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I like how this debate about Lorne Balfe started from me politely asking for artist credits. This is a cool place.Lorne Balfe didnt work at this score!!!!Exactly Solomon !<br>THe use of the krypton theme in the spaceship scene made this moment more intense and it felt... natural... as if the rest of the music doesnt blend in the atmosphere we were used to with the previous movies.@scarecrow9: Wikipedia says that filming originally wrapped in October 2016, and that Zack was taken off the project in May 2017. That's at least 6 months of post-production, so hopefully yes.<br>@Leonard Dante: You don't think it's disrespect to Snyder that the film bears his name but Whedon cut it up and redid his story with terrible reshoots and replaced his nominated composer?<br><br>Lastly, I will say that I watched the film earlier today and thought it was absolutely terrible. The best part was the few seconds where Zimmer's "Krypton" theme was playing in the scoutship!Hybrid, do you think that the Snyder´s Cut could really exist somewhere? Let alone with Tom´s score, do you think that he even began scoring the film? I would love to see that version. Thank you for your answer
Balfe is one of the few that hasn’t got additional writers<br>=================================<br><br><br>Even composers who do one or two movies a year receive help. So it's very, very hard for me to believe that Balfe - with the amount of movies he works on now - is out there by himself, scoring it all by himself. It's simply not possible. And this is the MV/RC world after all. Composers help each other all the time. And many of these collaborations don't even make it to this site. It's very hard to keep track of everything.imo whedon and elfman screwed up the movie, i'd say Zacks original cut would be better, then again thats just me thoPerhaps. But it would be a disrespect to Whedon and Elfman. Okay. If that means more money on the table, they will.HOPE NEVER DIES.<br><br>Sources confirm this days on social media that Zack Snyder Original Cut of Justice League not only exists, but have VFX's work and Junkie XL's score on it.<br><br>That could be really EPIC.<br><br>The Fight for this can happens is bigger every minute passes, dont lose the faith, not now.Cannot freaking wait!
"Balfe is one of the few that hasn’t got additional writers"<br><br>As if. Just look through this site and you'll see additional guys credited for lots of his scores. Max Aruj, Steffen Thum, Thomas Farnon, Andrew Kawczynski on some projects...he's a very busy guy but I promise you he doesn't do every single second of his 15 scores a year on his own.Bayhem - Balfe is one of the few that hasn’t got additional writers though.which films has this small army of ghostwriters ???!!!!!!You say Balfe worked on the last Transformers(2017). Okay. He may have been called by the Paramount. However, his involvement with the franchise in 2005 and in the following years happened because of the RCP and Zimmer's direct involvement in the project. There in 2005, 2007, 2011, 2014 he was a guest of RCP/MV and no received no call for help of the Paramount. There is no other way.he worked on the first transformers . And did a lot. Why not ask him on twitter .<br>.....................................<br><br><br>I've asked him a lot of stuff. We're Facebook friends. And yes, I know he worked on the first one. I clearly said it a couple of times in my replies here. He worked on the first one and the second one as well. But if you try to imply that Balfe deserves the credit for these scores, you are way, way off the mark. And it's very disrespectful to Jablonsky. Very.<br><br>Now, clearly you like Balfe a lot. Fine. But please don't undermine a far more experienced and successful composer like Jablonsky, just because Balfe is the "hot MV/RC composer" at the moment. We, the Jablonsky fans, certainly didn't act that way in 2007 when Jablonsky's name was everywhere and people were going crazy for the Transformers score. No one denies that Balfe worked hard on the Transformers films. But he's not the "main guy". Just like a lot of MV/RC composers have worked on HIS scores and they're not the main composers. You think Balfe scores all of his movies alone? Nope. Like any other successful and busy composer out there, he's supported by a small army of ghostwriters.Studio = Paramount and he worked on the first transformers . And did a lot. Why not ask him on twitter . I did !!!!!!
Balfe never worked for Jablonsky =========================================<br><br>By "worked for Jablonsky" I meant he worked ON Jablonsky scores. And as James said, it's all MV/RC anyway. They all know each other and help each other. The first Transformers movie started post-production at the end of 2006. Back then no one knew who Balfe was (aside from the biggest MV/RC fans). His big break arguably came in 2009-2010. Years after the first Transformers movie. So no matter how we spin it, he still came after Jablonsky. Jablonsky is his senior and obviously has much more experience. And we have to respect that. <br><br>That was my point.Should have gotten one for Interstellar, not this."Strength And Honor" is a forerunner to the main theme of King Arthur and also the theme for Transformers!<br><br>I was listening to the soundtrack and unwittingly the music sent me to these two other movies. :Dhe says he was brought in by the studio.<br><br>-----------------------------------------------<br><br>Studio = RCP = Hans Zimmer credit as producer of the score.<br>In end of day is the same thing.Maybe a honorary in the future.
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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 (1729 votes)
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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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Dragonseeker reply Replies: 15 || 2017-07-23 23:35:32
Do 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.


Hybrid Soldier2017-07-23 23:42:34
Hans probably hopes so... Warner not so much... lol


Ahmad2017-07-24 00:04:47
Lol, why though?
But yeah I think it will get disqualified. Maybe it'll get a Golden Globe.


Laura2017-07-24 03:53:38
It was so obvious if you know Elgar's composition, Nimrod.


0-cool2017-07-24 22:50:09
Why would Hans hope so? He always seems to be proud and passionate about his Nolan scores and having scored a Nolan movie.


Hybrid Soldier2017-07-24 23:35:49
I'm only talking about o.s.c.a.r.s... Not Nolan !


Gotham Rogue2017-07-25 01:02:30
I think the big difference with Johansson/Richter vs Zimmer/Elgar is that Elgar wrote his Enigma variations in the late 1800s, whereas Richter wrote his piece in 2004. That being said, I hope Elagr's theme won't disqualify him!


Ahmad2017-07-25 05:40:16
I don't think it's about when the piece was composed, it's about how much influence it's going to have on voters. Apparently, the academy thinks that voters can't judge a score subjectively when existing music is used. Plus the credits and additional music won't help it's chances. I think the main difference between this and the Arrival situation is that Nimrod wasn't just pin dropped, it was reworked specifically for the film but it's still not original and "original score" is an important word to remember, plus it wasn't even reworked by Hans himself.



Waymann2017-07-25 09:07:11
Nah, i would rather have Dunkirk win both sounds award instead of the score award. The sound in Dunkirk is masterful and the score is woven into the sound design. As a stand alone not so strong... I think there are better scores this year who deverse the award more.


Zimson2017-07-26 11:16:41
The Academy is composed of 60+ year old bourgeois. They can't differeniate between score and songs on disney soundtracks and they'll often just vote for the score of the movie they liked best. Studios also tried to bribe academy members in the past. Big award season movies even have an "Oscar budget".
So who cares what they think? I'd rather look forward to the world soundtrack awards.


Gotham Rogue2017-07-27 08:24:01
The reason I believe it partially depends on the piece's composition date is because of copyright laws. Arrival had to pay rights to use Richter's piece, just like if it had used a pop song, and I believe this played a big factor in its disqualification. Elgar's piece is public domain now, so it would be like if a score had included a Mozart sonata (extreme comparison).


badbu2017-07-27 08:38:57
Bill Conti gets an Oscar...so...i think Hans get a nomination


Iamtommie2017-08-02 11:47:00
Last year John Ottman was on the Oscar shortlist for X-Men: Apocalypse. He used a piece of Beethoven in the track 'Beethoven Havok'. So if he gets on the shortlist for something like that I think Hans should get a nomination because I read in an interview that they used Elgar's theme but in tuere own way. They did something with layers or something. So I hope he'll get a nomination.


Mephariel2017-08-02 19:45:30
I am not sure if the music being public domain matters or not. Maybe someone else has a better understanding of this but didn't Lesley Barber got disqualified for Manchester By The Sea because she used classical composition throughout, including music from George Frideric Handel?


Gotham Rogue2017-08-03 17:55:19
Per Rule 15 II E of the Academy’s rules and eligibility guidelines, a score “shall not be eligible if it has been diluted by the use of pre-existing music, or it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer.”


Petre2017-08-04 05:04:20
In that case they should for the Oscars have zimmer , wallfish and balfe listed . It seems pretty obvious what everyone contrabuted

Mephariel reply Replies: 8 || 2017-08-01 04:02:39
Zimmer scoring X-Men: Dark Phoenix? Maybe? :)

https://twitter.com/HansZimmerLive/status/891995829187334145


badbu2017-08-01 07:40:39
never! Ottmann again ;-)


Edmund Meinerts2017-08-01 23:38:10
They oughta get Powell back!


Mephariel2017-08-02 01:53:42
Powell doesn't need another bombastic score. He already has Han Solo. If anything, I want to see Powell score something atmospheric.

Zimmer on the other hand, is due for a bombastic fun score.


Edmund Meinerts2017-08-02 14:50:53
Wrong. Powell ALWAYS needs another bombastic score. Can't write enough of them.

I mean, not that Zimmer isn't due as well!


Saurabh2017-08-03 01:41:26
The world needs more of bombastic Powell firing on all cylinders. His X-men 3 was the best for me with the crappy movie being unworthy of Powell's raw orchestral fury. Can't wait for Ferdinand.


isildur2017-08-03 09:31:30
If it was up to you Edmund, Powell will score every movie out there.


James2017-08-03 16:38:03
You remember of "Phoenix Rises"?


James2017-08-03 16:38:49
Would be amazing!

badbu reply Replies: 1 || 2017-08-03 07:33:04
Hybrid? Please...this is not a "info about upcoming scores" thread...can you delete it?


Tyler2017-08-03 11:32:36
Lol someones getting butthurt... if it bothers you that much then leave

Metrics reply Replies: 2 || 2017-08-03 04:29:34
Any news if Balfe is helping on Bladerunner ????? What he did on Ghost in The Shell was like a modern Vangeles .


Michael 2017-08-03 05:16:17
Have to agree with you because even though the film wasn't the best the soundtrack created another legal of what Vangelis would create . Was. It a fan of Balfe before but this showed a more interesting side to his style



Mephariel2017-08-03 06:45:16
It is curious that he chose Wallfisch. Maybe the score won't be as synth dominant as we thought? You would think he would go straight for Andrew Kawczynski (I am so glad he didn't).

Jijo reply Replies: 0 || 2017-08-02 11:27:59
Great analysis here !
https://www.youtube.com/watch?v=LVWTQcZbLgY

Scorefan reply Replies: 24 || 2017-07-29 20:11:48
Blade Runner 2049 to feature music by Hans Zimmer according to filmmusicreporter

h t t p : //filmmusicreporter.com/2017/07/29/blade-runner-2049-to-feat ure-music-by-hans-zimmer/


Blade2017-07-29 23:29:32
@Hybrid any news on this?


Hybrid Soldier2017-07-30 09:09:55
Well what to say, that's true !


JBSO992017-07-30 09:34:21
Well, that are great news. Since I knew from this movie, I was expecting Zimmer, Balfe or someone similar to them yo score this.
Johansson was the obvious choice because of his usual collaborations wish Tje director but I think thrir collaboration will be great.


Ahmad2017-07-30 13:32:28
I was already excited to see BR2049 and hear what JJ did with it, now I'm BEYOND excited. JJ & Zimmer? Awesome.


Andrew 2017-07-30 15:05:08
The Ghost in the Shell score was amazing . It was very Vangelis but more modern . Hope Zimmer does something like this .


Bill Koufo2017-07-30 20:10:32
Is Hans going to get a composer credit for BR, or just Additional music?


James2017-07-30 20:56:16
Good question.
It's hard to imagine how much work he could produce in those 10 days.
I suppose he will be credited as co-composer, as in the TV series in which he does just the main theme.


Hedon2017-07-30 22:47:04
He has enough composers to compose a full score in 10 days if they need it. Back in the old days Hans did a full score pretty much himself in a couple of weeks, with 90's digital equipment.


James2017-07-31 01:00:45
In this case, these are just a few cues.


Paters2017-07-31 03:22:28
The Ghost in the Shell was very Vangelis but with orchestral elements . Worked very successfully .


Mike782017-08-01 02:15:38
Very true about Ghost sounding vangeles but the orchestra was stunning and brought life to the electronic score - wish they would release the soundtrack now


Saurabh2017-08-01 04:04:41
I think Wallfisch will handle the bulk of the duties here with Hans overseeing the production with little actual contribution. Wallfisch has tremendous talent when it comes to orchestral works but I'm not aware of his electronic chops.


Waymann2017-08-01 09:03:52
In my opinion Wallfisch delivered the best score of the year so far from RCP. A Cure For Wellness is a fantastic score and him working on Blade Runner 2 sounds promising.


MrZimmerFan2017-08-01 10:00:54
You forget the next Friday is releasing his next score: Annabelle 2 and for September, IT



Waymann2017-08-01 10:26:59
Didn't know he was going to do Annabelle 2. Not a big fan of horror scores though but we'll see what he comes up with. Movie gets great reviews so hopefully this will be something.


Waymann2017-08-01 10:31:57
I also just found out that Wallfisch did 2 of my favorite cues on the Atonement soundtrack. Elegy for Dunkirk and Denouement. Funny he worked on Dunkirk and did music for that masterful long take in Atonement at the Dunkirk Beach.


isildur2017-08-01 11:36:42
@Saurabh I don't think it's exactly true. Hans' Rollingstones interview mentions he is working in the nights while he's touring.


James2017-08-01 16:22:36
@Waymann

Marianelli composed these tracks. Wallfisch was one of the orchestrators and conductors.


James2017-08-01 16:27:00
@Isildur

He says he worked during the break between presentations in Europe and the United States.
In another May interview he said composing on the bus, but I believe he was talking about Dunkirk.


Waymann2017-08-01 16:27:59
Yeah, just read it too when I dove a little bit deeper into that score. But still a small connection to Dunkirk ;)


Mike2017-08-01 17:08:53
I wouldn't say Cure was the best score !!!!! Balfe and Zimmer's score to Genius was ..... GENIUS !!!!


isildur2017-08-01 18:47:02
@James. Yes I remember. But that was while touring the EU. This Rollingstones interview was very recent when he came back to US for his tour and he also said "My lawyers told me not to talk about it". It's not like he can't talk about Dunkirk now. That just leaves BR2049.


Mike (OTM)2017-08-01 19:41:29
Hans once said during a Reddit AMA that, if he could score one movie that another composer got to first, it would have been Blade Runner. He also said he loves what Vangelis did. So this should be interesting indeed.


Waymann2017-08-02 08:48:41
@Mike Nah, i'm probably the only one here but I didn't think much of the Genius score...

babdu reply Replies: 0 || 2017-08-02 07:19:52
btw...this is the thread for Dunkirk...

Dragonseeker reply Replies: 30 || 2017-07-28 18:10:41
From RollingStone.com

Between Zimmer's Europe and America tours:

"His own break wasn't much of one. He says he went back and worked on a soundtrack until 2 a.m. every night. (As for which movie: "My lawyer actually said to me, 'You know when you sign these non-disclosure agreements, this one, please take it seriously and don't even tell your family.'")"

What movie do you guys think he is working on? Can't be Blue Planet II since we know about that. And can't be Dunkirk.


Ahmad2017-07-28 18:17:29
I have a guess in my head but I'm still doubting it... Clue: RH.


James2017-07-28 19:09:53
RH = Ron Howard?
I do not think so.
He has never been involved with SW before. And JP does not need it.
Warner maybe(Justice League).
Or some future project.


Dragonseeker2017-07-28 19:27:18
RH stands for Ron Howard? The only score that makes sense was Han Solo but John Powell is scoring that.


Ahmad2017-07-28 21:12:35
Oh! I didn't know about John Powell's involvement. That debunks the theory.
Well, he was done with Dunkirk before he went on the European leg of the tour. Justice League is in the hands on Elfman. I don't know. Is there a big movie coming up that requires this secrecy?


Ahmad2017-07-28 21:14:04
*hands of Elfman


James2017-07-29 03:14:08
The next Bond movie of 2019? ^^



James2017-07-29 03:15:35
Or maybe a little project.


Lynk2017-07-29 07:06:32
What known upcoming films could be considered important enough to warrant a NDA clause in a contract...

If it is something that requires the composer to work until 2am straight after a concert everyday then I reckon it must be something with a very tight schedule. Likely a 2017 title.

Blade Runner 2049 and Geostorm could be candidates here - assuming he is still not willing to do another superhero flick.

Han Solo can only become a JP/HZ collaboration at worst. No way is Hans letting his friend out of this one; especially not after the big announcement.


Joshua2017-07-29 07:44:34
The Lion King?......


geheim2017-07-29 09:12:11
I hope it is Lion King, I'd love to see Hans coming back to this :)


anon2017-07-29 16:36:51
apparently Zimmer and Benjamin Wallfisch are contributing to BR2049??


Ahmad2017-07-29 17:06:45
Amazing if true!


James2017-07-29 18:27:51
Marketing maybe? ;)


anon2017-07-29 19:18:16
Confirmed by DV
pressreader com/france/studio-ciné-live/20170628/282007557396521


isildur2017-07-29 19:59:34
Can you translate what exactly it says?


anon2017-07-29 20:50:00
Johann composed the main theme…but given the scale of the task, Benjamin Wallfisch and Hans Zimmer joined the team to help Johann. We have Johann's breathtaking atmospheric sounds, but I needed other things also, and Hans helped us.


isildur2017-07-29 21:05:42
Thanks.


Hedon2017-07-29 21:22:04
Yes, they needed Hans' broad expertise on synthesizers and electronics to create a proper soundscape and someone who could actually create a theme. Apart from Vangelis, Zimmer would be the obvious choice. It bothers me they didn't hire him from the start, imagine what he and his team of electronic score artists could have done with this.

Actually I would have liked to see a collaboration between Harry Gregson-Williams and Zimmer for this one. In The Martian, HGW proved he could make Vangelis like sounds and melody. I'm not sure how skilled Wallfish is in the world of electronic music, but for the orchestral parts he would be suited. I would like to see Matthew Margeson on board as well for additional music. Even Andrew Kawczynski as solo composer would have been a better choice than Johansson for this movie.


0-cool2017-07-29 22:01:56
So with Wallfisch also being involved it means that it won't be all electronic? Or is Wallfisch adept in synth?


Mpolonest123 2017-07-29 23:32:05
So glad to hear this! I honestly think Wallfisch is the next Lorne Balfe in terms of increasing popularity (and he's just as talented). I wonder if this was a result of the focus groups? Johann Johannsson isn't a bad composer but I can't see him doing a convincing BR score.


Dimitris Krommidas2017-07-29 23:48:48
Can't find enyone else better than Zimmer &#964;&#959; do this.
He always says he loves Blade Runner and Vangelis.


Andrew2017-07-29 23:49:18
I wouldn't say Ben is the next Lorne Balfe !!! Balfe's writes amazing melodies and has a unique style . Original like Powell etc . Hope he is working on Blade Runner especially after watching Ghost in The Shell.


James2017-07-29 23:52:45
These are sad news.
Means that none of the three composers will be 100% invested in the project.


James 2017-07-29 23:56:37
@Andrew

Ben is a composer undoubtedly better than Balfe, but I think he did not refer to the quality of the your work body, but to his constant collaborations in Zimmer's recent projects.


mpolonest123 2017-07-30 00:07:51
Never said he was more talented than Balfe, but he's definitely someone with a great sense of writing themes and style. Just listen to A Cure for Wellness or any of his collabs with Zimmer. Obviously he doesn't sound like Balfe, just like Zanelli doesn't sound like Djawadi.


James2017-07-30 00:38:54
Yes. You did not say, I did.

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

What @Andrew understood

"I wouldn't say Ben is the next Lorne Balfe !!! Balfe's writes amazing melodies and has a unique style."

He compared the two showing preference to Balfe. I responded showing preference to Wallsfish and explained that the your quote there referred to the fact that Wallsfisch is always putting together with Zimmer's recents works as Lorne did/does.

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

"Wallfisch is the next Lorne Balfe in terms of increasing popularity"

Wallfisch was already internationally known before even collaborating with Zimmer. This is a fact.


Miguel 2017-07-30 00:58:00
Hope Balfe is working on this with Zimmer because if they have the same electronic sounds as Ghost in the Shell then it will be amazing .


Mikel2017-07-30 01:01:22
Have to agree that Balfe's music is definatly much better . Assassins Creed and
Call of Duty will always be high on my list of soundtracks


Anton2017-07-30 01:31:53
Asssassins Creed Washington was one of the best game scores ever


mpolonest123 2017-07-30 03:43:26
@James
I know, I was just clarifying that I don't necessarily want to compare one to another. And Wallfish was known before but it seems that he is starting to get more individual high-profile projects now. Really excited to hear what he is going to do for "It".

Back on topic, I really am glad Zimmer is on board for this project. Considering one of his big inspirations was Vangelis it makes perfect sense.

Farid SEFFAR reply Replies: 2 || 2017-07-29 00:21:17
Hello
I'm looking for the name of the music used in Dunkirk's trailer.
Here is the link: https://www.youtube.com/watch?v=0lRVyHvvtCo
Thank you


Ahmad2017-07-29 01:55:29
The trailer uses two tracks. The first one is "The End" by Bobby Krlic and the second one was made specifically for the trailer by a music agency and is yet to be released.

Of course there's a lot of editing and tweaking done to "The End" by music editors.


Farid SEFFAR2017-07-29 18:05:30
Thank you Ahmad for this information, what interests me is the second piece. so i will wait for its publication. thanks again.

freak reply Replies: 1 || 2017-07-29 06:44:19
Please release the complete soundtrack


Bob2017-07-29 06:50:32
Few Missing cues
1) English Only ( Carrying the stretcher)
2)Torpedo ( Tom and Alex Evacuation)
3) Moonstone passing by destroyer
4) Collin's crash landing

Soroush reply Replies: 1 || 2017-07-28 22:08:38
When I listened to this for the first time, I remembered the difference between Gravity score(by Steven Price) and Interstellar score(by Hans).
It's a personal opinion, but I think there is a difference between this score and Fury(again by Steven Price) which is similar to what I mentioned earlier.

it's too exciting for me. The way that each composer looks at things and finally an extraordinary artwork appears.


Catastrophic Jones2017-07-29 03:04:36
Not to mention Interstellar has the same number of tracks as gravity, and the same duration (maybe off by a minute) very interesting indeed...

Mike (OTM) reply Replies: 0 || 2017-07-29 03:04:21
This comment from Hans is enlightening (and it encourages me, because it indicates that, despite his recent output, he's not so far gone):

"Can I say something rude? This score is Chris Nolan’s score. This movie is one man’s vision. It doesn’t matter if it was Elgar, or Hans Zimmer, or Ben Wallfisch — there was not a moment where I would move my hand where I wouldn’t feel Chris’s hand on my hand, reaching for the notes. This was the closest collaboration that I ever had with a director where even though he would never ever play a note, he somehow played every note that was in that score."

isildur reply Replies: 0 || 2017-07-28 23:17:29
Does anyone know exactly what Hans and Trevor were rapping at the end? I mean the lyrics? Hybrid? https: //www.youtube.com/watch?v=82an6Zi8JBc

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.

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