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I vote for that song as well! Violin Staccato slowly going in and out of tune! Love it.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.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.It was so obvious if you know Elgar's composition, Nimrod.This might seriously be overthinking things but I think I understand why Barbossa's theme in this film happens to be the third Beckett motif. Rewatching AWE it seems this theme always appears when a betrayal is happening. Considering Barbossa is "allied" with the British navy it somewhat makes sense that the betrayal theme is used for him. Realistically I'm sure it's just another bad temp but it's still fun to imagine what Zimmer and Co. were thinking here...
Yeah, saw it again and that's not available, damn. Maybe if Paramount goes with the FYC route again, for wahtever reason, we'll get itAre 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.I know exactly what part you're talking about. Unfortunately that segment wasn't released in any part of the score. It's a matter of waiting for the film version when the complete score is released.Perhaps. I also noticed a more heroic variation. How to turn the theme into a march.Lol, why though? <br>But yeah I think it will get disqualified. Maybe it'll get a Golden Globe.
Hans probably hopes so... Warner not so much... lolDo you guys think Dunkirk will be disqualify from the Oscars because the score used Elgar's theme? Similar to how Johannson was disqualified for using Richter's piece.I wanted that track as well!!! recording sessions when :'(I think its probably a remix by Hi-Finesse or someone like that. Just guessing maybe based on some of Elfmans work based on XL&Zimmer's themesYep. I know, but we have to agree that Elfman would never do anything like that. I do not think even XL.<br>Listen again. They refer to the themes of Hans' Superman in the second half of the trailer.
I'd also like that chilling piece from when the ship sinks<br><br>other than that, not that much I desireYou said it yourself "almost never". <br>Some MoS trailers featured Hans' score. ComicCon trailer for BvS featured music from Hans and Tom. <br>I actually didn't hear any reference to Hans' 3 main Supes motifs. Beside the hints of "Come Together", I find the music rather boring anf generic.no, you can buy on steamNo.<br>The trailer's music is almost never is composed by the composer of the score. It is made by a specialized company.So, is that Elfman's score in the trailer? It seems a bit early, but if that is, I just MIGHT be okay with him taking over from Junkie.
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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   3/5 (894 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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T-Mann036 reply Replies: 1 || 2017-07-20 15:47:53
Since I cannot access the vote on this site, I have to say that the Dunkirk soundtrack is as epic as Inception (another film by Chris Nolan). Despite the 11 tracks, that doesn't stop me from enjoying Hans' musical prowess. Overall, I have to give it a 4.5 out of 5 stars.


badbu2017-07-20 16:04:25
Yep. For me it is 4.5 too!

ss reply Replies: 0 || 2017-07-20 15:35:55
I dont like this tracks again dissapointment Hans.

Waymann reply Replies: 5 || 2017-07-20 11:10:28
I found on a reliable online store for books, films and music the track lengths. But the one for Supermarine is just a few seconds shorter than the runtime for the digital single. But of course the file on the cd different. This seems official to me.
It's is 53:53 min. long.

1. The Mole (05:29)
2. We Need Our Army Back (06:04)
3. Shivering Soldier (02:51)
4. Supermarine (07:59)
5. The Tide (03:49)
6. Regimental Brothers (05:02)
7. Impulse (02:34)
8. Home (06:00)
9. The Oil (06:10)
10. Variation 15 (Dunkirk) (05:52)
11. End Titles (07:13)


Waymann2017-07-20 11:16:06
I'm wrong it's 59 min. in total.


badbu2017-07-20 11:27:41
Cool! Thanks :-)


Ahmad2017-07-20 11:51:03
I've been waiting for the runtime, thanks. I expected it to be longer. Oh well. We were spoiled with Interstellar, now he's back with the Inception-like release. I don't expect a digital deluxe either.
It's interesting that Supermarine is the longest track on the album.


Waymann2017-07-20 11:53:39
Supermarine was cut into pieces and put all over the film. But I'm sure in the movie it sounded different.


babdu2017-07-20 11:57:30
there are some cues missing! 100% :D Hans like :D

Jack reply Replies: 5 || 2017-07-19 17:42:48
Curious, does anyone know if the track from the 1st trailer appears in the film at all? I heard that was composed by Zimmer but wasn't sure if it was only used as trailer music?


Ahmad 2017-07-19 18:06:04
Only the first one minute teaser/announcement was Zimmer.


Ahmad 2017-07-19 18:06:09
Only the first one minute teaser/announcement was Zimmer.


Ahmad 2017-07-19 18:06:51
Only the first one minute teaser/announcement was Zimmer.


Ahmad2017-07-19 18:07:45
Oops! Sorry, internet connection malfunction.


Waymann2017-07-20 09:52:05
That music is not in the film. The reverse piano sounds you are talking about right ?

Antovolk reply Replies: 0 || 2017-07-20 00:52:24
Seen the film twice. I'm now even more curious how the album will handle it. I listened to Supermarine a fair number of times after last week, so I had it fairly fresh in mind...but the sound editors don't present anything as you hear on the album. Take Supermarine - that 8 minute track is sped up, slowed down, chopped and pasted all throughout the entire runtime. Listening to it on its own is probably like - an an analogy - watching The Air sections of the film as one without intercutting to The Mole and The Sea. I'd imagine the rest of the score is similar in this way in terms of how the album will present it.
*** EDITED ***

SmartGuy reply Replies: 12 || 2017-07-19 12:21:30
Well, just watched it. The movie as itself with Hans' music background is great. But it's really more about the sound effects and tick-tock thing, not so much about melody; which btw fits the movie perfectly, but as a standalone... Hmm, not so sure. When it comes to melody, there is pretty much just two scenes. Don't expect too much more then what you heared in Supermarine.


AndresM2017-07-19 14:46:03
Saw the film today and it was amazing . Zimmer's score is truly amazing. Lorne Balfe is credited as Score Producer . They did an amazing job


badbu2017-07-19 15:04:53
can't wait!!! :-)


PBudi2017-07-19 15:17:37
What does a score producer do ?


badbu2017-07-19 15:28:18
Lorne is doing the additional music.

A "additional" composer is brought on board to compose a cue (or cues) that is/are in a completely different style from the rest of the film.


PBudi2017-07-19 15:31:59
Additional music is a wrong credit . In the film it says Score produced by. He is not listed as an additional composer


badbu2017-07-19 15:38:08
mhh okay..maybe he is doing the mastering etc?


Maximouss862017-07-19 15:53:49
i just saw Dunkirk too, and i m waiting for the album because :
1- the music is great
2- there will be suites in it
(for instence Supermarine wasn't in the movie score, well, you know : we hear a bit of the begining and of the end of the music, but not the full music.


Mike (OTM)2017-07-19 16:58:14
In the past when Lorne has been a score producer, it's meant that he's worked with Hans to formulate the sound and instrumentation palette of the score (in general, "how" should the score sound?) and has contributed one or two themes in addition to the ones Hans had done.


Hybrid Soldier2017-07-19 18:58:13
Score producer, additional music, co-composer... Whatever, HZ & LB work together, that's all you need to know, call this what you want...

In the case of Dunkirk, as I explained Lorne did some "handholding" in the last month of scoring while was starting to get really busy with the tour, because things kept changing until the very end.


Medigo2017-07-19 19:52:11
ugh suites
I guess nobody cares for those who just want to have music directly from the film


Max Potcats2017-07-19 22:25:11
Well, Tick-Tock, Murph, Day One from Interstellar, or Earth and Arcade in Man of Steel, or even TIME from inception are suites, so I think it can't hurt to have some on an album, waiting for the complete score in the worst case.


Waymann2017-07-19 23:33:37
I'll admit that I'm one of the first people to whine about the fact that it's not the complete score they release for official albums. But in case of Dunkirk I don't mind actually how the official release is going to turn out,

I just saw this masterpiece and honestly I wouldn't call Zimmers work for this film a score in the first place. A lot of it is sound design, but oh boy this was so very well done. It's loud indeed but never too much and sometimes the music was radical considering this is an WOII film. I'm looking forward to hear how they will make an official soundtrack release of this film. Sure all those tracks will be suites on the album because of the non linear storytelling. I don't know if a recording sessions soundtrack would be nice to listen to, so suites for this album will do the score justice I think. Also the Nimrod piece is outstanding, a lot was changed and sounds very Zimmerisch. Although Wallfish was behind this.

Mephariel reply Replies: 7 || 2017-07-18 03:34:45
This review caught my eye:

"It’s aided greatly by a Hans Zimmer score that knows when to pound us with percussion and when to let the strings go soaring. (There’s a moment toward the end of the film that’s so gloriously old-fashioned and sweeping that it calls to mind the propaganda-film-within-a-film in “Their Finest,” another great tale that touches on the Dunkirk rescue.)"

First time I see "old-fashioned" used to describe Dunkirk's score.


theGordo2017-07-18 05:09:30
I would have to say that's because the "moment towards the end" uses the track "variation 15" which is pretty old-fashioned.


EoinC2017-07-18 15:56:07
My guess is that it's going to reference Elgar's "Enigma", which has 14 variations.


Ahmad2017-07-18 16:34:31
No guesses needed :) It is confirmed that Variation 15 (Dunkirk) is based on Nimrod by Edward Elgar which plays towards the end of the movie.


Waymann2017-07-18 16:49:28
Can't find it again, but yesterday I saw a tv spot which I'm sure of it featured this track. It sounded a bit different and heavier. But definitely had the same melody as Nimrod. Although i'm a bit disappointed that Nolan chose this music for the film, it's a bit cliché isn't it ? But i'll admit for me it has a very British feel to it, so again it will work out great in the film.


Ahmad2017-07-18 17:19:55
Well, if it makes you feel better about it, they didn't just pin drop the music. They changed it quite a bit so it almost becomes unrecognizable. Listen to Nolan's interview on ClassicFM if you can. He talked about it and about the score.


Ds2017-07-18 17:21:01
On watertower's website, if you click on the iTunes logo, a menu opens with 3 choices: 'Standard', 'Deluxe' or 'Streaming'.

But I think it appears like this by default on watertower's website, Wonder Woman also has a 'Deluxe' button.


isildur2017-07-19 08:04:35
Yes. As Nolan's interview on ClassicFM is really worth listening to get an insight into how and why the score is the way it is.

badbu reply Replies: 2 || 2017-07-18 21:27:50
okay...now i can't wait for the score!!!

THE GOOD:

Casting was perfect, the lesser known actors held their own weight against some of the veterans.

The cinematography was fantastic, you really felt completely immersed in the movie.

Hans Zimmer's score was oscar-worthy.

The movie will leave you on the edge of your seat throughout.

THE BAD:

The storyline is not always linear which was confusing.

Dialogue was sometimes hard to hear (but not necessary)


George2017-07-19 01:28:49
In what way was the score Oscar worthy? I believe you, I'm just dying to find some concrete details of what this score sounds like. Ostinato strings? Booming percussion? Is there a ton of synth? I guess I could be patient for Thursday night lol


badbu2017-07-19 07:38:52
no full orchestra, yes. but orchestral instruments experimenting with the ticking/rising motif.

the thing is - there's no real theme/melody until the end credits roll. again - in context it's fantastic, out of context though, you be the judge

Impatient reply Replies: 5 || 2017-07-16 17:00:20
It's only three days until the movie premiere, and the score has not leaked yet, and probably won't. We don't even have the track times yet. What happened? In the earlier days the score would typically leak a week before its release.


SmartGuy2017-07-16 18:04:41
Yeah, my words. I think it will eventually leak maybe like one day before....


Ahmad2017-07-16 18:32:07
Looks like they're doing a good job at keeping the score on lock. No info on run time and it's not available to pre-order on digital platforms. I'm really surprised that they even released a track before July 21!


Waymann2017-07-16 23:18:46
They just want the audience to go in without knowing too much about the film. Also the trailers didn't show that much (luckily we didn't get 5 trailers like most Hollywood garbage gets these days.) they also used the same footage for the tv spots. They seems very keen on what footage gets out. I'm seeing the film on wednesday. Can't wait for some new Nolan + Zimmer.


James2017-07-17 23:55:35
An IGN'S review:

"Moments of eerie silence are violently broken by thunderous walls of sound – piercing gunfire and screeching Spitfires. The sound design is incredible, and I spent entire scenes forcibly pressed into my comfy IMAX seat. This is only heightened by Han Zimmer’s colossal score, which plays a crucial role in making Dunkirk feel so intense and suspenseful. (I even laughed a couple of times, unintentionally, because I didn’t quite know how else to cope with the mounting tension.)

But amidst the sound and fury, Dunkirk possesses a meditative quietness. There can’t be more than a handful of pages of dialogue scattered within its 106-minute runtime. It’s a bold decision, creating a starkness at the level of plot and character, but it never bothered me in the slightest such is the quality of filmmaking and acting on show."


SmartGuy2017-07-18 19:03:24
It's really getting weird. I'm going to see the movie in not even 15 hours and I still did not listened to the soundtrack, which is still secretely hidden in secluded place of WaterTower's chamber of music.

Waymann reply Replies: 5 || 2017-07-18 09:09:48
Some reviewer stated that the whole movie is accompanied with score, from beginning to end. Don't know if this is true but then there is no way the whole score is going to be cramped into 10 tracks for it's official release. Still wondering if we will get a Digital Deluxe version.


Iamtommie2017-07-18 09:56:24
Maybe the tracks are very long? He did it with Crimson Tide & Angels & Demons.
Hope this is true!


Waymann2017-07-18 10:10:13
Nah don't think 100 minutes of score fit on a physical CD... Anyway going to see the film tomorrow, really excited. Most people praise Zimmer his work for this film but don't know for sure if it will work as a stand alone listening experience. Which is good in a way because sometimes film score fans seem to forget that scores are made to work in a movie in the first place and not just to please you for is stand alone listening experience like other music genres.


badbu2017-07-18 11:22:22
@Waymann 100% right!!!


MrZimmerFan2017-07-18 12:59:03
The people says is most sound design, but FITS the movie perfectly and captures the restless pacing


Ahmad2017-07-18 16:38:30
There's big chance there won't be a digital deluxe. This seems like a release similar to Inception track number wise. The vinyl version which is a double LP release has the same exact playlist, so it might be an indication that the score is not short but we might not all of the music.

Ahmad reply Replies: 1 || 2017-07-17 11:18:52
So... It is confirmed (by Nolan himself) that track 10. Variation 15 (Dunkirk) is indeed based on Edward Elgar's Nimrod and orchestrated by Benjamin Wallfisch. It's not a suite, it's in the movie. To anyone expecting a melodic theme, that's as melodic as it will get, the rest of the score will be more experimental.


James2017-07-17 14:51:39
I already knew it. BRAAAAAMMM!

mpolonest123 reply Replies: 0 || 2017-07-16 23:46:42
Hybrid,

Did Zimmer stop releasing the Z+ apps? I really loved the Inception app and liked the concept behind the TDKR one. Would love to see something interactive like that as opposed to trying to promote an album and headphones no one uses.

Trash XL reply Replies: 9 || 2017-07-14 23:05:04
Unpopular opinion: Steve Mazzaro & Andrew Kawczynski are the worst things happened to Hans Zimmer


Steve2017-07-14 23:10:51
anyone who enjoyed The Amazing Spider-Man 2, Chappie, or The Bible, Man of Steel, or The Lone Ranger scores would disagree ;)


Mephariel2017-07-14 23:44:11
I agree. I usually dislike any influence from Mazzaro & Kawczynski. I did like The Lone Ronger, The Boss Baby, Man of Steel, and The Amazing Spider-Man 2. But I felt like I like the parts that sounds the least like Mazzaro and Kawczynski.



Petrews2017-07-14 23:49:10
Agree - Hans has worked with so many talented people but not them. Great seeing Balfe back with the maestro


James2017-07-15 01:06:58
The Bible and Chappie were Zimmer's weak efforts. BvS is a cool "epic" score but very disappointing when we look back and see all the work he developed in TDK trilogy and even the results obtained by other composers in the same genres now and in the past. The fact is that HZ needs to abandon this "new style" that he is trying to develop or even follow. Since other composers have recently worked hard with this type of "ambient music".

Early reviews of Dunkirk point out that the score is effective in the film and that it probably will not function as an isolated listener. Which is good and bad at the same time.

But let's wait before judging


Anonymous2017-07-15 04:33:17
@James

Everything I'm reading about Dunkirk and those reviews that mention the score are glowing, to say the least. Which review(s) suggest the score would not be serviceable apart from the film?

Personally, I like Andrew and Steve's stuff! Esp Chappie, The Bible and TASM2. Also arrangements from Interstellar.


James2017-07-15 22:51:01
Yep.

The reviews that come out indicate that the score works very well in the film, some even elevate it to its protagonist position. However, they also say that it is an experimental score and they compare it to the work that Johansson has developed in films with "The Arrival". It is electronic for the most part, and some even claim that the only truly melodic part comes at the end of the movie, in the final credits.The reviews that come out indicate that the score works very well in the film, some even elevate it to its protagonist position. However, they also say that it is an experimental score and they compare it to the work that Johansson has developed in films with "The Arrival". It is electronic for the most part, and some even claim that the only truly melodic part comes at the end of the movie, in the final credits.


James2017-07-15 22:59:53
Oops!
Connection problems...


Mephariel2017-07-15 23:25:25
Honestly, if it works that well in the film, then I will have no problem with the score. At the end of the day, Zimmer's number 1 job is to make sure the score works well with the film, not as an isolated experience. There are plenty of Zimmer scores out there that works well in the film and as a isolated experience.


James2017-07-16 00:16:48
I know I know..
I'm not criticizing.
I only have one foot behind.
But ok.
It will be a good one.

OskarC reply Replies: 0 || 2017-07-15 18:34:46
I'd like to.belive that the End Titles is an awsome long piece with some epic theme statements if there even is a theme.

Maximouss86 reply Replies: 0 || 2017-07-15 11:28:06
Hey guys,
Could someone define the role of a Andrew Kawczynski and Steve Mazzaro as additional composers please?
I'm not sure to understand their investment in these scores.

Kingfannypack reply Replies: 0 || 2017-07-14 09:20:00
Reviews for the film are good, the same is so for the soundtrack's effectiveness at being incredible tense- excitement building!!!!

Jack Afrogarrix2017 reply Replies: 0 || 2017-07-14 01:16:51
Another Great Work For Hans Zimmer And Works Again With Christopher Nolan In This War Film Dunkirk. The Track "Supermarine" Is An Intense Best Track I Ever Hear

I Got A Question: Does Lorne Balfe Is Going To Be Additional Music Or Music Producer? Because The IMDb Music Department Say That.

Jack Afrogarrix2017 reply Replies: 0 || 2017-07-14 01:16:49
Another Great Work For Hans Zimmer And Works Again With Christopher Nolan In This War Film Dunkirk. The Track "Supermarine" Is An Intense Best Track I Ever Hear

I Got A Question: Does Lorne Balfe Is Going To Be Additional Music Or Music Producer? Because The IMDb Music Department Say That.

Kingfannypack reply Replies: 4 || 2017-07-11 23:16:06
I can't even be the only one here who likes Supermarine? It felt very tense, fast paced, and had a panicked vibe to the entire track. It will sound better after the movie is released, and we have seen the scene this is paired with.


Brent2017-07-11 23:19:10
I agree. Though it's not very inventive or anything new in style, it's still very enjoyable and I suspect it will fit the film nicely.


badbu2017-07-12 06:09:52
the track is amazing! so simple but so good!


Leo2017-07-13 00:53:11
I really like the second half of the cue, but I find everything else to be "meh".


Mortifer V.2017-07-13 11:52:39
I LOVE it.

Ahmad reply Replies: 3 || 2017-07-11 23:29:33
A 30sec clip featuring new music from the score:
twitter.com/anto volk/status/884874191878619138


Maximouss862017-07-11 23:56:51
this tension music just for a simple discussion makes me feel that it will be that during all the movie, 1h45 of tension thanks to the score :O


Anonymous2017-07-12 03:01:24
I think we're in for a good balance of action, and very powerful, trademark Hans, dramatic themes!


badbu2017-07-12 06:09:05
i like it!!! :-)

Naji reply Replies: 19 || 2017-07-08 00:06:28
Im Just listening to Supermarine, is this even Music?
come on HZ what is happening to u r u the same guy behind thin red line?
so disappointed so disappointed.


Ahmad2017-07-08 00:17:46
I really respect others opinions I really do, and I don't expect everyone to like the same exact things, but comments like these trigger me, for god's sake...
Do you think if Nolan wanted a traditional score like the one you mentioned above from Zimmer, Zimmer would've been like: no, let me do this instead?
Also why do you want Zimmer to do the same exact thing, over and over again?
This is a collaboration between Zimmer & Nolan. And by the way, it's a film score that is supposed to be heard with the movie and it has to fit perfectly with it not just please listeners.
Sorry, I just had to get it off my chest.


Naji2017-07-08 00:22:42
no worries darling u r free to reply.
1. Zimmer is doing the same thing since 10 years
2. What i mentioned before which Thin red line is a masterpiece zimmer didn't touch this level since long long time.
3. for me this is not lets try somthing new this is a lazy Score with same nots which we r heard b4


Ahmad2017-07-08 00:42:38
I kindly disagree with you. Does Angels & Demons sound like Inception? Does Freeheld sound like Interstellar? Does Inferno sound like Sherlock Holmes? Does The Dark Knight sounds like Frost/Nixon?
The Thin Red Line is a beautiful score that belongs to a beautiful movie. This movie demanded a different approach that might not please everyone.


James2017-07-08 00:46:38
Only to demystify the idea that the old Hans who composed everything by himself does not exist anymore. In fact he has always worked like this. Not always, ok. But in the majority of times. And he's not the only one who works like that. Danny Elfman also has limited knowledge of technical writing of music and works almost like Hans with difference, I think, that he writes directly with samplers for most scenes.

Here's John's interview.

denofgeek.com/uk/movies/john-powell/50304/john-powell-interv iew-scoring-bourne-hans-zimmer-faceoff-and-more


Alexander2017-07-08 00:58:51
Thank you man for saying that ! Journey to the line is still a majestic masterpiece as studio version and as live version. I don't get it why so many are defending this Supermarine track just because of the fact that this is it what Nolan wants from Hans Zimmer. We all know that this Track/Score is a result of the Zimmer/Nolan collaboration but this fact does not make it better. And I would not say that Hans did the same thing over and over again in the last 10 years.
If you like it because you really like the music than alright nobody will say something against that but don't say "hey its what Nolan wanted" that doesn't make things better


Alexander2017-07-08 01:03:39
@Ahmad
For sure all these movie scores sounds different. But all that you mentioned sounds great. Nobody said that this one doesn't sound different but it sounds not good as one of the scores you mentioned above. And it is just one track. Lets wait for the entire score. Even if there are so many saying that this one is different cause the movie is different there must be a theme or at least one peace that has a melody and perhaps we all fell in love with it


Ahmad2017-07-08 01:16:27
Of course saying that it's what Nolan intended doesn't automatically make it good. If you don't like it, you just don't like it. But some people are blaming Zimmer for not making a traditional score with eccentric melody lines and what not, that's why I brought up that director's intent plays a big role in this.

But what really bothers me is the idea that a score should always be a certain way or have a melody line to count as a score, and that to me limits creativity. Who knows, they might have tried a more traditional compositions but it just doesn't work and it doesn't fit with the tone of the movie.

Another thing that bothers me is people's limited definition of music. "What is this bunch of noise? This is not music", I find comments like that to be quite ridiculous.


Alexander2017-07-08 01:30:49
I agree with you in most of the points you brought up. For sure blaming Zimmer because he (maybe) didn't delivered a "classic" score is dump. But because of the fact that Hans scores are always different and fresh, finding new sound IS a classic Zimmer score. And when it comes to this Track. Well it sound interesting but not really good (in comparison to other "fight" tracks like in Inferno).
Well I see what you think of music and the room you have to give to a composer but I still think That a good score has to have something melodic in it. It can be as new and as complex as it will but it must feel melodic and it must have a drive so that you can lay yourself in it and you can feel the music if you want so. Finding a beat and some interesting sounds doesn't make a good Track or Score. I think we just don't want Hans to fell into a Steve Jablonsky mode cause Jablonsky did some GREAT music in the Island or in the Transformers movies but the rest... he always have interesting sounds but somehow he lost it. And now he just make good music for the Transformers movies every 3 or 4 years. Compare Merlins staff to a pain and gain track. For sure you can say that even Pain and Gain is art but I would put my money on it that most people would like Merlins staff more and not beacause there are fans of a classic strucured score but because of the melody.


Naji2017-07-08 02:32:37
@Ahmad

bro
what i believe Nolan its great for hans and bad at the same time,
if u have idea how hans did a beautiful amazing themes for TV series far from nolan.
when they said Hans will work with nolan for this kind of movie i should get something big magnificent not the same notes which he use in a lot of previous movies.
I love all hans works, he is one of my fav but i feel that inception style is expired and it has to be changed.
Don't forget Hans Drop a lot of Great movies for nolan and he is not working with Ridley Scott anymore and no more superheros themes, I don't want to here this style of Lazy OST over and over again
i wish that u understand my point.



Anonymous2017-07-08 04:08:12
@Naji

Dude, I think you are really wasting a lot of time and energy making early criticisms on the basis of only hearing one track. Just take a breath, stop typing, wait for the movie, buy and listen to the whole score, the fire off the opinions. Remember, Zimmer said this was his most demanding score. I love Supermarine, but if you think this track represents the demand he refers to, I think we are all in for a big surprise. This track reflects the immense talents of Hans to build tension and fear, like he has done time and time again. I can only imagine the gem you are looking for hiding in the remainder of the score. Could be wrong....doubt it.


Ds2017-07-08 10:27:35
@Alexander: for sure more people would like "Merlin's Staff" over anything from "Pain & Gain". But if you want to follow what "most people like", I have no clue why you even listen to film music. More people also prefer catchy pop songs over film music: does that make those pop songs any better for you?


Alexander2017-07-08 14:15:51
@Ds
For Sure youre right about the pop Music thing but try another Point of view. If this supermarine Track would have been Wirten by some private guy that Nobody knows. Everyone would have Said "oh no Thats garbage" or "he Will Never sound as melodic and magic as Zimmer". Look I am a huge Hans Fan, went to three concerts so far and I am Sure that the Dunkirk score will have something for me. But I just Don't want Hans to Write garbage, putting his mae in it and than saying " oh well Are You just Listening to Mainstream or why don't You like it ?!?"
You Know These "Mainstream" Tracks just became Mainstream because of there quality. For Sure I like ist to listen to Time or King of Pride Rock. These peaces Are super Mainstream but that doesn't mean that they Are Less worth.
Are You getting my Point ?


Ds2017-07-08 15:12:13
Not really I must admit... Usually mainstream tracks become mainstream because they have a catchy melody that quickly connects with many people. Doesn't mean they are any "better" than the other tracks.
Hans' job is not to compose catchy themes and sell many albums to a broad audience. His job is to support the picture and create whatever soundscape, emotion or atmosphere is required by the movie.
This Supermarine track is loud, heavy, tense, I'm sure it was never meant to be "beautiful" or "melodic". And I appreciate it for what it is, because it's powerful and very well done. Very Hans.
Of course it would be great to see Hans doing a big epic movie in the next few years, with big, broad power anthems just like he did in the 90s and 2000s. However I don't see that happening soon, no director seems to want that anymore...


Alexander2017-07-08 15:47:22
Oh than You perhaps misunderstood my Intire Point. I don't say it is Bad when it comes to heavyness or intensness. I just don't Said to myself "Now I wanna hear a very stressy or Heavy Electronic thing". So I Personally was disapointet cause I didn't thaught that. For Sure in a Action scene this will work Great I can Imagine yea but it is nothing I would repeat all day like I bet we all did as the Batman Movies came out. Best Example Molossus. A very intense Track but somehow it has somethin in it that make me Listen and listen it again. Well I See it different I belive Hans has to Tell a Story with his Music and he Said it even hisself that in a Story there Are Great Times, lame times, Action Times and epic times so his Music represents that. And by now I think there is no doubt about it that this Track is a mix between lame and Action Times cause it tryes to be Action but compared to Molossus or other Tracks of this Kind by Hans or isn't that good for hearing it seperatly.


Olzoy2017-07-09 20:25:18
Seeing a lot of people reply saying the reason you don't like Supermarine is because it's 'unexpected' which is ridiculous
1. His score for interstellar was 'unexpected' and I was blown away by it, I loved it when I first heard it and I still love it now
2. There's really nothing new about an electronic score with heavy percussion, it's no different to what junkie xl did for mad max or batman vs superman, which was awful
3. Mentioning angels and demons and the dark knight in a comment where you argue none of hans' scores are similar is just laughable


Mike (OTM)2017-07-09 20:47:54
Yeah...Supermarine is not "unexpected." If anything, it's too expected. It sounds like a cheap "this is what Zimmer sounds like" track. It may work well in context, but it's boring by itself. The frenetic ostinato is something we've heard a thousand times, from Zimmer and his associates.


traditional2017-07-10 21:31:40
" if Nolan wanted a traditional score"

This is pretty much now the standard "Zimmer-esque" score track though. It's probably fine in context but let's be honest if you didn't know who wrote it how would you distinguish it from any other unspectacular production library music everyone can write these days?

What's funny is Inception, Interstellar, Little Prince, Kung Fu Panda... all in their own way are miles away from what his sound is stereo-typed as! The one thing you can't claim Hans is whether you like him or not is generic.

But let's wait and hear all of it before judging. Maybe the rest of it is more intriguing.


Waymann2017-07-11 08:28:57
Early reviews praise the score, only happens when it's really good like with War for the Planet of the Apes which is already an oscar worthy score. Still hyped for this, the score will be one of the leading voices of the film because of the non-linear story telling and minimum of dialogue. Don't think they would have rushed this big task.


DoubleOhDutch2017-07-11 19:41:43
Bombers over Dunkirk remix...

I really respect Zimmer's work when he really tries to push it further. Thin red Line, Interstellar, Inception are simply sublime. Inferno, Pirates 4 and to a certain degree the Superman scores all have this weird remixes that simply do not fit.

Then again I would buy his music even if he composed music for supermarkets...

isildur reply Replies: 11 || 2017-07-07 22:42:39
So, "Variation 15" is by Wallfisch based on Elgar's theme according to soundtrack.net


Mike (OTM)2017-07-07 23:07:57
But Wallfisch isn't listed here...?


ss2017-07-07 23:29:32
Dude im sure Hans just composed The Mole and Home. Other tracks another composers. Im sure with that. Hans is not old Hans. Trust me.


James2017-07-07 23:43:14
???


James2017-07-08 00:10:50
Search for a an recent interview with John Powell. In it he says Hans has been working like this since the 80's.


Naji2017-07-08 00:16:46
James
What u mean like this?


James2017-07-08 00:47:43
Only to demystify the idea that the old Hans who composed everything by himself does not exist anymore. In fact he has always worked like this. Not always, ok. But in the majority of times. And he's not the only one who works like that. Danny Elfman also has limited knowledge of technical writing of music and works almost like Hans with difference, I think, that he writes directly with samplers for most scenes.

Here's John's interview.

denofgeek.com/uk/movies/john-powell/50304/john-powell-interv iew-scoring-bourne-hans-zimmer-faceoff-and-more



James2017-07-08 00:48:19
Ooopss...


ghosts2017-07-08 12:57:00
Interesting that John Powell uses the term "ghost writers". Can we now just admit that that's what it is.


isildur2017-07-08 20:35:22
No. Ghost writing is when no one knows who worked on that score. Everybody knows who did what on almost all the scores of Hans. He never backed away from giving credits to those who worked on the score. There are many other composers who take help from their so-called "ghost writers" and nobody even mentions their names anywhere.


ghosts2017-07-08 21:45:56
Thanks for the attempt at an explanation but I think I'll take John Powell's opinion over yours.

I don't really see anything wrong with it as long as everyone's happy with the outcome. But the denial that that's what it is, is ridiculous.


Hybrid Soldier2017-07-08 21:56:00
What denial ?

You're on the wrong website to talk about denials on additional music writers ! LOL

Dingo reply Replies: 0 || 2017-07-08 20:03:54
Listening to Supermarine and I don't understand all the hate. It sounds great to me and it will probably be even better once you have a scene to go with it.

theGordo reply Replies: 0 || 2017-07-08 11:30:22
There's been an update on soundtrack.net and it says that "Variation 15 (Dunkirk)" is done by Benjamin Wallfisch and is based on a theme by Edward Elgar

Lynk reply Replies: 0 || 2017-07-08 07:04:24
"Supermarine" is about the closest the composer has come to writing a spiritual "sequel" to "Synchrotone" from Black Hawk Down to me.

It is quite a "busy" tune - even busier than Synchrotone. Among all that's going on in this cue, I particularly like those faint sound effects in the background that resemble plane flybys or plane engines or whatever that truly is.

Stylistically speaking though, it feels more like a score for a present day conflict than something from the WW era - at least in this cue so far. I hope there is more to this score than what this particular cue represents.

Either way, I so damn miss the days of Thin Red Line, Gladiator and Last Samurai. Wish those things could become "hip" again.

Kent Öberg reply Replies: 22 || 2017-07-07 15:17:10
https://www.youtube.com/watch?v=n1VJ39nVIBk


Luis Goes2017-07-07 15:32:54
Amazing! It's pure Zimmer + Nolan!


Alexander2017-07-07 15:33:28
Oh god it's a mess. To heavy on the electronics and not even a pinch of a melody.
I mean he did a lot of Dunkirk during tour break so there is the chance that he wasn't really in it you know. I mean he worked years on Inception and now he had months to do this one. The sound from 4:51 to 4:54 reminds me of some tracks from inferno. I just hope that this is the one non melodic fight track that every action/war/battle movie has.

Rescue continues from Hacksaw ridge is awesome. I hope we get something like this !


Medigo2017-07-07 15:42:18
Or maybe this is just not going to be the kind of movie/soundtrack you expected/wanted.
I am assuming this scene is supposed to be about tension rather than something heroic.
At least the length is hopefully a good indicator of other tracs lengths.


Mortifer V.2017-07-07 15:54:18
I love it.


Waymann2017-07-07 15:59:02
Why do we have to download this as a single on iTunes? Why not as an album pre-order.


Ahmad2017-07-07 16:05:29
@Alexander I guess you haven't seen the prologue? We knew from the beginning that we might not get a melodic/traditional score from Zimmer this time. It's very experimental and heavy on sound design. I'm so hyped to hear the rest of the score.


Alexander2017-07-07 16:14:58
Oh ok if this is the case I shouldn't Hype myself as I did. I thaught that he was Experimenting with New Sounds in Inferno or Boss Baby and that he would come back to his melodic roots for the Big scaled nolan Movies like befor in Inception or interstellar. Today I got my Angels and Demons Vinyl and of You listen to it You hear that he was Experimenting as well but it Sounds good and beautiful. I just Hope he doesn't lost it and there is at least one Nice melodic theme in the score...
Thank You for Information @Ahmad


Mephariel2017-07-07 16:25:06
Don't like it too much. Too experimental for my taste. Got to see it with the movie.


Waymann2017-07-07 16:28:03
It's just one track, it's sounds great, especially the last two minutes, it will work fine in the film for sure. This was the score I was expecting so i'm not surprised it sounds like this.

There is also not really a big main character in this film, so don't expect themes or heroic music, this movie is not about that. This is not a war film in the first place as Nolan stated before. It will be a fast paced thriller with little exposition, not another Saving Private Ryan or that overhyped Hacksaw Ridge movie. So don't even expect a score like one of those films.

BTW Interstellar is not very melodic either....


Ahmad2017-07-07 16:28:15
No problem. The thing is, the movie itself imposes a non-traditional score with it's non-traditional structure. Don't give up on this one just yet though, it's only one track out of 11.


Waymann2017-07-07 16:35:59
On the site of Water Tower Music you can click on a itunes thumbnail on the album page of Dunkirk and you will see an option between Standard, Deluxe or streaming... ? Is their going to be a deluxe edition digital ? Hybrid?


Ahmad 2017-07-07 16:41:25
"BTW Interstellar is not very melodic either...."
I kinda disagree with you @Waymann :)
I don't know what your idea of a melodic score is but the score was mostly variations of one melody accompanied by other tunes here and there.

You can sum the melodies/tunes this way:
1- Day one and it's variations (Cornfield chase, S.T.A.Y, etc...)
2-Stay and it's variations (Detach, Message from home, etc...)
3-Murph/Dust/I'm going home
4-The end of "Murph"/the end of "Detach"
5-A place among the stars/No need to come back
6-The wormhole and it's variations (Not much melody-wise but might still count)
The rest is sound design and variations of those 6 distinctive tunes.


Ahmad2017-07-07 16:42:05
Oh man! I hope there is a deluxe edition.


Alexander2017-07-07 16:53:19
I think interstellar is very melodic :D and it is interesting because Hans Said as far You Nice away from Earth as far the melody moves from its roots. It very interesting to hear it again knowing this fact. I See that there Are Not 100 melodys but if You Look at Last of the mohicans You See that it's one Main melody as well

Well I'm Pumped as f*** for the Vinyl !!! I Hope that the pressing is good and the Design as well !


Waymann2017-07-07 16:59:16
Listened 3 times now to this new track, and god I love it even more and more.


Medigo2017-07-07 17:24:55
Ahmad.
I am not musically inclined, but what would you count the 'No Need for Caution' music as?


Ahmad 2017-07-07 17:41:44
@Medigo
It's definitely a variation of "Day One" aka the main theme :)


Joseph Solano2017-07-07 18:37:29
This track is really intense. Like really intense.


mpolonest123 2017-07-07 20:11:48
Just going by this track alone I'm not really sure what to think. I do love the style and energy here but.... it feels like it's missing a solid theme. Almost like this is the base/background meant to underlay a track while the orchestra plays over it. Oh well, it's gonna work wonders to picture most likely (unless it's a suite).


Alexander2017-07-07 20:43:41
@mpolonest123 total Agree with You ! It's an interesting idea to bring back the clicking sound from thin red line back. But as in Journey to the line the klicking sound was in the Backround to create atmosphere. I absolutly Agree with You and Hope that there is a Suite with this interesting sound in the Backround.


Ahmad2017-07-07 21:40:02
You guys really need to see the prologue to really get how the score works in that movie. The music just fits perfectly. Lots of ticking, lots of humming, lots of movement. The ticking speeds up and gets faster with the action. Although I like this I think it would've better if they had released that instead. I guess they don't want give away the goods too soon. So either go see the prologue in a theater near you (if you're lucky) or try to find the bootleg.


Mike (OTM)2017-07-07 22:34:14
It sounds like "Initiate the Tow," which Hans did in Captain Phillips. :P

Waymann reply Replies: 1 || 2017-07-07 16:44:28
Vinyl will be released on Octobre 13th.

Yeah ok, Interstellar has some melodic themes but has a lot of sound design too. Especially when you listen to the complete score and the suites. But I think the Interstellar score an genre on it's own. haha


Ahmad2017-07-07 16:56:05
I totally agree. What's interesting is that a lot of the sound design elements on Interstellar sounded very organic and not as in your face as other Sci-Fi scores. Hell, he even programmed wind and waves for the score lol.

According to Amazon, it's a double vinyl release, it's a good indicator that the album is not short at all (At least not as short as Inception).

Nick reply Replies: 8 || 2017-07-04 02:31:36
So, I'm going to be honest - I'm not a huge fan of Zimmer/Nolan collaborations. While I believe Interstellar is a highlight in Zimmer's portfolio, the rest of Nolan's scores are, to say the very least, distant seconds.

Like all other film composers, Hans Zimmer's music is heavily influenced by the director and his distinct style. In my mind, HZ scores from Gore Verbinski and Ron Howard films are my favorites (with Da Vinci Code and Angels and Demons being #1), and you can easily tell why - both directors are very charismatic and aesthetically pleasing, narratively and visually. That sense of color and personality likewise translates to Zimmer's music, producing scores that can be jaunty, frightening, and classically epic.

Nolan, however, is a different story. I am a fan of Nolan as well, but compared to others, his directing style is very stoic and monochromatic and heavy; there's very little wiggle room for a liberating sense of fun or enjoyment. Not saying that's a bad thing, but that style shows itself in the scores, and let me be honest, it's much more pleasing on the eyes than it is the ears. Batman, Man of Steel, Inception, they're all the same to me - at best, pensive and reflective; at worst, muddy and bland.

To me, they suffice as background music, to kind of zone out to while I'm preoccupied with something else. With other scores, I'm fully engaged in the soundscape, picking it apart and losing myself in the music - but in my view it's kind of pointless with these aforementioned scores. If I had to describe them with a word, I'd say "serviceable."

That being said, I'm looking forward to Dunkirk with enthusiasm, but only with the hope that Zimmer and Friends can produce something unique and engaging, something that breaks the mold set by other Nolan scores.


mpolonest123 2017-07-04 05:33:11
I both completely agree and disagree with you.

With regards to Nolan I do understand how his films come across as ultra-serious, heavy handed. Especially in the tones and performances. At the same time I think his strengths as a filmmaker (and the aforementioned performances/cinematography) do compensate. Hell, Interstellar had the best balance of stoicism and genuine human emotion. Could they be more fun? Definitely, although something like Dunkirk wouldn't benefit from levity.

Now on to where I disagree, at least partially. Zimmer. If you go through each of the scores he did for Nolan, they are fairly different from each other. Batman Begins couldn't be further in tone or style from Interstellar. Just like Inception and TDK are at different ends of the spectrum. And MoS (since you mentioned it) is almost nothing like the Nolan scores outside of similar instrumentation. I think the key difference between the Nolan/Zimmer collaboration and other collabs is that on a Nolan film Zimmer tends to have a more suite based approach. They basically function as library scores initially. Compare that to something like Rush, where Zimmer scored to picture. Both approaches work imo, and I definitely wouldn't say Interstellar or TDK are bland. Maybe oppressive, but even JNH's contributions to the Batman films show more emotion than given credit for.


Nick2017-07-04 07:26:41
@mpolonest123 As I mentioned, in my opinion Interstellar stands alone in terms of the risks Zimmer took and how they paid off in the end.

What I don't understand is when people cite Nolan's Batman trilogy or Inception as some of Zimmer's best work. Both are similar to each other in the fact that they're slow, churning, more reliant on sound design and sonic ambiance than melody, and they are heavily derivative from Zimmer's past projects (TDK is just a stripped-down regurgitation of prior action scores).

To put it simply, they're just exercises of pure brawn and melancholy. Like I said before, it's serviceable and complementary to the context of the film, but outside, on their own, it's borderline intolerable to me.


Mephariel2017-07-04 20:07:58
If you are talking about isolated listening experience, then I think Interestellar is the only Nolan score that I really enjoy listening to from beginning to end. It is undeniable however that some of Zimmer's best cues came out of his Nolan scores: "Time" from Inception, "Like Dog Chasing Cars" from The Dark Knight, "No Time for Caution" from Interstellar. But I disagree with your idea that all his Nolan score sounds the same. I don't think Batman sounds like Man of Steel or Interstellar.

I also disagree when you said his Nolan scores are only "serviceable." Interstellar is one of the greatest scores of all time imo, and is absolutely magical when watched with the movie. I would almost say the score drove the film more than the other way around. It is also Zimmer's best work since Angels and Demons.

The Dark Knight is not one of my favorites, but it has more soul and identity than almost any other superhero scores out there. If you think about all the Marvel scores, I serious can't remember a single note from those movies other than The Avengers theme and Patrick Doyle's incredible score for Thor. But I can remember Zimmer's two note motif no problem as well as the progression leading to those notes.

The one thing that I agree is probably the fact that Zimmer's career at this point could use more Howard or Verbinski style scoring. I am really looking forward to Dunkirk, but we really don't need another solemn, dignify, reflective score from Zimmer about war.



mpolonest123 2017-07-04 22:27:05
@Nick

To each his own, I can understand why the scores you mentioned may not work for some people. For me, TDK works because it is basically world-building in musical form. You have the insane sound design for Joker, the traditional scoring for Harvey, and the pure Zimmer action/chord progressions for Batman. Some sections may be generic sound design (an issue I had with Batman Begins) but from start to finish it tells a story, and basically revolutionized action music when it came out. You definitely have to judge it as a sum of its parts.

Now Inception on the other hand, is somewhat overrated imo. It's a good score, and has a great blend of electronic styles that match perfectly with the film, but doesn't offer the same variety or development as something like At World's End. People just seem to really connect with "Time"


Mephariel2017-07-05 01:03:06
@mpolonest123

Definitely. I love the concept of Inception's score: blending electronic guitar with classical arrangements. But the score is just a tad too underdeveloped to me. The cues are all interesting but not fleshed out enough. Conceptually, the score is incredible, but the execution just fell short.

And yes, without question "Time" elevated the score, or else Inception wouldn't even be top 20 on my list of Zimmer scores. "Time" is just one of those special cues that captures your emotions into a bubble every time it plays. Your life literally flash before your eyes when listening to it. Introspective and moving. Simple, yet profound.


Bolidzar2017-07-05 22:10:14
Interesting. I think that Nolan brings out a genuine side of Zimmer that results in orginal performances as opposed to recycled cues for movies past (Gladiator/PotC). That is one thing I've always loved about their relationship.


Ian McCarthy2017-07-06 01:53:56
Bolidzar - you make a good point; I think I've listened to all of the Nolan/Zimmer scores, and I don't recall any apparent temp-tracking or reuse of cues, except in the case of something like TDKR reusing cues from the previous Nolan Batman films. Nonetheless, I think the issues of these scores generally being slow, churning, lacking melody, etc remain.


future2017-07-06 10:39:06
no reuse of temp-tracks or other cues? what about the 'time'-cue, where all girls screaming out loud when they hear the first tones? it's just a 'journey to the line' 2.0, which zimmer itself said that in an interview.

@tomPLivo reply Replies: 0 || 2017-07-05 05:46:05
What is Balfes envolment with the score ?

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