Hans Zimmer
Composer
Benjamin Wallfisch
Additional Music
Andrew Kawczynski
Additional Music
Lorne Balfe
Additional Music
Satnam Ramgotra
Additional Music
Andy Page
Additional Music
Steve Mazzaro
Additional Arrangements
Bruce Fowler
Supervising Orchestrator
Suzette Moriarty
Orchestrator
Walt Fowler
Orchestrator
Carl Rydlund
Orchestrator
Gavin Greenaway
Conductor
Tina Guo
Musician
Michael A. Levine
Musician
Chas Smith
Musician
Howard Scarr
Synth Programmer
Drew Jordan
Synth Programmer
Ed Buller
Synth Programmer
Ryan Rubin
Music Editor
Alan Meyerson
Music Scoring Mixer
Seth Waldmann
Additional Engineering
John Witt Chapman
Additional Engineering
Chuck Choi
Technical Score Engineer
Stephanie McNally
Technical Score Engineer
Forest Christenson
Assistant Score Engineer
Steven Doar
Technical Music Assistant
Derrick Werlé
Technical Music Assistant
Max Aruj
Technical Music Assistant
Steffen Thum
Technical Music Assistant
Raul Vega
Samples Coordinator
Taurees Habib
Samples Coordinator
Mark Wherry
Digital Instrument Design
Jill Streater
Music Preparation
Cynthia Park
Assistant to Hans ZIMMER
Steven Kofsky
Music Production Services
Shalini Singh
Studio Manager
FILM CREDITS
Music by Hans Zimmer
Music Editor: Ryan Rubin
Score Produced by Lorne Balfe
"Variation 15 (Dunkirk)" by Benjamin Wallfisch
Produced by Hans Zimmer
Based on a Theme by Edward Elgar
Additional Music by Satnam Singh Ramgotra, Andy Page & Andrew Kawczynski
Sequencer Programming: Steve Mazzaro
Technical Score Engineer: Chuck Choi & Stephanie McNally
Bass Soloist: Nico Abondolo
Electric & Acoustic Cello Soloist: Tina Guo
Cello Soloist: Steve Erdody
Violin Soloist: Ben Powell
Viola, Violin, Hardanger Fiddle Soloist: Michael Levin
Trumpet Soloists: John Lewis & Johnny Britt
Exotic Instruments Soloist: Chas Smith
Synth Programming: Hans Zimmer
Music Production Services: Steven Kofsky
Digital Instrument Design: Mark Wherry
Supervising Orchestrator: Bruce L. Fowler
Orchestrators: Walt Fowler, Suzette Moriarty, Carl Rydlund, Jeremy Levy & David Krystal
Orchestra Conducted by Gavin Greenaway & Benjamin Wallfisch
Orchestra Leader: Perry Montague-Mason
Score Recorded at Lyndhurst Hall, Air Studios
Score Recorded by Geoff Foster
Score Mixed by Alan Meyerson
Score Coordinator: Shalini Singh
Assistant Engineers: John Witt Chapman & Forest Christenson
Score Mixed at Remote Control Productions
ProTools: Laurence Anslow
1m1A Opening Part 1 (1:45)
Hans Zimmer
1m1B Opening Part 2 (1:35)
Hans Zimmer, Steve Mazzaro
1m2A The Beach Part 1 (0:55)
Hans Zimmer
1m2B The Beach Part 2 (2:03)
Hans Zimmer, Andrew Kawczynski
1m3 Stuka Attack (0:51)
Hans Zimmer
1m4 Attack Aftermath – Navy Requisition (1:36)
Hans Zimmer
1m5 The Air (1:20)
Hans Zimmer
1m6 Stretcher Carry (5:47)
Hans Zimmer, Andrew Kawczynski
1m7 Bandit 11 O’Clock – Off You Go (1:30)
Hans Zimmer
1m8 Destroyer By (1:18)
Hans Zimmer
1m9 One Bandit Down (1:24)
Hans Zimmer
1m10 Meeting Rear Admiral (2:13)
Hans Zimmer
2m11 Shivering Soldier (2:07)
Hans Zimmer
2m12 Fortis Leader Down (1:03)
Hans Zimmer
2m13 Stuka Bombing Medical Ship (2:53)
Hans Zimmer, Andy Page
2m14 U-Boat (0:41)
Hans Zimmer
2m15 Decent Altitude (0:18)
Hans Zimmer
2m16 Boarding Destroyer – Below Deck (3:31)
Hans Zimmer, Andy Page
2m17 I’m Not Going Back To Dunkirk (2:17)
Hans Zimmer
2m18 Heinkel 11 O’Clock (2:40)
Hans Zimmer, Satnam Ramgotra
2m19 Torpedo (2:37)
Hans Zimmer, Satnam Ramgotra
2m20 Torpedo Aftermath (0:31)
Hans Zimmer
2m21 Soldier Locked Below Deck (1:33)
Hans Zimmer
2m22 Collins Water Landing (1:19)
Hans Zimmer
3m23 Wait For Another Lifeboat (1:13)
Hans Zimmer
3m24 Turn It Around! (0:52)
Hans Zimmer
3m25 George Falls (0:32)
Hans Zimmer
3m26 Farrier Chasing 109 (2:28)
Hans Zimmer
3m27 The Bodies Come Back (3:02)
Hans Zimmer, Alex Gibson
3m28 I Can’t See (1:53)
Hans Zimmer, Alex Gibson
3m29 Farrier Turns Back (0:45)
Hans Zimmer
3m30 Activate Small Vessels Pool (1:46)
Hans Zimmer
3m31 Approaching Trawler (0:39)
Hans Zimmer
3m32 Farrier Heinkel Fly-By (0:14)
Hans Zimmer
3m33 Should We Turn Back? (0:41)
Hans Zimmer
3m34 Waiting For The Tide (0:50)
Hans Zimmer
3m35 Smoke From The Spitfire (1:00)
Hans Zimmer
3m36 Dutch Sailor Comes Back (1:31)
Hans Zimmer
3m37 Collins Crash Landing (1:28)
Hans Zimmer
4m38 There Was No Chute (0:41)
Hans Zimmer
4m39 Farrier Fly By Minesweeper (0:13)
Hans Zimmer
4m40 Target Practice (0:49)
Hans Zimmer
4m41 Collins Trapped (0:20)
Hans Zimmer
4m42 Farrier Chased By 109 (0:17)
Hans Zimmer
4m43 Plug The Hole (0:53)
Hans Zimmer
4m44 Collins Struggles – Ditch Ballast (1:31)
Hans Zimmer
4m45 Sauerkraut Sauce (2:24)
Hans Zimmer, Ryan Rubin
4m46 Collins Underwater (0:29)
Hans Zimmer
4m47-50 Minesweeper Bombed – Trawler Floats (3:13)
Hans Zimmer, Andrew Kawczynski
4m51 Little Boats (Nimrod) (1:50)
Hans Zimmer, Benjamin Wallfisch (Edward Elgar)
4m52-54 Covered In Oil – Abandon Ship (8:20)
Hans Zimmer, Andrew Kawczynski
5m55 Farrier Attacks Heinkel (1:10)
Hans Zimmer, Lorne Balfe
5m56A Heinkel Crash (1:40)
Hans Zimmer
5m56B Where Are You From? (1:03)
Hans Zimmer
5m56C 109 Approaching (1:16)
Hans Zimmer
5m57 Engineless Flight (1:51)
Hans Zimmer, Benjamin Wallfisch
5m58 Rail Yard (2:28)
Hans Zimmer
5m59 Variation 15 (Nimrod) (5:51)
Hans Zimmer, Benjamin Wallfisch (Edward Elgar)
5mEC1 – End Credit (2:33)
Hans Zimmer, Lorne Balfe, Benjamin Wallfisch
5mEC2 Suite – Tommy v8 (1:35)
Hans Zimmer
5mEC3 Suite – Air v31.07 (1:21)
Hans Zimmer
5mEC4 Suite – Long Note Harmonics v12.07 (1:43)
Hans Zimmer
"The Mole" & "The Tide"
Include a Theme by Sir Edward Elgar
"Regimental Brothers"
By Hans Zimmer & Lorne Balfe
Includes a Theme by Sir Edward Elgar
"Home"
By Hans Zimmer & Benjamin Wallfisch
Includes a Theme by Sir Edward Elgar
"Variation 15 (Dunkirk)"
By Benjamin Wallfisch
Produced by Hans Zimmer
Based on a Theme by Sir Edward Elgar
"End Titles"
By Benjamin Wallfisch, Lorne Balfe & Hans Zimmer
Includes a Theme by Sir Edward Elgar
Music Composed by Hans Zimmer
Soundtrack Album Produced by Christopher Nolan & Hans Zimmer
Supervising Music Editor: Alex Gibson
Music Editor: Ryan Rubin
Score Produced by Lorne Balfe
Additional Music by Satnam Singh Ramgotra, Andy Page & Andrew Kawczynski
Sequencer Programming: Steve Mazzaro
Technical Score Engineers: Chuck Choi & Stephanie McNally
Technical Assistants: Steven Doar & Derrick Werlé
Soloists:
Bass: Nico Abondolo
Electric & Acoustic Cello: Tina Guo
Cello: Steve Erdody
Violin: Ben Powell
Viola, Violin, Hardanger Fiddle: Michael Levine
Trumpet: Jon Lewis & Johnny Britt
Exotic Instruments: Chas Smith
Percussion: Satnam Singh Ramgotra
Synth Programming: Hans Zimmer
Music Production Services: Steven Kofsky
Digital Instrument Design: Mark Wherry
Supervising Orchestrator: Bruce L. Fowler
Orchestrators: Walt Fowler, Suzette Moriarty, Carl Rydlund, Jeremy Levy & David Krystal
Orchestra Conducted by Gavin Greenaway & Benjamin Wallfisch
Orchestra Leader: Perry Montague-Mason
Score Recorded at Lyndhurst Hall, Air Studios
Score Recorded by Geoff Foster
Score Mixed by Alan Meyerson
Assistant Engineers: John Witt Chapman & Forest Christensen
Additional Engineering by Seth Waldmann & John Witt Chapman
Assistant to Hans Zimmer: Cynthia Park
Studio Manager for Remote Control Productions: Shalini Singh
Orchestra Contractor: Isobel Griffiths
Los Angeles Contractor: Peter Rotter
Sampling Team: Taurees Habib & Raul Vega
Synth Design: Howard Scarr, Drew Jordan & Ed Buller
Music Preparation: Booker T. White
Music Librarian: Jill Streater
Score Mixed at Remote Control Productions, Santa Monica CA
Air Studios Sessions:
Air Studios Booking: Alison Burton
ProTools Recordist: Laurence Anslow
Orchestra Timing: Chris Barrett
Assistant Engineer: Alex Ferguson
Album Mastered by Patricia Sullivan at Bernie Grundman Mastering
Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek
Executive in Charge of WaterTower Music: Jason Linn
Music Business Affairs Executive: Lisa Margolis
Hans Zimmer would like to thank:
Emma Thomas, Lee Smith, Jake Myers, Andy Thompson, Hoyte Van Hoytema, Toby Emmerich, Kevin Tsujihara, Paul Broucek, Lisa Margolis, Christopher Dowell, Jason Linn, Sandeep Sriram, Richard King, Paul Thomson, Christian Henson & the Spitfire Team, Olafur Arnalds, Gregg Landaker, Gary Rizzo, Ny Lee, Hannah Haidar, Colleen Young, Susie Gillis, Charlotte Matthews, Urs Heckmann, Candace Carlo, Jillian Abood, BeBe Lerner, Rae Murillo & the ID Team, Ryan Ouchida, Chris Strong, Brigitte Zimmer, Suzanne Zimmer, Vicki Zimmer, Zoë, Jake, Max & Annabel
Hans Zimmer (Sir Edward Elgar)
02 – We Need Our Army Back (6:28)
Hans Zimmer
03 – Shivering Soldier (2:52)
Hans Zimmer
04 – Supermarine (8:03)
Hans Zimmer
05 – The Tide (3:48)
Hans Zimmer (Sir Edward Elgar)
06 – Regimental Brothers (5:04)
Hans Zimmer, Lorne Balfe (Sir Edward Elgar)
07 – Impulse (2:36)
Hans Zimmer
08 – Home (6:02)
Hans Zimmer, Benjamin Wallfisch (Sir Edward Elgar)
09 – The Oil (6:10)
Hans Zimmer
10 – Variation 15 (Dunkirk) (5:51)
Benjamin Wallfisch, Hans Zimmer (Sir Edward Elgar)
11 – End Titles (Dunkirk) (7:12)
Hans Zimmer, Lorne Balfe, Benjamin Wallfisch (Sir Edward Elgar)
So nice to see a modern hero use the themes of Edward Elgar 💕
I know it won’t happen, but I sure as hell wish Hans would score The Odssey. It’s fantasy, but it could be an awesome return to his historic epic sound.
Damn it, The Odyssey* lol
Stephane, can you specify those 2 tracks:
Tommy v8.00
Long Note Harmonics v.12.7…
Are those – 2nd part of “The Mole” and 2nd part of “Regimental Brothers”?… Or those ones are separate suites?..
32 basses recorded for the score, crazy
It’s funny looking back at this page and seeing so many people that were apprehensive about Ludwig taking over as Nolan’s new guy and now Ludwig is the top dog in Hollywood. Needless to say he’s knocked it out of the park on both of his Nolan projects and he’s here to stay, Ludwig is the GOAT!!
I think Ludwig really was the perfect choice for TENET, I honestly don’t think Hans could’ve done a better job on that film, Ludwig wrote the perfect score for it and it’s so ingrained into the identity of the film for me. Oppenheimer is a bit more straight forward, I love the score so much but it’s a movie I think Hans could’ve also scored and did just as good of a job on. I’m totally happy with Nolan going with Ludwig and Hans staying with Denis, I think they’re both great pairings and we’ll get a ton of great music out of it
I don’t really agree KEM, but I won’t argue because I don’t want to put Ludwig down to elevate Hans. That’s just not how things work.
I’ve always wondered what a Zimmer Tenet score would’ve been like. It’s such a crazy movie with a lot of potential for experimentation (I wonder how he would’ve approached inverted music?!). But anyway, Ludwig did such a spectacular job & it’s absolutely insane that he didn’t get award recognition for it. That said I believe most, if not all, Nolan-film scores were robbed when it comes to awards and I’m glad Ludwig is sweeping this award season because he most definitely deserves it.
Totally not interested in Tenet. Or Dunkirk. Dudes – this is not music. It is sound design. Go and wank off at the Ben Burtt fan sites. HZ is a melodic genius which is why I am here. When he does his job well, like WW84 and Creator, he is still the legend I love. When he fucks up film music for the next generation to ‘be cool’ HZ is a terrible terrible influence.
And that is when the nobodies take over and replicate that non-sense sound everywhere. That is why we are where we are – new film music is pointless. It is soulless corporate shit. And not only does that mean that the Balfe’s off this world are on the brink of extinction with AI but music is going extreme with very aggressively atonal work like Levi etc.
And that is why HZ is so aggressive with invention. Balfe sounds like your dad from 1994.
Tell me one good new score that stands up to any pre-2010s?
I only really like sound design scores, way more interesting to me