NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
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.
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50
 .
updated by Nicolas 
 LATEST RELEASES
 NEWS
  2009, July 25


Hans ZIMMER will score the next Chris NOLAN's films (?)


New cast and crew details were revealed for Christopher Nolan's upcoming film, Inception, via a press release from Warner Brothers.
Joining the cast is Academy Award nominee Tom Berenger(Platoon).
Although many suspected David Julyan would be composing the score for Inception, it has now been confirmed that Hans Zimmer will be handing the score.
The film, "a contemporary sci-fi actioner set within the architecture of the mind," hits theaters July 16th, 2010 and stars Leonardo DiCaprio, Ellen Page, Joseph Gordon-Levitt, Marion Cotillard, Tom Hardy, Cillian Murphy, Michael Caine, and Ken Watanabe. More infos

Christian Bale will slip back into his rubber Batsuit next year to begin shooting the sequel to The Dark Knight. (news from WENN)

The Hollywood actor has confirmed he will return as Bruce Wayne/Batman for the third time in director Christopher Nolan's forthcoming film, but a production schedule had yet to be released.

However, Bale's The Dark Knight co-star Gary Oldman, who portrays Commissioner Gordon in the movie adaptations, broke the news of the return of the Caped Crusader to fans at the annual Comic-Con in San Diego, California on Friday.

He told fans, "The next Batman is shooting next year. It's at least two years away. But you didn't hear it from me!"

Certainly a job for the great composer of the previous opus ; ZNH... To be continued...

Comments (15)

  2009, July 22
James Michael Dooley: Dorothy of Oz

James Michael Dooley, whose recent credits include Disney's direct-to-video The Little Mermaid: Ariel's Beginning as well as the theahtrical thriller Obsessed, will do the music for the animated Dorothy of Oz, a family movie currently in post-production.

For more, tune into: upcomingfilmscores.blogspot.com

Comments (0)

  2009, July 22
Rupert Gregson-Williams: Grown Ups

Rupert Gregson-Williams continues his working relationship with director Dennis Dugan. Their third film together, after I Now Pronounce Your Chuck and Larry and You Don't Mess With the Zohan, is Grown Ups, which is also a comedy.

for more info visit the original source, at: upcomingfilmscores.blogspot.com

Comments (0)

  2009, July 17
www.geoffzanelli.com

Geoff Zanelli's new website featuring unreleased music from The Last Samurai, Pirates Of The Caribbean 2 & 3, Ghost Town, Matchstick Men, Hannibal & more...

Comments (15)

  2009, July 12
Hans Zimmer & co : Concert at Dreamworks Animation



Thanks to Fabian Bucher

Comments (38)

  2009, July 04
Here's a new version of the site to celebrate this summer. I hope you will enjoy it and don't hesitate to post (or to contact me) if you have any technical troubles :o)
ps: a webradio will be soon available

Antas

Comments (29)

  2009, July 01
Todd Haberman



  2009, July 01
Composer’s James Newton Howard and Hans Zimmer Exclusive Interview - 2009 Saturn Awards



Direct link : www.collider.com


Comments (8)


 HANS-ZIMMER.com© 2001-2017 OST 
Stephane Vidali / Antas - Nicolas Cabarrou