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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.That was one of my favorites, wish it was on the OST.Yeah, was also looking for that track.Nolan's liner notes, which explains a lot on the score :<br><br>"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.<br><br>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.<br><br>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.<br><br>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.<br><br>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.<br><br>CHRISTOPHER NOLANI don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.
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.The answer is: Christopher Nolan ;-)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.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.This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team
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...Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because<br>1. Use of a classical musical piece throughout<br>2. More than one guy is credited.<br><br>Anyway, that's how Hans always liked, crediting everyone.I have to agree on the soundtrack being mostly unlistenable...<br><br>This is nothing like Inception, or even Interstellar.<br><br>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...<br><br>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.<br><br>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.Sorry bud...<br><br>Its not.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!
Tina had a lot of work to do here!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!I was on three concerts so far and just at the one at Frankfurt some band members came down from the stage after the concert. I didn'f got a autograph but I did photos with nile marr and nick glennie smith. But if you would ask some of the band members I am sure they will say "ok perhaps I can arrange it" would try it this way :)I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.A fanmade.<br><br>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.
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Klaus BadeltGeoff ZanelliRamin DjawadiJim Dooley
ComposerAdditional MusicAdditional ArrangementsAdditional Arrangements
The Time Machine
Label: Varèse Sarabande
Length: 57'35
HZimmer.com rating:        5/5
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 (5719 votes)
  1. Professor Alexander Hartdegen (3:25)
  2. Wish Me Luck (1:21)
  3. Emma (2:35)
  4. The Time Machine (3:11)
  5. Bleeker Street (2:26)
  6. I Don't Belong Here (3:48)
  7. Time Travel (4:36)
  8. Eloi (2:10)
  9. Good Night (4:03)
  10. Stone Language (4:53)
  11. Morlocks Attack (4:23)
  12. Where The Ghosts Are (1:36)
  13. The Master (7:15)
  14. "What If?" (6:16)
  15. Godspeed (5:20)
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Anonymous reply Replies: 0 || 2009-03-01 00:00:00
The Time Machine (3:11)

Adrian reply Replies: 0 || 2008-11-21 00:00:00
There's also a version on Crescendo, with an EAN code 4005939633721
Personally, I don't like Varese because they just make ugly cd covers.
http://www.bol.com/nl/p/muziek/time-machine/1000004004917990 /index.html
the cover seems to be one from a complete score... or they used this cover for a complete score.. lol anyone know the story behind this version ?

Cloud reply Replies: 0 || 2007-08-15 00:00:00
Ok my bad, I jumped to conclusions about the sound quality based just on a bad mp3 version. The real thing has perfect sound, just like the OST, making it the ultimate 71 minute long Time Machine score album :)

Hybrid Soldier reply Replies: 0 || 2007-08-15 00:00:00
And how do you know that about the "real thing" ?

You read it somewhere ? Or had the chance to listen to it ?

Cloud reply Replies: 0 || 2007-08-15 00:00:00
Yeah, I've come across the actual CD. I've seen a lot of mp3s of this floating around, but it's like their quality was lowered by mistake, or even deliberately. You can clearly hear the difference, the bad version sounds almost mono. Anyway, the point was to let people know, that the original source is perfectly clean.

Hybrid Soldier reply Replies: 0 || 2007-08-15 00:00:00
Damn !! :p

Lucky guy !! ;-)


Why the hell I don't know you ? LOL !

ok reply Replies: 0 || 2007-07-13 00:00:00
i was wondering if there existed an translation of Lea hallalela from wings of a film by hans zimmer?? been trying to find out what those words mean.?

Hybrid Soldier reply Replies: 0 || 2007-07-11 00:00:00
Unfortunately no for the first question... :S

And for the second, I don't think so... It depends on which TLK CD you're talking about... There's few on this website...

ok reply Replies: 0 || 2007-07-11 00:00:00
hybrid u dont by any chance have a track list of the lion king complete promo??

ok reply Replies: 0 || 2007-07-11 00:00:00
thanks hybrid for the tracklist, i was wondering if you had heard anything about a tmnt release??

Cloud reply Replies: 0 || 2007-07-10 00:00:00
Hmm, the sound could really be better on this complete edition. Anyway, all the good stuff is already on the original album, and I don't say this too often ;)

Hybrid Soldier reply Replies: 0 || 2007-07-10 00:00:00
01 - Main Titles (3:24)
02 - Wish Me Luck (1:20)
03 - Marry Me (1:10)
04 - Emma Dies #1 (1:31)
05 - In A Week (3:09)
06 - Bleeker Street (2:26)
07 - Emma Dies #2 (0:56)
08 - Moon Sign (1:06)
09 - I Don't Belong Here (3:56)
10 - In The Year 2030 (1:02)
11 - Time Travel - Asteroid (2:11)
12 - Where Am I (0:38)
13 - Are The Friendly (3:33)
14 - Goodnight (4:37)
15 - Stones & River - Village (4:52)
16 - Morlocks Attack (7:04)
17 - Where The Ghosts Are (1:43)
18 - Morlock World (6:27)
19 - The Master (5:42)
20 - Time Machine Returns - Fight (4:08)
21 - Alex Reconsiders (1:29)
22 - The Escape (3:24)
23 - Freedom - Godspeed (5:17)

And I personally added a last track, 24 - End Credits (4:21) which is just a I Don't Belong Here reprise...

ok reply Replies: 0 || 2007-07-10 00:00:00
sylvos do u have the tracklist for the score??

Sylvos reply Replies: 0 || 2007-07-09 00:00:00
Ok, the complete version is in fact single disc, has 23 tracks and runs a little over 71 min. Sound quality is nowhere good as the regular releas but still it worth checking.

Sylvos reply Replies: 0 || 2007-02-26 00:00:00
I found a double disc one but guess what? A fake version. I repeat, that one is a fake version. Do you copy? LOL

Over and out! ^^

Sylvos reply Replies: 0 || 2007-02-11 00:00:00
Looks like a complete bootleg is floating around too. You guys may wanna dig that up and add it to your database.

Gary reply Replies: 0 || 2007-02-04 00:00:00
Just beautiful. Eloi - With the children's choir - so majestic!

Darkness reply Replies: 0 || 2006-12-28 00:00:00
it´s true klaus badelt is much much much better than zimmer ! no hans zimmer score is so good as Time Machine or The Promise!

einstain reply Replies: 0 || 2006-10-09 00:00:00
very good

O´Maly reply Replies: 0 || 2006-09-04 00:00:00
One of the best scores ever!

Klaus you´re great!

Only The Promise is better!

Mayer Barouh reply Replies: 0 || 2006-01-06 00:00:00
Désolé, mais l'extrait orchestral, je le trouve d'une banalité affligeante, rebondissant indéfiniment de poncif en poncif.
C'est de la mécanique, bien huile certes, mais...

L'extrait vocal, on peut lui concéder des touches d'originalité certaines, et même une certaine recherche harmonique et contrapuntique, par brefs instants, malheureusement.

Anonymous reply Replies: 0 || 2005-04-24 00:00:00
Mais non, c'est de Harry que Hans parlait pour l'histoire du complexe d'infériorité --)

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