"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)
Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading ! Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.
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.
again alexander desplat beats hans zimmer and won bafta !! why ?! maybe it is time for hans to write his scores all by himself not his all by his ghostwriters , and come up with a whole new idea like his old scores for example lion king that even beat 2 great works of thomas newman in oscar !!! good luck
isildur
2018-02-19 20:02:36
LOL. You clearly have no idea how Hans always worked like this, collaborating with people. There are no ghostwriters when everybody is credited.
ThePhantasm
2018-02-19 21:58:48
Dude Dunkirk soundtrack wasn't even good, i love Hans but it should not of gotten nominated. Desplats music is clearly superior to Hans. well at least in these particular movies. I think honestly hans should of won for Interstellar when they announced desplat who had two nominations.... i was like what? but that's just my opinion.
ThePhantasm
2018-02-19 21:58:49
Dude Dunkirk soundtrack wasn't even good, i love Hans but it should not of gotten nominated. Desplats music is clearly superior to Hans. well at least in these particular movies. I think honestly hans should of won for Interstellar when they announced desplat who had two nominations.... i was like what? but that's just my opinion.
Max Potcats
2018-02-19 22:21:55
I'm sure the academy would love to know that Hans souldn't been nominated. The Dunkirk Score is a masterpiece, but as I said if you have a problem with the score that's because you have a problem with the movie itself.
Hybrid Soldier
2018-02-19 22:43:28
"Desplats music is clearly superior to Hans."
That's a very dangerous thing to say around here... :P
JBSO99
2018-02-19 23:16:55
Desplat's music is more of the taste of all of this awards. He's a usual nominee and winner and it isn't strange that he beats up Dunkirk.
I personally prefer The Shape of Water over Dunkirk, but I must agree that Zimmer should have won for Interstellar a few years ago (but then, Desplat was there with two nominations so it was difficult for him to win)
ThePhantasm
2018-02-20 03:28:26
No what i meant by better is for these respective films, not in general his music for The shape of water is better than what hans did in Dunkirk. That's what i meant
Edmund Meinerts
2018-02-20 09:24:27
Shape of Water is a nice score, but let's not pretend for one second that its BAFTA win, likely Oscar win, any of these big awards really, has *anything* to do with the music. It's mostly about what films those scores are attached to (and, to a degree, about who wrote them). After all, a composer could write a phenomenal masterpiece and it still won't win a damn thing if it's attached to, say, the third entry of a big blockbuster franchise about pirates.
Waymann
2018-02-20 10:00:51
Still don't know why Giacchino's War for the Planet of the Apes wasn't even nominated. I know not everything was new material but that score is still superior to The Shape of Water which is a great score but not brilliant, just the same Desplat sauce like we are used to. I don't like all nominees this year, their safe and so predictable. I mean The Last Jedi ? Nothing new in that score... even the Post by John Williams is 10x better than what he did with The Last Jedi. Why not nominate that score if you really want to nominated John Williams.
Edmund Meinerts
2018-02-20 10:24:14
I thought War for the Planet of the Apes was pretty boring (and kind of weird at times, like what's with the Morricone-style traveling theme, it didn't feel like it fit the movie or the rest of the score at all), but a lot of people seem to love it, so I know I'm alone in that opinion. I just prefer Giacchino when he's having fun, not that simple Lost-like emotional stuff he does in every. single. score.
Last Jedi is a fine score, but yeah, probably the least new material in any Star Wars score. It does a pretty good job of playing around with the old material though, not (only) rehashing. I see it a bit like Zanelli's Pirates score this year in that regard. I'd be kind of mad if it won just because of all the much, much better Star Wars scores that haven't. :p Then again I'd say the same about Desplat and Shape of Water. If he has to be nominated for one of his scores this year, why not Valerian? That score's way more creative and varied than Shape of Water. Or Godzilla instead of Grand Budapest Hotel, the year that he did win? And since we were talking about Giacchino earlier, if anything he's done is worth nominating, then why not Jupiter Ascending? Oh right, because it's about the movie, never the music...
I feel like this much talk about non-RCP scores at this website is some sort of party foul, so my bad guys!
Fares
2018-02-20 11:09:20
Giacchino's War for the Planet of the Apes main theme is reused from super Mario Game just put it in google and you will be convinced why he shouldn't been nominated at all!
ThePhantasm
2018-02-20 17:22:27
@Fares wanna hear a fun fact about giacchinos score for war for the planet of the apes he copied john williams Kylo ren theme note for note. Listen to Exodus Wounds and then go and listen to Kylos theme. Literally note for note doesn't even try to hide it.
Mephariel
2018-02-20 18:30:44
I really like War for the Planet of the Apes. Giacchino did a great job creating a score unique to the movie with great atmosphere. I am actually tired of "Giacchino having fun."
MrZimmerFan
2018-02-20 18:49:21
Agreed, War for the Planet of the Apes is much better than Homecoming. IMHO.
John
2018-02-20 19:08:57
Isildur , so if hans for example won an academy award for his amazing spiderman 2 he should share it with 11 other composers beacause all of them had credit , really??!! ( magnificent six and about 5 additional music composers )
JBSO99
2018-02-20 19:33:08
Giacchino's score in War for the planet of the Apes I think is on my top three scores of 2017, but the Oscars, BAFTAS, Golden Globes and so on would never give an award to a score like that because they (almost) always prefer scores like The Shape of Water (which is good and works great in context but it's not as great)
Edmund Meinerts
2018-02-20 22:34:28
I'll acknowledge that maybe War/Apes is a more distinctive and accomplished score than Homecoming. I just find a lot of it not very gratifying to listen to. The first fifteen minutes in particular is a really tough slog. Homecoming on the other hand is a standard typical Giacchino score, no surprises whatsoever, but it's more enjoyable for me (although the action music outside of a couple cues is really generic, I prefer the playful stuff in the first half of the score, and the main theme is pretty catchy and memorable).
Also, where the hell is Kylo Ren's theme in War/Apes?
ThePhantasm
2018-02-20 23:28:50
Dude go to youtube type in Exodus wounds from the war for the planet of the apes soundtrack then go and search for Kylo Ren theme it's the first video called kylo ren suite. Literally note for note he copied and pasted Williams kylo ren theme.
ThePhantasm
2018-02-20 23:32:36
Don't believe me? Here's Kylo rens theme listen from :30 and forward https://www.youtube.com/watch?v=mp433n4KzDA
Now here exodus wounds, from the beginning you can hear it but it becomes more apparent at 1:45 and onward https://www.youtube.com/watch?v=kjDujO-3Bec
George
2018-02-20 23:41:46
Oh wow you’re right those are very similar... almost too similar lol. I thought you were referring to that low brass motif for Kylo Ren amd also didn’t see where you got that from, but you definitely have a point.
ThePhantasm
2018-02-21 01:40:53
That's all i was trying to do is make a point lol i still can't believe I'm the only one who's noticed that.
J.S.B.
2018-02-21 05:33:33
Well, to give also my 2 cents to this thread:
Zimmer has a high reputation at the acadamy owing to certain scores from the past...I fear he could even solely knock against an old cooking pot from is mum during the whole time... if he should do it for a Nolan-movie (but maybe for other Hollywood-blockbusters too) he will get his nomination for sure. Zimmer-Fans will call it "creative", "brave" and "innovative".
Would be interesting if "only" Wallfisch or Balfe could have got the credits for Dunkirk. If one of them would have the nomination now as well? Zimmer laughed already his head off with the "Preachers Wife" nomination and could be, with this one too.
Don´t get me wrong...I loved/love many Zimmer-scores from the past and I´m not just a hater, but the music he has done for the last 2-3 blockbusters were not the Zimmer-quality for me for which I had appreciated him once.
Edmund Meinerts
2018-02-21 09:17:15
Okay, Phantasm, I can hear where you're coming from. But I'd argue that the tone and harmonies of the two pieces are so completely different that this is a coincidence.
Balfe
2018-02-22 14:59:41
Dunkirk is a sound experiment and not a score. It is rather sad to see a fine composer like Benjamin Wallfisch deal with this nationalistic nonsense.
Apparently he does not keep his promises. Does he return to DC?
George
2018-01-25 20:58:33
Wait seriously?! Wow definitely surprising (in the best way)
FaresTdkr
2018-01-26 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.
Waymann
2018-01-26 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.
Lynk
2018-01-26 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 wouldn’t be permanent — as long as he could find a good script, he told Inverse. “Ron Howard actually said something very smart to me,” Zimmer recalled. “He said, ‘Don’t say you will never do a superhero movie again, wait for somebody to turn up with an amazing script for a superhero movie.’ And I suppose that’s what I’m saying: Can I please have the amazing script?”
Meta
2018-01-26 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...
Joshua
2018-01-26 19:50:01
@Meta That makes no sense what you just said.
“Does it service the film? Sure...110%. But as a score I don't really see what's so great about it...“
A film score solely exists because of the film it’s attached too. Without it, their would be no music. It’s main and MOST important function is to serve the film and elevate it. You said the score serviced the film “110%” for you. So then doesn’t that make it a great SCORE? I think you meant to say, as music on it’s own, you don’t see what’s so great about it.
Ian
2018-01-26 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 Potcats
2018-01-26 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 Phœnix that we don't found on ever superhero script and get inspired.
meta
2018-01-27 02:26:17
@Joshua
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...
nvictor
2018-02-09 12:10:10
well you guys know Hans? "they made him do it" : )
Still haven’t seen that expanded Dunkirk score I’ve heard we’ll 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....
Ahmad
2018-02-08 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 don’t think they meant a literal 106-minute cue. It would be impossible to record. Going by the cue sheet it’s 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 I’ve only seen the movie twice so I’m not 100% on that.
Ahmad
2018-02-08 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.
mpolonest123
2018-02-08 23:45:55
From some interviews it seems like Hans “mapped” out the score, most likely with a long demo. But yeah, there are still a lot of things they haven’t told us.
kek
2018-02-09 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
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 Meinerts
2017-12-24 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.
Medigo
2017-12-24 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
Ahmad
2017-12-24 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.
Mephariel
2017-12-25 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 interstellar
2017-12-26 05:44:38
lets acknowledge both films are different fingers of the same hand. one is emotional and other is suspense, period
Boldizar
2018-01-15 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-El
2018-01-24 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 — 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.
Ds
2018-01-25 20:24:11
@Mike OTM: you summed it up perfectly, I can only applaud!
superultramegaa
2018-01-25 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.
Ahmad
2018-01-25 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.
superultramegaa
2018-01-25 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 Rogue
2018-01-25 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. It’s called mickey mousing because the early films that used the technique were...you guessed it, Mickey Mouse cartoons.
superultramegaa
2018-01-25 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.
Ahmad
2018-01-26 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.
@superultramegaa 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
superultramegaa
2018-01-26 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.
Ahmad
2018-01-26 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.
rockhound
2018-01-26 09:10:31
@superultramegaa
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.
is there a complete score out there? the score is so amazing!
MaxPotcats
2018-01-23 14:14:34
If it's nominated for the Oscar, the complete score will be released. So it should be out these weeks.
Badbu
2018-01-23 14:34:11
YES HANS!!! The second Oscar is COMMING! :D
Edmund Meinerts
2018-01-23 14:39:56
I'd like Hans to win another Oscar but please, not for this.
Ahmad
2018-01-23 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.
badbu
2018-01-23 15:06:28
yep ahmad! 100% right
George
2018-01-23 15:10:31
Well it has officially been nominated. Fingers crossed for the complete score now
Ahmad
2018-01-23 15:21:37
@badbu 👍
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.
Anonymous
2018-01-23 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.
Ahmad
2018-01-23 15:29:53
*That was a thumbs up but it didn't work :D
^This how I feel lol.
badbu
2018-01-23 15:30:39
@Ahmad i only need "The Oil (Film Version)" :D Then i'll be happy :D
Edmund Meinerts
2018-01-23 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).
George
2018-01-23 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.
AndrewP
2018-01-23 15:49:26
Edmund - gets you facts right please . 12 Strong was written before Dunkirk
Edmund Meinerts
2018-01-23 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.
MaxPotcats
2018-01-23 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.
Mephariel
2018-01-23 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.
Ds
2018-01-23 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.
Ahmad
2018-01-23 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.
AndrewP
2018-01-23 18:10:55
Edmund - the release dates do not matter . Check out Balfe’s Facebook page and you will see he was recording 12 Strong early last year .
Peter
2018-01-23 18:40:51
Edmund - how do you think Zimmer wrote Dunkirk when he was on a world tour !!!Congratulations to Ben, Lorne also .
Ahmad
2018-01-23 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.
Olive
2018-01-23 20:39:43
Balfe's hiring came out in May, when Dunkirk's production was already at the end. No contest.
Olive that is when it was announced !!! Not when he did it
Olive
2018-01-23 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.
superultramegaa
2018-01-24 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 Milfcommander
2018-01-24 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!
Mike
2018-01-24 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 Meinerts
2018-01-24 12:49:19
What if I told you it was possible for a score to sound like two different things sometimes?
Max Potcats
2018-01-24 13:41:28
That's why the album is almost only suites and not the real score from the movie I guess.
Olive
2018-01-24 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.
Olive
2018-01-24 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.
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 ?
Mandarin
2018-01-13 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
Mephariel
2018-01-13 21:54:55
Nearly every composer in Hollywood uses ghostwriters. Horner, Elfman, Beltrami, you name it.
Olive
2018-01-14 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.
Anonymous
2018-01-14 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
Olive
2018-01-14 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.
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)?
badbu
2017-12-28 07:37:56
i don't care for what...but he has to get his second oscar!!! and i think dunkirk has good chances :-)
linus
2018-01-14 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.
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