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Finally!Loving this weeks releases from Balfe from Ghost . It is an amazing scoreHere<br><br>http: // www.hans-zimmer.com/index.php?rub=disco&id=1597<br><br>The score is getting release by WaterTower3 left ! ;)My fault, it was "Rage and Serenity"
Does anyone know how many tracks Lorne will release?Winter Soldier sounds almost nothing like Kingsman<br>Civil war maybeYes! "No Time for Emotion" and "Not In Vain" contain John Denver's "Country Roads"! No Time for Emotion is Mark Strong singing it like in the film!! I'm so happy they included this! :DDoes anyone know a chronological order or is this chronological??"Mutant and Proud" (from X-Men First Class) was used on the scene when Harry's gets back his memories. Am i right?
Now I'm even more excited for this!Thanks !Here's the interview: https://www.youtube.com/watch?v=WBALBRBmDfg<br><br>He starts talking about the score, quite passionately, at 05:50:)<br><br>Yeah that's probably the case! I think Wallfish is a great composer so I am sure it'll sound great!Probably. The first Kingsman sounds just like Winter Soldier.Any link to that ITW ? :)<br><br>Yeah Hans probably wrote the main ideas and probably a bunch of the big cues but Wallfisch wrote a good chunk of it... :)
There's an interview where the director talks about the score being brilliant and he says Walfischs name before Zimmers so we can guess that zimmer being busy with the tour didn't have time to do that much on this score so this will be a mostly wallfish score.Is it just me or is Poppy’s theme the same thing as Jack and Jill’s theme from puss n boots?I have no idea, it's been there since July, could be...<br><br>Check the featurette that came out a few days ago, "The World of Blade Runner", in it I think is definitely score material !interessting... i really think it can be a HZ/ BW / JJ track, it doesn't sound that commercial and basicRandy is obviously wrong and an idiot in my point of view.
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Hans ZimmerLorne BalfeBenjamin WallfischAndrew Kawczynski
ComposerAdditional MusicAdditional MusicAdditional Music
Dunkirk
Label: WaterTower Music
Length: 59'46
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (1566 votes)
  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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Ahmad reply Replies: 8 || 2017-07-27 16:15:06
Now that I've seen the movie I can say:

1- The album is pretty good. It's definitely not as bad as I thought it was, even though there are some stuff missing. I personally enjoy listening to it on its own.
2- The prologue music is NOT in the movie.
3- The cue that starts as they carry the stretcher is a variation of Supermarine (the first 3 minutes melody-wise)
4- I knew that drum break in Supermarine at 5:30 is too good to be in the movie. (Maybe it is, I'll pay more attention next time I see the movie again)
5- I love how they incorporated Elgar's theme in a very dark and twisted way throughout the score then introduced it in a very uplifting way. I got goosebumps.

To me personally, it would've been a perfect release if they had included the music from the prologue on the album.


...2017-07-27 17:17:46
What is the prologue that you refer to? I remember the opening of the movie having the first part of the Mole playing.


Ahmad2017-07-27 18:52:40
There was a 5 minute prologue (it was more like a montage than a prologue) It was attached to IMAX screenings of Rogue One and Kong: Skull Island.


...2017-07-27 19:09:10
All right now I understand... How was the prologue music?


Ahmad2017-07-27 19:56:47
The prologue music builds on the music from the very first teaser with lots of rhythmic variations. It has a very ominous sounding hum in the background and some sounds that are very hard to describe but are very addictive. Also, the tempo changes throughout the prologue. A lot of people disagree with me (some think it's nothing special) but I think the track should've been released.


badbu2017-07-28 08:03:30
Many Cues are "Film Versions"...so let's hope for the FYC Score :-)


Guitwo2017-07-28 15:41:32
According to Nolan, to get the very best version of the soundtrack you need to rip the music out of the film entirely.
As the music runs throughout the movie without stopping up until the very last moment of the movie then goes back in.


babdu2017-07-28 15:56:44
yeah i know...-> isolated Score (DVD Release) :P


Ahmad2017-07-28 17:42:19
I wish they would include an isolated score track on Blu-ray but don't put your hopes too high. We'll probably end up with extracts that include sound effects. I hope they include the prologue on BD tho (since it's not an actual sequence from the film). It's 5 minutes of brilliance.

Hedon reply Replies: 0 || 2017-07-28 12:31:23
I hear Andrew Kawczynskis voice (Chappie-ish sounds and rhythms) all over this. Sounds to me he was heavily involved with the crafting of this score. I am surprised to not see his name on the track credits here. I assume this will change later on when/if the complete score gets released.

Also certain sounds and parts are very reminiscent of Steve Jabolonsky's "Heed our warning" from Transformers:Revenge of The Fallen. In addition both the opening of We Need Our Army Back and Shivering Soldier has enough in common with Stay and Fight from Transformers:The Last Knight that would make me think Steve was involved with this score.

The Elgar variations are incredibly beautiful and very well done. The rhythmic synth bass underneath it sounds very Zimmerish. Especially during the start of End Titles. Is this Zimmers construct, or Balfe?

Jack reply Replies: 9 || 2017-07-21 14:56:18
Divisive opinion:
I honestly wasn't crazy about the film. It wasn't bad, and the score was very appropriate, but I felt they could have done something different to not just be visually engaging, but emotionally engaging. Maybe I'm crazy, I'm seeing it again today, but that's my initial reaction.


Adam2017-07-21 15:07:07
It probably felt less emotionally engaging because we've been fed with emotions like friendships, love, joy or sorrow in most of the films. Dunkirk was emotionally engaging with emotions like fear of death, longing to go home. Hope this gives you another perspective


Bolidzar2017-07-21 21:14:17
I agree. This to me was Nolan's Revenant. Good looking cinematography, but almost no story and zero emotional connection to anything happening. I disagree with Adam. It doesn't drudge up negative feelings either because, unless you have an explicit connection to the Battle of Dunkirk, it doesn't try to give anything meaning. The film was everything I feared when I saw the trailer, boring and limited in depth. As I was leaving I heard someone describe as a documentary, but I wouldn't even call it that. It is like an art film, definitely not for everyone. I'd probably call it a historical recreation on film.

As for the "music". It definitely fit the "movie" in that it hardly was the fundamental thing it is described as. Mostly droning noise, air, or ticking. Not for everyone and not really listenable either.

Overall this felt like a pop-avant garde project. Maybe Dunkirk is something extremely culturally relevant in England? Like still present in the vernacular? I don't know but this movie fails to take add anything to the human experience. It does not transcend its basic scenario and title. Dunkirk. That is it.


Meta2017-07-22 03:26:50
I have to agree on the soundtrack being mostly unlistenable...

This is nothing like Inception, or even Interstellar.

I seriously doubt there's going to be a big stink made about any track from this score the likes of "No Time For Caution" back in 14...

I tried...I tried real hard to find something to keep me interested in this score, but I personally couldn't find anything. Most of it is tension building noise. I'm sure it's great within the film, but outside the film? Not so much.

I guess Zimmer is on "retirement mode" now...He's slowing down and not wanting to produce the rockin stuff that he used to...I can't blame him, but still...This score sounds like a total experiment.


meta2017-07-23 07:10:46
Found one of the main themes.....

Sounds pretty much like the rising music in Pirates 2 when the Kraken shows up to eat Jack Sparrow....


Ruth2017-07-23 17:11:05
This was one of the most emotionally engaging movies I have ever seen. I suspect it has to do with the fact that my father was a WW II vet who was on a ship going through the Straits of Gibraltar when they were bombarded by German airplanes. The selection of Elgar's Nimrod was a stroke of genius. It rises and falls like the ocean, like a wheezy organ. I wept. This movie is a tribute to the Everyman who did his or her part. We need to be reminded.


Jazzy2017-07-25 01:09:53
Bolidzar


Jazzy2017-07-25 01:11:44
'The film was everything I feared when I saw the trailer, boring and limited in depth.' -spoken like a faceless Nazi


Bolidzar2017-07-27 20:43:14
@jazzy -- natürlich. Any criticism must mean I am a Nazi. Spoken like a modern U.S. Democrat.


,2017-07-28 03:01:53
Which US democrats call people "nazis"? This victim culture is embarrassing.

Meta reply Replies: 3 || 2017-07-26 14:12:16
Supermarine/Dunkrik "theme".

Think back to Pirates 2. The scene where Jack thinks he has the Heart of Davey Jones and he's on the ship getting the hell out of there. Suddenly, Davey Jones ship rises up from the water to block them...You hear a rising tune....

It's the exact same tune used for Supermarine/Dunkirk...

Meh.


badbu2017-07-26 14:19:45
Backdraft -> Gladiator -> POTC...everything is similar


bro2017-07-27 09:52:17
The orchestral intro to "it's on again" (also outro of "You're that spider guy", just not with the percussion from TASM2) was re-used all over the Dunkirk score as well. The bass line for it is pretty obviously or very similarly re-purposed in a few places.


bro2017-07-27 09:53:40
Just listen to "The Oil" for an example

DabMaster69 reply Replies: 11 || 2017-07-22 19:27:21
Saw the film again last night and there are a ton of great cues missing, especially from the first half of the film. It's a crime the cue when they carry the stretcher onto the ship wasn't included.


Waymann2017-07-22 20:06:25
Yeah, was also looking for that track.


Gotham Rogue2017-07-22 20:56:33
That was one of my favorites, wish it was on the OST.


Medigo2017-07-23 20:54:22
I'd also like that chilling piece from when the ship sinks

other than that, not that much I desire


Mortifer V.2017-07-23 23:08:22
I wanted that track as well!!! recording sessions when :'(


Samuel Jacob2017-07-24 08:02:10
I vote for that song as well! Violin Staccato slowly going in and out of tune! Love it.


Waymann2017-07-25 11:27:11
No "No Time For Caution" scenario for this piece of music ? ;)


badbu2017-07-25 11:31:57
hahaha :D so fu*** up... :D


Andreas2017-07-25 11:49:41
The score is one of Zimmer's most amazing ever. There may not be big melodies but in context to the film, it is a masterpiece . Obvious to hear Balfes contributions also.


Guitwo2017-07-25 14:42:57
there is one stressful cue when in a place tom hardy attacks for the first time and it's going louder and louder, faster and faster. like we follow his heart's pace and adrenaline. it's like a big maelstrom


nolzim2017-07-25 19:21:05
OH MY GOD!!! the movie was AMAZING!!! But so many Cues are missing :((((


Fil2017-07-26 10:17:47
I hope that recording sessions will be released...i'm little disappointed, that some tracks are missing and some of them sounds very differently than in the movie..

Spoiler reply Replies: 1 || 2017-06-23 16:10:30
If there is a scene where they try to dock to an rotating boat, this epic music won't be on the album :D


Tim2017-07-25 13:43:28
What I said one month ago, has happened again -.-

Raghunath G Nair reply Replies: 0 || 2017-07-24 13:18:57
Does anyone know what all instruments are incorporated in the entire if track by track details available.It would be great!

SPECTER reply Replies: 4 || 2017-07-22 17:06:59
I Love Hans' stuff but this score didn't really do it for me. I don't see how people are repping this as Oscar worthy but trash something like CHAPPiEs score, something with actual emotion and melodies.


Ds2017-07-22 17:45:46
The answer is: Christopher Nolan ;-)


Mephariel2017-07-22 19:39:36
I don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.


Boldizar2017-07-24 06:04:40
To me an award winning score should both fit with and purposefully amplify the film and be something you want to hear. Dunkirk fits well theoretically, but it isn't enjoyable to hear. Interstellar did both and that lost.


Mephariel2017-07-24 07:03:38
I don't think that makes sense though. Why should an artist have to go against the director and compromise the music of a film just to win an award? The best original score should be judged based on how well it serve the film and nothing more. Or else no body will want to score a political thriller.

Mike (OTM) reply Replies: 0 || 2017-07-24 02:25:52
Are the above credits with only Hans complete or not? If they are, then it's interesting how much of this album is just Zimmer. Even if it is an exercise in musical intensity more than anything else. I have to yet to see the film, but the score isn't as bad as I was worried it would be. In fact, most of it's just fine, and I look forward to hearing it with the film. It certainly does raise the pulse when you listen to it. It's like dread in musical form.

Hybrid Soldier reply Replies: 4 || 2017-07-22 19:50:10
Nolan's liner notes, which explains a lot on the score :

"British people are raised on the story of Dunkirk. The events of the evacuation are sacred ground, not to be ventured onto without great care. Daunting for a filmmaker. But the things that place Dunkirk so firmly at the heart of a nation's self-image are the very qualities that make it one of the greatest stories in human history. Irresistible to a filmmaker.

This film required a remarkable creative team, and Hans Zimmer, as well as having been a valued member in the past, knows how to assemble his own great team. From our first meeting, where I described to the percussionist, Satnam Ramgotra, the unusual rhythmic structure of the script and how it needed to be amplified by the music, through the finishing touches applied by Lorne Balfe during our last weeks of mixing, the importance of teamwork was paramount. The process nicely echoed the circumstances of the events we were trying to honour- a triumph of communal effort, not individual heroism.

When I called Hans one night with a one word suggestion- "Nimrod", I wasn't sure he'd accept experimenting with an existing theme for the climax of the film. To my surprise, he knew just who to call to achieve the deconstruction of Elgar's monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It's a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father's coffin on my shoulder. Hans brought in Benjamin Wallfisch, who, in collaboration with the great music editor Alex Gibson and myself, fashioned a modern reworking that grows out of the sights and sounds of the movie- tapping the original's resonances without feeling unearned. Hans's brass accents complete the piece's power to move without sentimentalizing.

Hans went on to incorporate Elgar's theme elsewhere in the score, a score that on this album has been divided into cues, but which in the film plays as one long piece with a unifying and complex rhythmic and tonal structure. The structure of the screenplay itself builds upon the shepherd tone concepts I first explored with composer David Julyan in the soundtrack for "The Prestige", but here Zimmer's team (in particular Andy Page and Andrew Kawczynski) and I added a whole new rhythmical structure. This can't be fully represented on the album, but in the film it is able to integrate sound effects and even story structure into the very fabric of the music in a new and unique manner.

The rigid structure, to which we adamntly stuck, at times proved frustrating for the musicians, but they persevered and produced extraordinary cues based on unusual solutions (such as a recording of my watch that Hans and his team adapted into many different rhythmic voices). The disciplined procedural approach stopped the music for "Dunkirk" from ever resorting to arbitrary cinematic emotionalism, something Hans and I always felt was vital, given the inherent emotional heft of the real life events. This has been a long and hard journey, but I am proud of the final results, and hope that you will share my appreciation for the talent of the artists who worked so hard for so long on this score.

CHRISTOPHER NOLAN


Mike (OTM)2017-07-22 21:00:33
My one hope is that this doesn't mean Chris Nolan will be tying Zimmer's hands behind his back for future scores. If he wants to do that here, okay. I can get over one score. But I hope Nolan doesn't keep calling for this non-melodic approach.


Will2017-07-23 10:49:33
What? Mike, this is definitely inherent to the Zimmer/Nolan relationship and to Nolan's absurd soundtrack direction. Two-note Batman theme ring a bell? Nolan hasn't just been tying Zimmer's hands behind his back. He's unwittingly brainwashed him and, subsequently, most of Zimmer's remote control production minions into thinking the way forward for soundtracks is in non-melodic, non-developing constructs.


Guitwo2017-07-23 17:12:36
@Mike Hans himself said sometimes a movie does not need a melody theme. It depends on the movie and the characters in it.
the main character here is fear threat and so on... in that regards the score respects that.

@hybrid: in order to have the full soundtrack we will then have to wait for bluray and rip the music & effect out of it. ^^


Mike (OTM)2017-07-23 18:15:11
Okay, point taken, but at least his previous scores for Nolan were obviously music and had an emotional presence. And the two note Batman theme was actually something Hans had to convince Nolan about. Nolan wanted this heroic theme that was left unused.

Anonymous reply Replies: 1 || 2017-07-23 13:19:48
Question to all the people who watched it

Is the score a good representation of the movie? Or do we have another score which misses the best music from the movie like 'Escape from ship' or 'No time for caution'.



Laurens2017-07-23 13:51:55
I’m going to see the movie again on Tuesday, but after the first viewing I would say yes and no. The cues on the album are mostly in chronological order (towards the end at least) and I would say ‘Home’, ‘The Oil’, ‘Variation 15’ and ‘End Titles’ play basically unchanged in the movie. However, in my experience the ticking sound is much more present throughout the entire movie and speeds up and slows down during tense moments. On the top of my head, there is not a cue that played in the film that stood out for not being on the album, except for the one when Tommy and Gibson are racing the stretcher across the beach. It’s the staccato violin or cello cue. I don’t know what kind of cue was composed for the prologue since I haven’t seen it, but judging from the comments here that cue is missing as well.

John reply Replies: 0 || 2017-07-23 03:15:44
Hey Hybrid,

Will they ever release the track they pieced together for the 7 Minute IMAX Preview/Prologue?

nvictor reply Replies: 0 || 2017-07-23 01:27:42
just commented on the WaterTower Music yt channel. (i waited a day lol!)

Hans and his team made me the best birthday present ever : )

i like seeing the "few notes" principle Hans explained in his Masterclass. this score takes it to a master high level.

i would like to say in passing that the experiment on Inferno (ambient music) can be felt through this score. and i love it!

thanks Hans, Lorne, Andrew, Benjamin, and anyone involved. thanks Hybrid Soldier, your fan website is the best!

Laurens reply Replies: 2 || 2017-07-22 11:52:41
Does anyone know whether the cd version actually has the cues crossfading into each other? Since in the film the score plays almost as an entire cue, it would have made sense if they did that. It sounds like some cues in the digital version end kind of awkwardly, like 'Impulse' and 'Home'. These cues fade out while there still seems to be some instrumentation progression going on. Hence the crossfade thought...


Martin2017-07-22 14:14:00
This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team


Nerdboy20132017-07-22 17:09:16
It doesn't crossfade as much as, say, The Dark Knight Rises or Inception, but there is very rarely dead air. I haven't listened enough times to determine when it does and doesn't crossfade, but the tracks are, at least, very closely edited together.

Anonymous reply Replies: 0 || 2017-07-22 06:35:37
Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because
1. Use of a classical musical piece throughout
2. More than one guy is credited.

Anyway, that's how Hans always liked, crediting everyone.

Christian Adamson reply Replies: 1 || 2017-07-22 01:45:20
Hi everyone, does anyone know the name of the music in the Dunkirk Trailer 1 at 01:30? It doesn't not seem to be in the score, I'm assuming it's not in the movie, I'm going to see it Sunday. If anyone knows the music or where to find it, please Comment, thanks!


meta2017-07-22 03:22:27
Sorry bud...

Its not.

James reply Replies: 0 || 2017-07-22 00:34:55
Tina had a lot of work to do here!

Gotham Rogue reply Replies: 0 || 2017-07-22 00:27:10
Each time I listen to "The Oil," I'm convinced it can't get any louder and larger, but it does. If you don't look at the track time, you're just constantly thinking it's about to end, and yet it somehow continues to up the ante until you almost can't handle anymore!

iii reply Replies: 0 || 2017-07-21 23:02:49
I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.

Anonymous reply Replies: 1 || 2017-07-21 22:47:57
So I'm curious about something...that fake End Titles track that was posted here twice and removed...if it wasn't Dunkirk, what WAS it? It was actually a decent piece and sounded like Hans.


James2017-07-21 23:01:33
A fanmade.

Hybrid probably took the track from here because the guy behind the channel was stating that it was original without being. Leaving the link here would only give him more audience.

Rigby reply Replies: 1 || 2017-07-21 19:03:41
Shivering Soldier is DEFINITELY similar to Bruce's theme in BVS


Olive2017-07-21 19:52:21
Nope, it has the inicial feeling of 528491 of Inception.

Mike (OTM) reply Replies: 1 || 2017-07-21 16:27:45
I like that Lorne is directly credited on Regimental Brothers and End Titles. Ditto Wallfisch with Home, Variation 15, and End Titles. That's three credits from the start!


Mike (OTM)2017-07-21 16:33:20
*four. Yes, I can do math. :P

mpolonest123 reply Replies: 10 || 2017-07-20 21:21:00
This is 100% a score you need to hear in film before listening to on album. If I had to make any comparisons, this is probably most like Deepwater Horizon or Gravity in that it takes a primarily tense sound design approach as opposed to thematic scoring. I honestly can't think of another Zimmer score that's less melodic than this.

Not that it's bad of course, music definitely has to serve the film first and foremost.


Hybrid Soldier2017-07-20 23:20:55
Actually, to talk about something Hans & Lorne worked on, I would compare this score more to Captain Phillips...


James2017-07-20 23:24:02
They co-composed the score together as in Philips like Hans and Jackman?


James2017-07-21 00:02:38
Oops!
Lol
I undestand now!
Only now!
You refers to mode of the score and no to the collaborative way.
SORRY!


Kriknud2017-07-21 00:26:10
Hybrid YOU'RE RIGHT! As soon as I heard that bassy, almost rusty, metallic sound in the lower registers, I was like "This is really similar to Captain Phillips" (which is fine with me because I enjoyed that particular soundtrack). It also means Filmtracks.com is going to roast this soundtrack SO HARD. As for the rest of the score, I was unimpressed for the first half or so, but as soon as I started to get a feel for what it was going to be like, I started to enjoy it more. I will probably have to listen to it a few more times before I start to fall in love with it.


mpolonest123 2017-07-21 02:36:22
@Hybrid It's been a while since I took a listen to Captain Phillips (I remember being extremely unimpressed with that one) and I always forget HZ/LB contributed to that mess. I'll definitely relisten though...

And yes, Filmtracks is going to shit on this one for sure. I normally love that reviewers style of writing (even if I usually disagree) but after TASM2 you can tell he has an extreme bias against Zimmer and his colleagues.


Halo2017-07-21 07:40:18
Some Cues are missing on the "official" Score right?


Hari Haran2017-07-21 10:00:31
mpolonest123, he's actually admitted to using Zimmer to draw numbers to his site a few months back, so there goes his credibility. When it comes to Zimmer, no matter how much he tries to lie and cower otherwise, he is without a doubt severely biased against him and has resorted multiple times to bashing him more than actually analysing his music. A reviewer who has lost his touch of professionalism long ago, I'm afraid.


...2017-07-21 12:42:14
Where does the filmtracks guy admit that?


mpolonest123 2017-07-21 13:05:49
@Hari

Oh really? For any reviewer out there, if you can't go in without some bias you shouldn't review it. It's a shame too, he is one of the few score reviewers who really breaks down and analyzes the music. Oh well....


James2017-07-21 14:08:10
@Hari "I am afraid?"

There is no need to fear. Lol.
They have been doing this since ... always
Filmtracks since 2003.
The problem is that HZ has no formal musical training and this will always put him on a step down when compared to those who have or who in one way or another try to follow in a more orchestral way."At least for people who claim to be more cultured"

--------------------------------------------------

@Hari No! He never assumed that. The other day, I think in BvS or Boss Baby review, he commented that people accuse him of always bashing HZ works in exchange for views. But he denies, saying he does this to make it clear that not all people are satisfied with the current situation of the scores produced these days. And that HZ has yes, his share of guilt about it.

--------------------------------------------------

I do not like hatred in what he writes. First because it influences other reviewers to do the same and second because it is not 100% fair.

For PoTC 5, for example, he gave 3 stars. While the other scores of the franchise were always migrating between 1 and 2 stars.
If everyone had 3 stars, with the exception of the 4 effort, I'd be okay with that.And his justification for this is that Geoff is ridding the music of the damage franchise brought by Hans. WTF?

But at the end of the day I'm okay with that too.
----------------------------------------------
I make it clear that I do not have so much trouble with the way he review the scores. No problem. The problem is the use of hate words whenever it comes with a score review by Hans.

He called Captain Philips of a piece of shit. Even if I agree with him that it is bad, is sad that you read this. But okay.

Naji reply Replies: 0 || 2017-07-21 13:21:51
its just Tick Took effect, Great for the Movie but so Disappointed As an Album.

Hybrid Soldier reply Replies: 13 || 2017-07-20 15:42:35
Every single one giving an opinion on the score without having seen the film is irrelevant.

Nolan has done it again, it's good to see some "cinema" after sinking ships (no pun) like Transformers 5...


Petermb2017-07-20 15:50:16
Well I have seen the film and the score is amazing . I want to see it again . Lorne Balfes name at the end says score producer. What does that mean ?


Everan2017-07-20 15:53:23
I thought the TF5 bashing was on the TF5 thread.


Ahmad2017-07-20 16:30:19
I totally agree. It's too eqrly for me to give my opinion on the score, but I find the album release to be quite disappointing, specifically for people who've seen the prologue and build expectations based on it.


Ahmad2017-07-20 16:45:35
*early


Kusi2017-07-20 16:58:05
*jokemode=on* the motto from this score: DUI DUI du du DUI DUI du du *jokemode=off* :D


Edmund Meinerts2017-07-20 23:24:25
Irrelevant? I don't know. I prefer to judge film music apart from the movie, for my own private purposes...it's just as valid a way of looking at things IMO. And it doesn't sound like I will like Dunkirk very much. :/


James2017-07-20 23:49:17
Well .. I promised not to listen until tomorrow, but I did anyway. :-)

The score is not inaudible as many "haters" want to appear to be. It remembers a lot to Thin Red Line, only a bit more monotonous.

As Nolan said in an interview, he required Hans to enter "David Julyan" mode on his soudtracks for "The Prestige" and "Memento" for this work.

It's a score that runs the same path as the ones written for "The Arrival," "The Girl of the Train," "The Revenant," but a little less inspired. It is more a work that adds the wave of minimalism in the current scores.

It still recalls Lorne's work for soundtracks like Saints & Strangers, Churchill and The Last Man on The Moon (the strings!).

It lacks a little of the energy employed in other Hans' works but is a good score.


Ahmad2017-07-21 12:16:28
After a couple of listens, *not judging the score but judging the album release itself* it's not bad it's just incomplete and that's coming from some who has only seen the prologue and clips from the movie. I wish there would be an isolated score option or a complete musical experience release similar to La La Land (even though that was a musical but it'd still work).

Hybrid, I know I'm fighting a war by myself here but is there any chance for the prologue music to be released as a bonus track?


Guitwo2017-07-21 12:21:49
It is just mind boggling tbh... it's probably what nolan tried to pursue in his last three movies but couldn't totally achieve.
An entire movie, without breathing room or time out and a supreme mastercraft for building cmplexe narratives, mind f***ing characters' arc and he challenges "the truth" and "the fact" and the ambiguity of the truth/fact in the next scene constantly. this is insane... this is just insane... and it's gonna get a lot of hate because of it.
it is very modern interpretation of our H24 media oriented word and the different pov you can have, and the angle you choose to take... damn... damn...damn.
It ain't your classical war movie, it's really truly an immersive experience of war for 1h37 minutes which is truly daring and original in cinema. I haven't seen a war movie like that so far


Guitwo2017-07-21 12:24:18
Ahmad: Wait until you watch the movie bro... i did not risk myself watching anything but the prologue for one time only... I did not listen to supermarine beforehand... you have to discover this score in the movie.
it's probably the sole purpose of this score because it's just so important into context.


Ahmad2017-07-21 12:41:24
I totally get what you're saying @Guitwo, that's why I'm not judging the score itself, I'm just bummed at how the album seems like an after thought. The fact that I'll be walking out of the movie wanting to listen to my favorite cues but I won't be able to bothers me a lot. Anyway, I'm seeing it on Thursday.


Guitwo2017-07-21 13:03:16
@ahmad when u'll watch the movie u'll see that it does not need any cues or melodies or main theme. and hopefully u'll understand
basically, the main character of the movie is an idea hence the music.


Ahmad2017-07-21 13:14:44
You misunderstood me, everything I've heard about the score excited me and I still am very excited to see the movie and to hear the score. I was one of the people who defended Hans' approach early on when "Supermarine" was released. I like what i've heard from the score and I don't want a melody or a main theme. (even though it seems like Supermarine can count as a main theme from what I've heard about the score)

My issue is with the 11 track 59 minute album. Let's take "The Mole" for example, I've been told that at the 2:00 mark there was a section that's in the movie but was cut out of the track so "The Mole" would've been much longer than 5 minutes. That section is one of my favorite things about the score (it was featured in the prologue). The first clip with Mark Rylance featured music that is similar to the end of "The Mole" but it's not the same cue and it doesn't appear elsewhere on the album.
I'm a big, big fan of Hans and Nolan but the fact that they keep screwing up their soundtrack official releases is bothersome to me.

Dunkirk reply Replies: 0 || 2017-07-21 12:04:31
Finally end titles included for this movies

Laurens reply Replies: 1 || 2017-07-21 09:33:54
Very strange that the iTunes release does not contain track 11 (End Titles). I haven't checked for other countries, but at least that's the case in the Netherlands.


Laurens2017-07-21 09:40:17
Hmm never mind they just updated it it seems...

Catastrophic Jones reply Replies: 0 || 2017-07-21 02:14:21
Very interested with this one. Normally I stray away from the war movies from recent years but the fact that Nolan considered this a story worthy enough to make into a film makes it a must see in my book. Chris has that style of elegance and intelligence in his films, while also being capable of delivering a full on action powerhouse that easily rivals Michael Bay. (Seriously, how is that guy still allowed to make 'films'?) Hans' score is no exception. I can understand why it may cause some people to turn away but personally, for me if something works for the film it is intended for, the composer has succeeded in his job. Not every score has to be an engaging hundred piece orchestra and an ambient-electronic film score is nothing new, it's an approach that has been around for decades! The way of cinema isn't being destroyed by it. It's simply another way to tell a story. I personally feel this music will best suit the film based on what I've heard so far and even as a stand alone listening experience I love it. That tense feeling that dread and doom is near, that I am about to go to war against someone or something. Sounds like he took the feel of Interstellar if it wasn't a space film, the ambiance of Inception and effects from Inferno. Supermarine is easily my favorite, but I do like Variation 15 and End Titles a lot as well. Just to give you an idea, I once use to exclusively listen to only orchestral music. Me several years ago would've probably hated this kind of score but instead of ignoring it and turning away I began to open myself to other styles. I stopped holding music to a certain set of expectations. Now I've discovered some very incredible and unique stuff out there, and not just in terms of music. Give it a chance, if the first listen doesn't grab you try a few more. Only then can you decided with a definitive stance. Worst case scenario, there's always the next Hans Zimmer score to enjoy.

Juliano reply Replies: 0 || 2017-07-21 01:17:34
The Variation 15 is so amazing deep. WOW

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