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Seems like Scala & Kolacny Brothers.In what way is it "obvious", exactly, that Djawadi had more influence on that Training cue than Zimmer? It's basically just a statement of Zimmer's theme, and doesn't really sound notably "Djawadi-esque" to me in any way.Thanks for the credits updateA bit of who did what...Lorne also confirmed that he took charge of Mr.Charles, and without saying that Lorne was on the good side of Score in general, so his influence was substantially high.
Hybrid confirmed that training is composed by Ramin and Hans and it is obvious that Ramin's influence is superior to that of Hans.are we expecting the score for dark phoenix to be released in a week or so, if the movie itself drops early june?Not as simply as that.... Training is Ramin's arrangement of a Hans theme, and the core of Mr. Charles when the Fischer theme isn't playing is a Hans idea, too, as far as I know. Take the Zimmer out and those moments wouldn't be the same.I think Balfe working with Nolan would have done a great jobBob,The Training is basically Ramin Djawadi and Mr.Charles is Balfe
I hope these two team up again. Zimmer's score is the main driving force for some memorable scenes. Just a few<br>Batman Begins-The Training<br>TDK- Joker crash the party, Gordon's speech and ending<br>Inception - Time, Mr.Charles, <br>TKDR - the climb, imagine the fire and orphan<br>Interstellar-Stay, Docking, coward, mountain<br>Dunkirk - well the entire movieJustin Hurwitz I can see. I enjoyed La La Land and First Man. But Both Hurwitz and Göransson are several notches above Lorne Balfe. <br><br>I think 80/100 directors would rather work with Göransson than Balfe.I really believe that Nolan has made a mistake as a composer.I think Lorne Balfe, David Julyan or Justin Hurwitz would be much better options than Ludwig Goransson.Interesting news. <br><br>Geoff Zanelli is one of those composers who I’ve loved his additional music over his solo efforts, Pirates 5 excluded. I hope he gets a chance to write some great fantasy music for this, regardless if he reuses JNH’s themes or not.I think I am the only one, who would be glad about David Julyan return.<br><br>I really like his music for early Nolan's films, especially Insomnia, and it's what i can call an "atmospheric experience".<br><br>Don't know how his music fits for espionage timetraveling movie, but, for me, i'st would be something interesting to hear.
@mpolonest123: those Pemberton scores are indeed pure gold, very cool on album but insanely good in the movie. My favorite is still his King Arthur, that was a beast of a score that stuck with the movie like glue and really enhanced Guy Ritchie's dark, twisted, trippy vision.*3 thingsSure, but there's two things to consider. <br>1). Pirates has such an iconic sound that it'd be really stupid for them to suddenly abandon it at #5. Especially when we hired the guy who has worked on the previous 4. 2). Maleficent, as successful as it was to warrant a sequel, isn't quite as well known in the score department, despite being well received by those who have heard it. 3). Because Zanelli worked on all Pirates, he had enough familiarity with the sounds and motifs that he knew where to go once he led the ship. In Maleficent's case, he's taking over from a previous composer, and is working with a director who likely only knows his work on POTC5. As such, there's no knowing yet if he might be compelled to continue on from JNH, or if it's decided he just does his own thing.<br><br>I'm happy that Geoff at the very least has a safe career at Disney, considering two of their recent live action successes has had him involved. However, considering I hear his recently work hasn't been his best, JNH likely would've benefited from returning to a world that had some of his best material after he wasn't given the opportunity to do so with Glass. As such, it really is a severely missed opportunity, even if newer blood is getting more opportunities.Just listening to this again. It really is a best of both score. What I think is so great, is that you can hear both of the brothers' own voice but they blend so well together!! Really really great score!<br><br>It's a really remarkable score, the swifts in tone between dramatic and jazz is top-notch. It's higher on favorite list from 2019 already, than I thought it would ever be.<br><br>Give me more Gregson-Williams brothers scores!!!!!!I was hoping for JNH, but we'll see what he does. JNH's themes were amazing zo it would be stupod not to use them. But he used the Pirates themes, so I'm feeling actually quite ok about it
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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 (3234 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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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.

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

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

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

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


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

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

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


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

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


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

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