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So, is that Elfman's score in the trailer? It seems a bit early, but if that is, I just MIGHT be okay with him taking over from Junkie.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.@Mike Hans himself said sometimes a movie does not need a melody theme. It depends on the movie and the characters in it.<br>the main character here is fear threat and so on... in that regards the score respects that.<br><br>@hybrid: in order to have the full soundtrack we will then have to wait for bluray and rip the music & effect out of it. ^^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.It's not iTunes ????? Hybrid any examples you can post ?
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.Totally agree on that note . Genius has been one of most unique scores in ages and the music is greatQuestion to all the people who watched it<br><br>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'.<br><br>Very enjoyable score and after watching the show last final last night bought the soundtrack. BrilliantWhat? 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.
Found one of the main themes.....<br><br>Sounds pretty much like the rising music in Pirates 2 when the Kraken shows up to eat Jack Sparrow....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 :-p
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.
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 LATEST RELEASES
 NEWS
  2004, December 30
SPANGLISH : Hans Zimmer - James L. Brooks collaboration

A short video interview based upon questions asked by fans to director James L. Brooks can be seen at˙Spanglishmovie.com. Just click on Ask the director at the bottom of the page. Then‚ again on the handwrited text at the bottom and you will hear James L. Brooks talk about actors‚ his hopes and collaboration with his composer and friend Hans Zimmer.


  2004, December 17
Spanglish
Hans Zimmer



  2004, December 17
Golden Stellite awards nominations have been announced and this time, it is John Powell turn to be on the list of possible winners for the Best Original Score and Best Original Song.

His collaboration with Dave Stewart and Mick Jagger on ALFIE seems to be more appreciated by people in the business than by fans.

17. Original Score
a. Michael Giacchino - The Incredibles (Disney/Pixar)
b. David A. Stewart, John Powell, Mick Jagger - Alfie (Paramount)
c. HOWARD SHORE - The Aviator (Miramax)
d. Danny Elfman - Spiderman 2 (Columbia)
e. John Swihart - Napoleon Dynamite (Fox Searchlight)
f. Jan A.P. Kaczmarek - Finding Neverland (Miramax)


18. Original Song
a. "Million Voices" - Hotel Rwanda - Wyclef Jean, Jerry ?Wonder? Duplessis & Andrea Guerra
b. "The Book Of Love" - Shall We Dance - Stephen Merritt
c. "Blind Leading the Blind" - Alfie - Mick Jagger & Dave Stewart
d. "Shine Your Light" - Ladder 49 - Robbie Robertson
e. "Learn To Be Lonely" - The Phantom of the Opera - Andrew Lloyd Weber
f. "Believe" - The Polar Express - Glen Ballard & Alan Silvestri


  2004, December 17
Classic Zimmer
by Fabrice Roux


  2004, December 16
METAL GEAR SOLID 3 Interviews at www.music4games.net

Interview with Justin Burnett, Composer for Metal Gear Solid 3: Snake Eater.
Justin Burnett has co-composed the original soundtrack for Metal Gear Solid 3: Snake Eater, along with Harry Gregson-Williams and Norihiko Hibino. His previous game credits include additional music for Metal Gear Solid 2: Sons of Liberty as well as films such as Man On Fire and Dungeons & Dragons: The Movie.
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Interview with Harry Gregson-Williams, Composer for Metal Gear Solid 3: Snake Eater.
Last time we chatted to Harry Gregson-Williams he was based at Hans Zimmer's Media Ventures group and was busy working on the score for the game. Having completed one of this year's most anticipated game scores and established a new studio, we caught up with the composer to discuss his latest adventures with Snake and co.
Read more...


  2004, December 13
SPANGLISH on the road

Hans Zimmer received his 6th nomination to the the Golden Globes for the new comedy score he composed for Spanglish, the new James L. Brooks movie, yet director of As Good As It Gets for which Hans Zimmer received an Oscar nomination.

But because Spanglish is not in theatre right now (Official release date : 17th December), people can be surprised by the nomination of the German composer. A true strange thing maybe due to the press-screening already done in order to warm the audience and newspaper writers.

By the way, another good reason the await this score which will close a year of Hans Zimmer filmmusic in a good way.

Golden Globes Original Score nominees
The Aviator Composed by Howard Shore
Finding Neverland Composed by Jan A. P. Kaczmarek
Million Dollar Baby Composed by Clint Eastwood
Sideways Composed by Rolfe Kent
Spanglish Composed by Hans Zimmer

More Infos on The Golden Globes Website


  2004, December 12
Hans ZIMMER to score MADAGASCAR

Hans ZIMMER will score the Dreamworks next animated movie‚ and replaces Harry GREGSON-WILLIAMS who was thought to be on this project until now. Another project for Hans for the year 2005‚ after Ring 2‚ The Weather Man‚ & Batman Begins.


  2004, December 04
Jeff Rona
Earthsea


  2004, December 03
King Arthur DVD
Director's Cut



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