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Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?
I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.
Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on somewhere, back in 2003 or 2004
The tracklist they posted has 58 tracks and yours contains only 54<br>interesting thing, He never really spoke about Last Samurai. but you have to realize, even when He speaks, its not always the truth. <br><br>The only thing I know, in 2013 doing press for Rush, He really said the hardest job was Last Samurai, well its not true according to himself, if you watch the behind the scenes stuff from Matchstick Men from 2003, right there He says that he was working on 3 huge films, (tears of the sun / Pirates / last samurai) and Mathstick men was the absolute hardest for him.<br><br>also Ed Zwick talks about working with Hans on the dvd commentary sometimes, but nothing really fancy.<br><br>Im sure there is an interview for this film with him, since he was at the premierI am struggling to find an interview where Hans speaks about this soundtrack. Does it even exist? <br>I spent the last hours digging but nothing. I always desired to hear some comments about it, like he does for the other works he's done.<br>I know it's a far stretch for Hans To release docu scores, but am really curious as to what Brave Miss World, Believer and Jalous of the Birds sound like...<br><br><br>@Mephariel<br>You can find Great Bear Rainforest on under Anze RozmanMondo only offered to send me a return label and a refund. No info yet on if they plan to fix it. :-/

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Hans ZimmerLorne BalfeBenjamin WallfischAndrew Kawczynski
ComposerAdditional MusicAdditional MusicAdditional Music
Label: WaterTower Music
Length: 59'46 rating:        Not yet rated
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  1. The Mole (5:35)
    Hans Zimmer (Sir Edward Elgar)
  2. We Need Our Army Back (6:28)
    Hans Zimmer
  3. Shivering Soldier (2:52)
    Hans Zimmer
  4. Supermarine (8:03)
    Hans Zimmer
  5. The Tide (3:48)
    Hans Zimmer (Sir Edward Elgar)
  6. Regimental Brothers (5:04)
    Hans Zimmer, Lorne Balfe (Sir Edward Elgar)
  7. Impulse (2:36)
    Hans Zimmer
  8. Home (6:02)
    Hans Zimmer, Benjamin Wallfisch (Sir Edward Elgar)
  9. The Oil (6:10)
    Hans Zimmer
  10. Variation 15 (Dunkirk) (5:51)
    Benjamin Wallfisch, Hans Zimmer (Sir Edward Elgar)
  11. End Titles (Dunkirk) (7:12)
    Hans Zimmer, Lorne Balfe, Benjamin Wallfisch (Sir Edward Elgar)
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nvictor reply Replies: 2 || 2019-09-28 14:37:33
the best end titles of all end titles :)

Edmund Meinerts2019-09-30 00:12:32
Uh. Well. That's opinion.

Der Profl2019-09-30 23:35:20
It is my opinion as well, but I would say "one of the best" to be precise.

Mr.Unbreakable reply Replies: 0 || 2019-08-26 04:46:44
Do we know if Lorne Balfe will be involved in Dune? Maybe he could compose the Dune series

bob reply Replies: 1 || 2019-07-16 19:41:52
We got the answer from Hans:

Hopefully they collaborate again

Mephariel2019-07-17 05:48:32
Yeah I am glad there is no falling out.

manny manfred reply Replies: 1 || 2019-05-27 11:56:02
Has a complete/expanded score been leaked?

Anonymous2019-05-27 13:14:19
No. People jyust like to talk in this thread about everything not related to Dunkirk.

Mr.Unbreakable reply Replies: 4 || 2019-05-23 15:45:05
Bob,The Training is basically Ramin Djawadi and Mr.Charles is Balfe

Michael Baker2019-05-23 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.Unbreakable2019-05-23 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.Unbreakable2019-05-23 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 Meinerts2019-05-24 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.

nvictor reply Replies: 0 || 2019-05-23 20:44:26
are we expecting the score for dark phoenix to be released in a week or so, if the movie itself drops early june?

isildur reply Replies: 24 || 2019-05-22 18:40:39
Christopher Nolan’s new film is an action spy film titled Tenet and apparently it is being scored by Ludwig Göransson.

It would be interesting to see what they come up with. But I am heartbroken that we will not be hearing a Nolan-Zimmer score.

https: // m-titled-tenet/

Joshua2019-05-22 18:49:51
Nobody ever believes me lol.

George2019-05-22 19:06:10
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 Soldier2019-05-22 19:09:03
You can't say I didn't warn you !

isildur2019-05-22 19:16:20
You did. But Hans-Nolan personal relationship is fine though, right?

Mephariel2019-05-22 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.

Mephariel2019-05-22 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
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.

George2019-05-22 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!

challenge2019-05-22 20:19:45
So Dunkirk really was that awful an experience then? Wow.

Mephariel2019-05-22 20:37:09

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.

Mephariel2019-05-22 20:41:02

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.

ThePhantasm2019-05-22 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
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.

George2019-05-22 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.

Mephariel2019-05-22 21:00:57

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.

Ds2019-05-22 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.

Miralsice2019-05-22 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.Unbreakable2019-05-23 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.

Mephariel2019-05-23 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.

Bob2019-05-23 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.Unbreakable2019-05-23 15:50:41
I think Balfe working with Nolan would have done a great job

isildur reply Replies: 3 || 2019-03-05 23:54:22
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!?

https: //

mpolonest123 2019-03-06 00:02:05
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).

Mephariel2019-03-06 01:23:33
This sounds interesting as hell. I wonder what Zimmer will come up with.

Kent Öberg2019-03-06 12:21:24
This has been debunked.

Jerry reply Replies: 7 || 2019-02-20 23:56:00
With the complete cue sheet out now. Does anyone know what the chronological order of the album would be?

Mike2019-02-21 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.

Mike2019-02-21 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.

Ahmad2019-02-21 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)
The Tide
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
The Tide
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
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.

Mike2019-02-21 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?

YFM2019-02-22 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)

Mike reply Replies: 2 || 2019-02-19 08:20:30
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 K2019-02-19 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.

Mike2019-02-20 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.

Kent Öberg reply Replies: 1 || 2019-02-08 12:46:40
From a new French interview with HZ:

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.

Knight2019-02-08 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

Radik reply Replies: 14 || 2019-01-26 09:51:09
Christopher Nolan announed his new project. Hope Hans is going to be at board. I anticipate anothrr masterpiece. :)

challenge2019-01-26 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.

Mephariel2019-01-27 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.

Knight2019-01-27 03:01:54
I expect a lot of work for Mazzaro and Kawczynski in the coming years xD

isildur2019-01-27 09:10:57
Hans is scoring SpongeBob movie? When did this news come out? I think Hans is finished scoring WW1984 movie already.

Mephariel2019-01-28 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.

java2019-01-29 08:22:13
what event film it's gonna be? Inception

Scorefan2019-01-30 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.

Mephariel2019-01-30 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.

Ian2019-01-31 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
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.

Ds2019-02-02 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...

Mike2019-02-02 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.

Ds2019-02-02 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!

curba reply Replies: 2 || 2019-01-04 03:31:54
Hans enough! relaese the complete score!.....

Hans2019-01-06 17:32:48
Sure. Calling the company right now.

Mike2019-01-07 16:30:34

lomp reply Replies: 2 || 2018-11-08 11:52:14
the complete score is out!!!

kareem2018-11-09 01:33:34
No, you lying...

Will2018-11-13 02:16:08
I wish

nvictor reply Replies: 0 || 2018-10-21 01:12:35
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!

nvictor reply Replies: 17 || 2018-06-26 13:55:59
anyone knows scores similar to dunkirk? can't get enough of this sound (or rather need more of it...)

Jay the Dinosaur2018-06-27 07:39:19
Elgar's Nimrod Variations

nvictor2018-06-27 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.

Ds2018-06-27 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.

nvictor2018-06-28 19:46:09
thanks all

Koly2018-06-28 22:15:09
Gravity IMHO

nvictor2018-07-17 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.

Ds2018-07-18 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

nvictor2018-07-24 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.

Mephariel2018-07-24 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 Meinerts2018-07-25 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.

Ds2018-07-25 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 :-)

nvictor2018-07-25 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

Edmund Meinerts2018-07-26 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...

Ty2018-07-26 18:14:07
Check out any of Gyorgy Ligeti's work from the '50s-60s. Second string quartet

badbu reply Replies: 0 || 2018-07-25 08:32:31
i want the complete score so so much!!! arggggh

Anonymous reply Replies: 17 || 2018-05-10 13:57:31
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 Potcats2018-05-10 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

Mephariel2018-05-10 17:02:31
Where did you hear about a top secret project with Wallfisch?

George2018-05-10 17:05:16
In the Hans Zimmer Roundtable by Spitfire Audio on YouTube. Well worth the watch by the way.

Joshua2018-05-10 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.

George2018-05-11 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.

Mephariel2018-05-11 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.

lol2018-05-11 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.

Mephariel2018-05-11 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 Potcats2018-05-11 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.

Dunkirk2018-05-12 07:42:14
I am curious for complete soundtrack of Dunkirk than what's gonna be his next movie

lol2018-05-12 07:46:46
its sherlock 3.

Everan2018-05-13 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

Joshua2018-05-13 07:42:21
Sherlock 3 doesn’t come out until 2020.

Jsdamian2018-05-13 23:53:40
Widows, november 2018, steve mcqueen

Jsdamian2018-05-16 19:18:24
Maybe snyder's cut?

awesome2018-06-04 13:35:30
the complete score is so amazing!!!

Anonymous reply Replies: 1 || 2018-05-11 14:14:04
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 .

Mephariel2018-05-11 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.

Thomas reply Replies: 0 || 2018-05-11 09:28:52
Schreckliche Musik!

Radik reply Replies: 2 || 2018-03-21 07:14:12
Stretcher Carry is avaibale on soundcloud. It' merely recreation but it's awesome almost like film version.

Jon2018-04-27 02:08:07
Where can I find it?

Radik2018-04-30 20:14:16
It's seems that it is already gone but I was able to get it. If you have interest, you can contact me PM.

Mephariel reply Replies: 0 || 2018-04-20 07:35:47
Andrew Kawczynski scored the movie Sky Hunter. The score is available on Spotify now.

The score is probably the most melodic/heroic that I heard from him.

Mike (OTM) reply Replies: 0 || 2018-04-14 19:27:02
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.

So what did Wallfisch do? Honest question.

George reply Replies: 2 || 2018-03-15 15:34:51
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?

mpolonest1232018-03-15 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!

nvictor2018-03-24 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.

Lincoln Clay reply Replies: 1 || 2018-03-15 21:15:30
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: //

Ahmad2018-03-16 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.

Mike (OTM) reply Replies: 1 || 2018-03-08 03:35:36
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.

badbu2018-03-08 07:38:52
yep! it's an amazing cue! the complete score is a masterpiece for me.

Hybrid Soldier reply Replies: 22 || 2017-12-03 12:06:14
Full Dunkirk cuesheet (in alphabetical order) :

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andy Page

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch, Lorne Balfe

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer, Lorne Balfe

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Satnam Ramgotra

Hans Zimmer

Hans Zimmer, Alex Gibson

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer

Hans Zimmer

Hans Zimmer, Steve Mazzaro

Hans Zimmer

Hans Zimmer

Hans Zimmer, Ryan Rubin

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer

Hans Zimmer, Andy Page

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Andrew Kawczynski

Hans Zimmer, Alex Gibson

Hans Zimmer

Hans Zimmer, Satnam Ramgotra

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer, Benjamin Wallfisch

Hans Zimmer

Hans Zimmer

Hans Zimmer

Hans Zimmer

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

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

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

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

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

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

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

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

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


Because ASCAP finally added it to its website ? Mayyyyyyybe ?

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

mpolonest123 2017-12-04 01:27:23

Are suites ever included on the cue sheets?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Iamtommie2018-03-06 15:37:59
Anyone know a chronological order

Scorefan reply Replies: 11 || 2018-03-05 05:03:44
And once again, another nomination to Hans and he didn't win.

Anonymous2018-03-05 05:17:30
Second time he beat HZ

Kingfannypack is the Milfcommander2018-03-05 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?

Everan2018-03-05 06:42:38

Iamtommie2018-03-05 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

Ds2018-03-05 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 :-)

JBSO992018-03-05 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)

Fares2018-03-05 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)

Ds2018-03-05 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 Meinerts2018-03-06 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 Watson2018-03-06 15:20:21
How the hell is a film about a mute woman who has sex with an amphibian creature an Oscar bait film??

Score Fan reply Replies: 0 || 2018-03-06 14:12:11
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.

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Dunkirk soundtrack - Hans Zimmer 2017