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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
  2007, May 31


German interview of Klaus Badelt
www.cinemamusica.de


Comments (2)

  2007, May 31
Klaus Badelt
Catwoman Expanded Score


Hans Zimmer
The Ring Recording Sessions


  
Harry Gregson-Williams
Kingdom Of Heaven Recording Sessions


Klaus Badelt
Rescue Dawn




  2007, May 29
TRANSFORMERS recording session coverage



Steve Jablonsky has been recording his score to the highly anticipated action-packed summer movie Transformers and SoundtrackNet now features a visual look at the musical recording process for this highly anticipated summer film, which opens on July 4th.

You can view the whole article with photos by visiting Soundtrack.net


Comments (0)

  2007, May 23
NEW RELEASES

  1. Shrek The Third (Harry GREGSON-WILLIAMS) CD page is now available.
  2. The Klaus BADELT' score for Rescue Dawn will be released by Milan.
  3. Lakeshore Records will release the score DISTURBIA composed by Geoff ZANELLI on 2007 July the 10th.


  2007, May 21
New AUDIO INTERVIEW with Hans Zimmer

Film Music website Scorenotes.com features a brand-new audio interview with the composer with the listening options being Real Audio and MP3 (podcast).

You can listen to the interview by visiting the website as linked above.


Comments (1)

  2007, May 20


Yesterday, Disneyland (LA) released the world premiere from the movie AT WORLD'S END.

...and Hans ZIMMER was there as you can see...
(click on the picture to read the review)


  2007, May 18
PIRATES OF THE CARIBBEAN: AT WORLD'S END - REMIX ALBUM

EMI Music is set to release an album containing 5 remixes of primarily the Jack Sparrow themes from the score for the Pirates of the Caribbean: At World's End by such popular artists as Paul Oakenfold, The Crystal Method and Ryeland Allison.

Release date is June the 15th, 2007 and for more info please visit the EMI page as linked above or Amazon.de.


Comments (11)

  2007, May 14
New Podcast: SoundtrackNet talks with Academy Award-winning composer Hans Zimmer

Composer Hans Zimmer talked to Soundtrack.net and discussed his latest soundtrack, PIRATES OF THE CARIBBEAN: AT WORLD'S END. He also talks about the new themes, the evolution of the PIRATES scores, and also about his approach for THE SIMPSONS MOVIE.

You can download and listen to the 33-minute long podcast by visiting Soundtrack.net's Podcast page.


Comments (8)

  2007, May 07
HARRY GREGSON WILLIAMS' SHREK THE THIRD to be released

Varese Sarabande just announced today that the original score to the 3rd installment of the well-known animated franchise, entitled "Shrek The Third" and composed by prolific composer Harry Gregson Williams will be officially released.

Described as "an enchanting score of wonder, magic, excitement and fun" the CD will be released 06/19/07 with a Catalog number of 302 066 826 2 and the movie opens on on May 18.

For more info please visit Varese Sarabande's official website.


Comments (4)

  2007, May 03
LISA GERRARD - NORTH AMERICAN TOUR 2007



Lisa GERRARD is starting a US/Canadian tour today. In her setlist, she is performing some tracks from Gladiator as well as other films like The Insider and WhaleRider.

*** Tickets still available for this Tour ***
*** Visit www.ticketmaster.com ***


The dates are as follows:

MAY
  1. 03 US, Atlanta: Variety Playhouse
  2. 05 US, PA, Philadelphia: Theatre of the Living Arts
  3. 07 US, VA, Alexandria: Birchmere
  4. 09 US, New York: The Concert Hall
  5. 11 CANADA, Montreal: Theater Maisonneuve
  6. 13 CANADA, Toronto: Danforth Music Hall
  7. 15 US, Chicago: Vic Theater
  8. 17 US, Minneapolis: Guthrie Theater
  9. 19 US, Denver: Boulder Theater
  10. 22 US, Vancouver: Center for the Performing Arts
  11. 24 US, Seattle: Moore Theater
  12. 26 US, San Francisco: Palace of Fine Arts
  13. 29 US, Los Angeles: Orpheum Theatre
  14. 30 US, San Diego: Humphrey's Concerts by the Bay
JUNE
  1. 01 MEXICO, Mexico City: Luinario


Comments (1)

  2007, May 03
First listen at Soundtrack.net



Comments (32)

  2007, May 02
Pirates of The Caribbean : At World's End EXTRACTS

  1. Drink Up Me Hearties Yo Ho
  2. Hoist the Colours (Solo)
  3. One Day
  4. Parlay


Comments (37)

  2007, May 01
Shrek The Third
Harry Gregson-Williams / Various




  2007, May 01
JOHN POWELL scores 'STOP LOSS'

Stop Loss, a political drama about a soldier who refuses to return to battle in Iraq after returning home from the war will get an original score from composer JOHN POWELL.

More info in this week's edition of FILM MUSIC WEEKLY or vie this Direct Download.


Comments (2)


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