of surprising, no? HZ is usually onboard so early when it comes to Nolan.
Knight
2019-02-08 12:56:59
By the sounds of it, the film is in super early stages of production, so it makes some sense that HZ isn't in the project yet
Christopher Nolan announed his new project. Hope Hans is going to be at board. I anticipate anothrr masterpiece. :)
challenge
2019-01-26 18:59:35
It'll be interesting to hear what experiment they come up with next. Interstellar was great. Dunkirk was interesting.
Wouldn't it be interesting if Nolan subverted expectations and challenged Hans to write proper, well-formed classical music. It'd be really interesting to hear the results.
Mephariel
2019-01-27 02:52:36
How many movie is Zimmer going to score in 2020? He already has Wonder Woman 1984, SpongeBob, and Top Gun: Maverick. Now he is going to score Nolan's next film. That is like 4 films in within a 3-4 months span. Hopefully he won't spread his ideas too thin.
Knight
2019-01-27 03:01:54
I expect a lot of work for Mazzaro and Kawczynski in the coming years xD
isildur
2019-01-27 09:10:57
Hans is scoring SpongeBob movie? When did this news come out? I think Hans is finished scoring WW1984 movie already.
Mephariel
2019-01-28 00:23:46
Maybe Hybrid can confirm, but I highly doubt Zimmer is finished with WW1984 already. He is still working on The Lion King and I am not sure if he finished Dark Phoenix yet. Where will he find time to do WW1984? Besides, WW didn't finished production until December of last year. That means they are still editing the movie.
And yes, he is doing the next SpongeBob movie. It was announced last year.
java
2019-01-29 08:22:13
what event film it's gonna be? Inception
Scorefan
2019-01-30 00:16:14
Hans is working on The Lion King. The Dark Phoenix is completed even with the reshoots to this year. Next Year WW84, so he has enough time.
Mephariel
2019-01-30 05:47:05
He will probably finish WW1984 by fall of this year. I think he won't do much on Top Gun. Harold Faltermeyer will do most of the work. That leaves Spongebob and maybe his team can do most of the work as well. So he will spend most of winter and next year on Nolan's project. That is what I am thinking.
Ian
2019-01-31 07:44:51
Damn, seeing how many projects Hans has lined up honestly makes me worry that we'll be getting a ton of recycled/generic/minimalist/ambient/ghostwritten stuff rather than authentic, compelling Zimmer. I do hope I'm wrong, though!
mpolonest123
2019-01-31 13:06:07
@Ian I wouldn’t worry. Just look at 2013. We had MOS, The Lone Ranger, 12 Years A Slave, Rush, and Mr. Morgan’s Last Love. Pretty strong/diverse lineup if you ask me.
Ds
2019-02-02 11:48:32
@mpolonest: so in fact in 2013 the only real Zimmer scores we had were Man Of Steel and Rush. Most of The Lone Ranger was done by the additional composers (Geoff mainly). And so was Mr Morgan's Last Love, if I remember well. 12 Years A Slave is a lazy piece of rehashing that cannot be given as an example of anything good.
So that's exactly the kind of concerns Ian was talking about :-p
mpolonest123
2019-02-02 13:30:38
Yeah, I probably shouldn’t have included 12yas lol...
But even The Lone Ranger, despite being heavily influenced by other sources and having the ghostwriters, is still a pretty fun score that does have Zimmer’s stamp on it. I would take that over “Widows” any day...
Mike
2019-02-02 20:45:59
I think we can count The Lone Ranger as a real Zimmer score. As far as we know, he did the suites (Absurdity, Silver, Home), and the whole score sounds like him throughout. True, he didn't like working on the movie, which he admitted, but I definitely think it's "his" score as much as any other score post-2005.
Zanelli was working on Finale before Zimmer wrote anything, but even there, he couldn't finish the cue until Zimmer came in to write stuff.
Ds
2019-02-02 22:11:05
Don’t get me wrong on The Lone Ranger, I like this score (and LOVE that movie), but to me it sounds like HZ did this quickly to help a friend, but didn’t put a lot of heart or ideas in it. Absurdity is a fun suite but it’s little more than another spin on 160BPM. Silver is lovely but heavily lifted from some source music (can’t remember which one). And Home is just like this Solomon theme from 12yas.
A fun and enjoyable score, free from any « concept » or « experiment », which felt fresh, but ultimately didn’t really bring anything we hadn’t heard before. Except the astonishing work on William Tell, of course!
i love this score so much. this comment is for Hans and team again for making such an amazing score. if they ever read what we write here lol : )
so, i am not a movie goer and many people claim and say that scores are to serve movies, and so and forth. well, i finally watched Dunkirk and it is an excellent movie. the movie did not do justice to the score imo.
here's an example. "Variation 15" on Nimrod is the "soothing" track for me in the whole score. much more soothing than "Home". i can play it in a loop. it surprised me that the cut gave it only a mere few seconds in the movie. now, i only watched Dunkirk once but i am pretty sure it played once, and for a few seconds, while "Bane" was in the plane.
another fact is that i always felt like being in a war plane when listening to "Supermarine". not an helicopter but more like a fast moving plane. that was before watching the movie and i never read about the movie. i knew it was about war and the only war machine i could think of was that. the fact that i was able to match the music with my own images says how great Hans and team were on that.
the constant tension felt in the "Mole", "Supermarine", etc. is more intense in the movie though. i liked that.
also, i watched the movie credits to the very end. i wanted to see if they would match it with the track. they did, and it ends exactly with the starting point as i expected. for me it was a cue that "the war didn't end there". sad, yes, but the effect was on point.
so okay, i am minority here in saying that a score album put together is its own thing. doesn't need a movie to exist. great movie. great score. both in their own rights!
anyone knows scores similar to dunkirk? can't get enough of this sound (or rather need more of it...)
Jay the Dinosaur
2018-06-27 07:39:19
Elgar's Nimrod Variations
nvictor
2018-06-27 13:19:20
you got me lol. no no, not the Nimrod sound : ) the other sound of dunkirk
...
2018-06-27 15:22:55
Captain Philips has similar portions
Mike (OTM)
2018-06-27 16:00:45
Yeah, Captain Phillips is the closest thing I can think of to Dunkirk... And Hans did writing on it, coincidentally.
Ds
2018-06-27 22:15:28
When I was watching A Quiet Place there were quite a few moments where I thought the score was kind of similar to Dunkirk, mostly in the suspense cues. Never relistened to it though, so maybe it was just an impression.
nvictor
2018-06-28 19:46:09
thanks all
Koly
2018-06-28 22:15:09
Gravity IMHO
nvictor
2018-07-17 23:08:36
finally got to listen to a quiet place. it has indeed the atmospheric vibe i got from dunkirk. although i will give it another listen before deciding. anyways, you have great ears Ds. and you said you listened to the background music during the movie even, wow!
after that i got to listen to 3:10 to yuma, which went straight onto my wishlist. and made me research Marco Beltrami. no idea how i never heard from his scores till now! he is very amazing on those two scores i have listened to so far.
now, i realized that (most) horror movies might have that atmospheric/ambient sound. so i wondered what makes dunkirk special? pretty sure it is that tension that never seems to fade (not the nimrod theme though). most horror movies are to scare you at particular moments. dunkirk keeps the tension constant. so much that you get comfortable with it. that's what makes it so special for me.
will keep looking. oh i tried captain philips and gravity too. will give those another listen.
Ds
2018-07-18 10:58:28
mvictor: it's funny, 3:10 To Yuma is perhaps the only Beltrami score I really like :-p
In my opinion, what made Dunkirk special is that it's a Zimmer score, so it sounds better, massive, impressive, while most horror scores stay in the background except for a few jump scares that are not pleasing at all when you listen to the album. Dunkirk is a tension-builder, but it's more than that.
You should definitely listen to Gravity a couple more times, it's an absolutely amazing score, in my opinion better than Dunkirk, as it's equally tense and massive, but has more refined electronic manipulation, it's more colorful and it's simply more musical. Go straight to the track 'Shenzou', play it very loud, and you'll see what I mean :-p
nvictor
2018-07-24 18:27:56
alright, will give Gravity another try
i had 3.10 to Yuma in a loop for days now. the theme is stuck in my head. can't get it out. and today i tried logan. it got me immediately. give it a try if you haven't.
what got me is the blend of a real grand piano and a real drumset with the orchestra. i have not heard it done so well. Marco Beltrami is now a definite favorite and i am only the 3rd soundtrack
mpolonest123
2018-07-24 19:38:39
Marco Beltrami is a solid composer who seems to get pigeonholed in horror most of the time.
I would definitely recommend I Robot, Soul Surfer, SnowPiercer, Scream, and Logan if you want a good variety of his style.
Mephariel
2018-07-24 22:53:20
I absolutely hate Beltrami's writing. He doesn't have the melodic prowess of the elites and sucks at writing virtually any underscore or suspense music.
I can't believe he made Soul Surfer because that score is so good, I keep thinking Horner wrote it.
Edmund Meinerts
2018-07-25 11:09:05
Beltrami's not that great melodically but I think he's a more than solid action/suspense composer. I particularly love his Die Hard scores for that, as well as I, Robot, Hellboy, Seventh Son and Gods of Egypt. And he's also pretty good at coming up with unusual and creative textures and orchestrations. But a lot of his albums end up being slogs, and the quality seems to vary a lot from project to project.
He's a mixed bag of a composer but not remotely deserving of the hate I sometimes see him get from people like Mephariel, Ds or Macejko.
Ds
2018-07-25 19:43:14
Lol since when am I a hater? :-o
If anything, Beltrami is in my "I don't care" zone. I remain fully open-minded if I watch a movie scored by him, but I confess I don't pursue his projects in the same way I'm doing my best to watch any movie scored by major RCP composers :-)
nvictor
2018-07-25 20:18:27
come one guys, you always want to turn everything into a debate. thanks again, Ds, for making me discover Marco Beltrami.
also can we post youtube links here? here's logan main title, such a great track https://www.youtube.com/watch?v=Be1HdTnSGZo
Edmund Meinerts
2018-07-26 00:33:12
"you always want to turn everything into a debate"...uh, my bad? Didn't realize that wasn't what this comment section was for. Must have missed the memo.
Ds - sorry, could've sworn I had seen disparaging comments about Beltrami from you at some point. Like I said, he gets a weird amount of hate around here, maybe I confused you for someone else...
Ty
2018-07-26 18:14:07
Check out any of Gyorgy Ligeti's work from the '50s-60s. Second string quartet
What is the next project of hans zimmer in 2018 for a movie ? Is there any block buster movie in 2018 which hans zimmer composed ?
Max Potcats
2018-05-10 14:56:36
he mentioned a top secret project with wallfisch, also he's making the lion king live and dark phoenix for 2019, but that's it I think
Mephariel
2018-05-10 17:02:31
Where did you hear about a top secret project with Wallfisch?
George
2018-05-10 17:05:16
In the Hans Zimmer Roundtable by Spitfire Audio on YouTube. Well worth the watch by the way.
Joshua
2018-05-10 23:18:33
I was looking through all the releases from now till the end of the year trying to think of possible films it could be. Do we know the story with Disney's Christopher Robin? I remember reading Klaus was gonna do it. But then when Johann passed, it was revealed he was actually scoring it. So does that mean Klaus is back in or is there someone new? I could see Hans and Ben doing this film.
George
2018-05-11 01:00:16
I've done the same, Joshua, and honestly I have no idea what film it could be. I'm hoping it's at least something with strong themes with a strong Zimmer stamp on it... its been awhile since we've had one of those.
Mephariel
2018-05-11 17:18:30
Major 2018 films with no composers announced
Alpha, Escape Room, Mortal Engines
Not a lot of choices. I would love to see Zimmer score something like Moral Engines. Or course, it could be a small film we don't know about. More likely, he is doing a replacement score.
lol
2018-05-11 21:29:58
It's called sherlock Holmes 3
mpolonest123
2018-05-11 22:21:49
Apparently the animated Spider-Man movie coming from Sony has no one attached yet as a composer. Imagine Zimmer returning to that universe? And he has a relationship with Sony already so it’s not too unlikely.
Mephariel
2018-05-11 22:48:52
Possible. But they either didn't ask him to do Venom. Either that or he decline to do that film. I feel like Zimmer is too picky now to do something like Spider-Man.
Max Potcats
2018-05-11 23:51:58
No more "dumb blockbusters" for Hans now, so I don't see him scoring Venom. On Sherlock 3 if Guy Ritchie is call to direct it I don't see why HZ wouldn't make it, he had some issues with the producer on SH1 but I guess it's over now.. In the "worst" scenario Pemberton on Sherlock would be great, as for King Arthur.
Dunkirk
2018-05-12 07:42:14
I am curious for complete soundtrack of Dunkirk than what's gonna be his next movie
lol
2018-05-12 07:46:46
its sherlock 3.
Everan
2018-05-13 01:57:33
Ludwig Goransson from Black Panther is attached to Venom for now. Besides Dark Phoenix, and hopefully Sherlock 3, doubt he'll make another big one until Nolan makes another film
I hope hans zimmer compose the music of captain marvel . Future of MCU is bright and amazing Unlike DCEU which without nolan is going down .
Mephariel
2018-05-11 17:09:01
While that is highly unlikely, I think Zimmer moving into Marvel films is a good idea. I think the terrible quality of DC films really affected Zimmer's scoring. Dark Phoenix is a nice start.
With that said, Zimmer doesn't seem like he wants to score conventional superhero movies. Dark Phoenix is more like a drama than a superhero film from what I read.
This may have been brought up before, but... why exactly did Hans need Ben Wallfisch for Variation 15? It's hardly that much different than the original, and besides, the most memorable part of it that's not the original is the string-brass crescendo at the end. And that was obviously Hans.
Have any of you done Hans' Masterclass online? I'm considering getting it really just to see and understand his process better, but is it worth my money?
mpolonest123
2018-03-15 16:57:28
I did it about a year ago and if you are a fan of Hans, or just want to get some great insight on film scoring in general, you should definitely check it out!
nvictor
2018-03-24 20:30:32
it didn't give me super composer powers lol but you should give it a chance. the community is building up it seems. they have the advantage of talking directly (or having questions sent) to Hans.
anyway, i am a bigger fan of what Junkie is doing for free on youtube. it's way less abstract than what Hans told us. for example Hans explained to us to write to the picture, the director is your metronome and such... it wasn't until Junkie explained that he can't show us any cuts from tomb raider it finally made sense.
Hybrid you know what, i just need, or we just need ticking clock. IMAX Prologue amazing score, Hans did firstly this one i know. Hans my GOD Hans my Lord, please release this score just this please, please my Lord.. Dunkirk IMAX Prologue is here. https: //vimeo.com/248461543
Ahmad
2018-03-16 07:42:30
If only there was enough demand for this track to be released like there was for NTFC. I love everything about it, ticking and thumping and some muted synths in the background.
I hope it gets released or leak someday. I tweeted at Lorne saying Hans should put out some unreleased Dunkirk tracks like Lorne did with GITS and he liked my tweet but that's it.
I've been on the more negative side of reactions to this score, but does anyone else find the "Shivering Soldier" cue just kind of captivating? It's an extremely simple piece, yet — as simple Hans cues often do — it just kind of manages to pull you in and make you feel exactly what Cillian Murphy's character is feeling. Maybe it's the drone underneath everything. I don't know. It's certainly not a masterpiece, but unlike some parts of the score (IMO), it really works exactly like it's meant to.
badbu
2018-03-08 07:38:52
yep! it's an amazing cue! the complete score is a masterpiece for me.
BOARDING DESTROYER / BELOW DECK Hans Zimmer, Andy Page
COLLINS CRASH LANDING Hans Zimmer
COLLINS STRUGGLES / DITCH BALLAST Hans Zimmer
COLLINS TRAPPED Hans Zimmer
COLLINS UNDERWATER Hans Zimmer
COLLINS WATER LANDING Hans Zimmer
COVERED IN OIL / ABANDON SHIP Hans Zimmer, Andrew Kawczynski
DECENT ALTITUDE Hans Zimmer
DESTROYER BY Hans Zimmer
DUTCH SAILOR COMES BACK Hans Zimmer
END CREDIT - 5MEC1 Hans Zimmer, Benjamin Wallfisch, Lorne Balfe
END CREDIT - AIR v31.07 Hans Zimmer
END CREDIT - LONG NOTE HARMONICS v12.7 Hans Zimmer
END CREDIT - TOMMY v8.00 Hans Zimmer
ENGINELESS FLIGHT Hans Zimmer, Benjamin Wallfisch
FARRIER ATTACKS HEINKEL Hans Zimmer, Lorne Balfe
FARRIER CHASED BY 109 Hans Zimmer
FARRIER CHASING 109 Hans Zimmer
FARRIER FLY BY MINESWEEPER Hans Zimmer
FARRIER HEINKLE FLY-BY Hans Zimmer
FARRIER TURNS BACK Hans Zimmer
FORTIS LEADER DOWN Hans Zimmer
GEORGE FALLS Hans Zimmer
HEINKEL 11 O’CLOCK Hans Zimmer, Satnam Ramgotra
HEINKEL CRASH Hans Zimmer
I CAN’T SEE Hans Zimmer, Alex Gibson
I’M NOT GOING BACK TO DUNKIRK Hans Zimmer
LITTLE BOATS Hans Zimmer, Benjamin Wallfisch
MEETING REAR ADMIRAL Hans Zimmer
MINESWEEPER BOMBED / TRAWLER FLOATS Hans Zimmer, Andrew Kawczynski
NIMROD Hans Zimmer, Benjamin Wallfisch
ONE BANDIT DOWN Hans Zimmer
OPENING PT 1 Hans Zimmer
OPENING PT 2 Hans Zimmer, Steve Mazzaro
PLUG THE HOLE Hans Zimmer
RAIL YARD Hans Zimmer
SAUERKRAUT SAUCE Hans Zimmer, Ryan Rubin
SHIVERING SOLDIER Hans Zimmer
SHOULD WE TURN BACK Hans Zimmer
SMOKE FROM THE SPITFIRE Hans Zimmer
SOLDIER LOCKED BELOW DECK Hans Zimmer
STRETCHER CARRY Hans Zimmer, Andrew Kawczynski
STUKA ATTACK Hans Zimmer
STUKA BOMBING MEDICAL SHIP Hans Zimmer, Andy Page
TARGET PRACTICE Hans Zimmer
THE AIR Hans Zimmer
THE BEACH PT 1 Hans Zimmer
THE BEACH PT 2 Hans Zimmer, Andrew Kawczynski
THE BODIES COME BACK Hans Zimmer, Alex Gibson
THERE WAS NO CHUTE Hans Zimmer
TORPEDO Hans Zimmer, Satnam Ramgotra
TORPEDO AFTERMATH Hans Zimmer
TURN IT AROUND! Hans Zimmer
U-BOAT Hans Zimmer
VARIATION 15 Hans Zimmer, Benjamin Wallfisch
WAIT FOR ANOTHER LIFEBOAT Hans Zimmer
WAITING FOR THE TIDE Hans Zimmer
WHERE ARE YOU FROM? Hans Zimmer
109 APPROACHING Hans Zimmer
badbu
2017-12-03 12:22:00
WOW! Thanks :-)
Ian
2017-12-03 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.
Ahmad
2017-12-03 14:36:56
Thanks for cuesheet! "Sauerkraut Sauce" LOL! "STRETCHER CARRY"... That's the one I want the most!
babdu
2017-12-03 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-Profl
2017-12-03 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 Soldier
2017-12-03 22:30:26
"Is there a reason why the cuesheet is leaked now?"
...
Because ASCAP finally added it to its website ? Mayyyyyyybe ?
Der-Profl
2017-12-04 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
@hybrid
Are suites ever included on the cue sheets?
Hybrid Soldier
2017-12-04 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.
isildur
2017-12-04 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)
Medigo
2017-12-04 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?
badbu
2017-12-08 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
Ahmad
2017-12-08 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.
badbu
2017-12-08 10:03:09
Ahmad you're so right :-) Maybe we get the FYC :D
Ahmad
2017-12-08 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
And once again, another nomination to Hans and he didn't win.
Anonymous
2018-03-05 05:17:30
Second time he beat HZ
Kingfannypack is the Milfcommander
2018-03-05 05:48:43
I haven't even listened to The Shape Of Water, or much Alexandre Desplat other than Harry Potter. Does Desplats score deserve it?
Everan
2018-03-05 06:42:38
Yes
Iamtommie
2018-03-05 09:55:12
Desplat's win for The Shape of Water is as it should be. But Zimmer should have won for Interstellar. That score was way better than The Grand Budapest Hotel. In my opinion Interstellar was a wel done and inventive score. The Grand Budapest Hotel was in my opion a fun score but not an score for an oscar win
Ds
2018-03-05 10:08:33
Desplat's score is worth a listen if you're into that nostalgia mood, otherwise I think it's a non-event. It's your typical french sounding Desplat score, it goes well enough with the movie but doesnt do anything special. The exact same score for a non-oscar-bait movie wouldnt even have been nominated, but that's how it usually works :-)
JBSO99
2018-03-05 10:30:48
I agree with Iamtommie. Desplat's win this year was deserved (I say this because I didn't like Dunkirk that much). His score works really well inside the film and also outside of it, although it may get a bit repetitive for some.
But Zimmer's Interstellar should have won that year because his score was almost perfect and I would say is one of his best since Inception. Grand Budapest Hotel was really funny and it's also great but not better than Interstellar. Also, Desplat's scores are usually of the likes of the academy so he has more possibilities to be nominated and win, while Zimmer, well, you know, he does not get that much recognition in awards (not that he needs it anyway)
Fares
2018-03-05 11:58:58
It looks that Oscar's community didn't like Electronic soundtracks and orchestral soundtrack always Was the First Choice(Except Gravity of Course)
Ds
2018-03-05 13:01:22
@Fares: Gravity was the only year in a loooooong time where I agreed with the Academy on Best Original Score. There's also The Social Network which weirdly enough managed to beat Inception and How To Train Your Dragon, while being the most electronics-driven score of the pack...
mpolonest123
2018-03-05 13:20:10
To be fair, The Shape of Water really did deserve it this year. Alexandre is a composer who’s never wowed me, but the score in context of the film was excellent. And yes, Hans should have won for Interstellar.
Edmund Meinerts
2018-03-06 09:27:22
"The exact same score for a non-oscar-bait movie wouldnt even have been nominated, but that's how it usually works :-)"
The sooner everyone realizes this about the Academy, the sooner everyone can go to not giving a shit about it, like me. Hell, Desplat could have written the single greatest masterpiece of music in the history of humanity, but if it was attached to a badly-received blockbuster it wouldn't have a whisper of a chance of being nominated.
Randy Watson
2018-03-06 15:20:21
How the hell is a film about a mute woman who has sex with an amphibian creature an Oscar bait film??
Are you sure calling The Shape of Water Oscar-Bait makes sense? Have you followed Del Toro's career? This is the culmination of a long list of achievements and it just sounds a bit silly to call his film some sort of play for Oscar as it continues a very idiosyncratic form of engagement with fantasy. Desplat's score is part of this world as it captures both whimsy but also intertextual references. They both very much deserve the accolades.
Something I've learned from Hans says "Steven Price" all team work, everything done is for the movie nothing whatever music you compose for the movie is relevant he only care how it looks...Hans never care about prizes he only care about the movie. So Balfe(Identity thief) Shut the hell up.
Steven Price my Favorite composer worked with Hans on Batman Begins....
Olive
2018-03-05 23:10:40
this comment was directed to "Balfe", the nickname adopted by a troll that disturbed the peace of that forum.
Oh my god, Balfe got erased from existence! I'm not even joking, if you go to the site history and the pages he's commented on it's all gone! Normally I'd say freedom of speech, but that guy was making everyone miserable. Good job Hybrid! (I'm assuming).
Anyway about the Oscars. Yeah, I want Hans to be a more reputable composer, but Desplat deserved it over Dunkirk this year. If it was Interstellar, I'd say give it to Hans, but this time, Desplat's score just had more substance.
Olive
2018-03-05 22:07:04
I dont understand.
superultramegaa
2018-03-05 22:56:21
Please be more specific.
Olive
2018-03-05 23:08:34
I read your comment on the phone and I was confused. Now with more calm I realized that you refer to Balfe the nickname and not to the composer! Excuse me!
Desplat deserves academy award for shape of water and he earn it. In the past i loved zimmer scores like lion king or gladiator or last samurai and interstellar. But seriously after interstellar zimmer scores were nothing and i am truly disappointed whit his new scores and his wide choose of co composer which in my openion are useless !!! Iook at the criticizes openions for example which i read in wikipedia : Christian Clemmensen of Filmtracks frequently criticizes Zimmer's constant use of ghostwriters and writing music using a "lowest common denominator" approach.
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