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Heard Hans Zimmer at Merriweather Post Pavilion. What a mind bowing performance.Hey Hybrid,<br><br>Will they ever release the track they pieced together for the 7 Minute IMAX Preview/Prologue?just commented on the WaterTower Music yt channel. (i waited a day lol!) <br><br>Hans and his team made me the best birthday present ever : )<br><br>i like seeing the "few notes" principle Hans explained in his Masterclass. this score takes it to a master high level.<br><br>i would like to say in passing that the experiment on Inferno  (ambient music) can be felt through this score. and i love it!<br><br>thanks Hans, Lorne, Andrew, Benjamin, and anyone involved. thanks Hybrid Soldier, your fan website is the best!The rendition of What Are You Going To Do When You're Not Saving The World in the new Justice League trailer is pretty cool, at least it shows they have not forgotten this theme :-pMy 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 teamDoes 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!
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Additional Music - Orchestrator
John PowellJames McKee SmithHenry JackmanJohn Ashton Thomas
ComposerAdditional MusicAdditional MusicAdditional Music
Hancock
Label: Varese Sarabande
Length: 44'35
HZimmer.com rating:        3/5
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   3/5 (7332 votes)
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  1. SUV Chase (2:01)
  2. John, Meet Ray (2:05)
  3. Train Disaster (2:40)
  4. Meatballs? (0:57)
  5. The Trailer (2:00)
  6. French Asshole (1:32)
  7. Superhero Comix (0:44)
  8. You Should Go! (0:51)
  9. Mary Brings Meatballs (1:33)
  10. Getting Therapy (2:18)
  11. To War (1:19)
  12. I Really Hate That Word (0:48)
  13. Standing Ovation (1:06)
  14. The Kiss (2:20)
  15. Indestructible (2:05)
  16. Hollywood Blvd (6:24)
  17. Mortal (5:27)
  18. Upon Us All (1:19)
  19. Death And Transfiguration (3:55)
  20. The Moon And The Superhero (3:13)
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Pages << 1 2 >>

Falconet From Italy reply Replies: 1 || 2009-01-23 00:00:00
maybe it's called Get Out The Way! but i don't know the singer! :-(


JJ2016-09-20 01:02:01
Ludacris - move b*tch

George reply Replies: 1 || 2009-01-23 00:00:00
Hello ,
Please can anyone tell me what is the name of rave song playing at car chase?
I am looking for it..


JJ2016-09-20 01:01:38
Ludacris - move b*tch

Jasemin reply Replies: 0 || 2011-06-14 04:53:53
You’ve got it in one. Coduln’t have put it better.

Phil B reply Replies: 0 || 2011-03-04 00:00:00
gr8 score...
Death and Transfiguration :)
The Moon And The Superhero :)

like them very much

Romain P. reply Replies: 0 || 2009-06-16 00:00:00
easily one of the best 2008 score

Dawn reply Replies: 0 || 2008-12-16 00:00:00
Did anyone noticed that the guitar cue when Hancock and Mary are dying is similar to Powell's showreel's "Music for the End of the World - Face, Hope and Charity", with a different arrangement ?

It's really interesting, because John Powell used many of the demos from his 1998's showreel in his career during the last 10 years (and especially from his "Music for the End of the World".
This is the case for Antz, Chicken Run, Just Visiting, Hancock and now Bolt ! A great part of his career is made out of this showreel's ideas.

Driss reply Replies: 0 || 2008-08-29 00:00:00
iluminat I guess you're talking about the sound when he's alone in his trailer... It's my favourite too :p
It's called : Rachel's - Water From the Same Source
Enjoy

Anthony reply Replies: 0 || 2008-08-21 00:00:00
I don't know if it's going to be unreleased score or a song, but nothing from that scene is on the soundtrack.

As Cloud mentioned, check IMDB.

Cloud reply Replies: 0 || 2008-08-21 00:00:00
Why don't you just take a look at imdb?

alfi reply Replies: 0 || 2008-08-21 00:00:00
well i just heard the: you should go it's not that one...
i'm looking for the one just before he shouvs that guys head up the other guys ass :D
thx for the help

Anonymous reply Replies: 0 || 2008-08-21 00:00:00
Does anyone know the name of the song when he goes to prison it might be the: you should go...???
thx

tu mama reply Replies: 0 || 2008-08-19 00:00:00
chido one

Daniel reply Replies: 0 || 2008-08-14 00:00:00
I want to know the singers and the songs

iluminat reply Replies: 0 || 2008-08-07 00:00:00
Does anyone know what music is about 18 minute of the movie?

Sorry about my english. :)

LiVeX reply Replies: 0 || 2008-07-28 00:00:00
eeey Dude,..


Move B*tch - Ludacris featuring Mystikal and I-20

Anthony reply Replies: 0 || 2008-07-22 00:00:00
The one piece of unreleased music that stood out to me was the movie version of "The Trailer". Totally different from what's on the CD and much, much better.

J Gibbons reply Replies: 0 || 2008-07-22 00:00:00
Amazing soundtrack, as always from one of my fave composers! I was just bummed to see the cue with the cello is not in it, that sort of mellow one that happens about 1/3rd into the movie...

Mikel S.i.W (from Spain) reply Replies: 0 || 2008-07-21 00:00:00
This soundtrack is very exciting. Great work, oh yes. Its been a pleasure, Mr. Powell.

Anthony reply Replies: 0 || 2008-07-21 00:00:00
Lono, the cue you mention (the Superman knock-off) is unreleased.

Lono reply Replies: 0 || 2008-07-21 00:00:00
Anthony - thanks for your comment, but I actually meant the music that starts before the Superman-esque cue. It is more of a low pitched growling affair that builds as the robbers are shooting at the police, then ends on the shot of the robber holding the deadman switch. The generic superhero cue starts a few seconds after this.

I guess it's fated to remain unreleased also though... Shame. Powell excels in that vein of suspense/tension cues, a la Face/Off.

Lono reply Replies: 0 || 2008-07-20 00:00:00
There is a cue in the film that starts when Hancock is in prison and is told he has a phone call from the Chief of Police, builds while he is shaving, then bridges into the siege outside the bank. This was my favourite piece of music in the whole score, yet it is not on the soundtrack album. Does anyone have any information?

Thanks in advance,

Lono

Anonymous reply Replies: 0 || 2008-07-20 00:00:00
FDGH

nancy reply Replies: 0 || 2008-07-19 00:00:00
whats the name of that song, at the begining of the movie, is not uv chase, is another old song, with that instrument, "armonica"

KaijusRoyaume reply Replies: 0 || 2008-07-12 00:00:00
This score is great. I love the two last tracks

johnnyboy reply Replies: 0 || 2008-07-12 00:00:00
is the song at the start of the movie when he's chasin the suv if it is i'm tryin to find it to.

Dithl reply Replies: 0 || 2008-07-10 00:00:00
ahh theres this song in the movie, i reeeally want it, its like a hiphop rnb song, can anyone hellp mee?

DemonStar reply Replies: 0 || 2008-07-02 00:00:00
The Moon and The Superhero is gonna be one of the best Powell tracks of the year, I can tell. The rest of the score is pretty good too, though it's not really the kind of stuff I like to play a lot. 3.5 out of 5 I guess.

Peter reply Replies: 0 || 2008-07-02 00:00:00
The beginning of that excerpt of track 19 reminds me a bit too much of Elfman's Spider-Man score, but other than that it sounds like a great score.

James reply Replies: 0 || 2008-07-02 00:00:00
I agree with kyle, i need to know the names.

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