Hans Zimmer
Composer
Lorne Balfe
Additional Music
Mel Wesson
Ambient Music Design
Andrew Kawczynski
Sequencer Programmer
Nick Delaplane
Sequencer Programmer
Jacob Shea
Sequencer Programmer
Ryeland Allison
Music Programmer
Bruce Fowler
Supervising Orchestrator
Suzette Moriarty
Orchestrator
Walt Fowler
Orchestrator
Elizabeth Finch
Orchestrator
Rick Giovinazzo
Orchestrator
Kevin Kaska
Orchestrator
Ed Neumeister
Orchestrator
Carl Rydlund
Orchestrator
Matt Dunkley
Conductor
Johnny Marr
Musician
Satnam Ramgotra
Musician
Mary Scully
Musician
Ryan Rubin
Music Editor
Peter Oso Snell
Assistant Music Editor
Alan Meyerson
Music Scoring Mixer
Daniel Kresco
Assistant Score Mixer
Howard Scarr
Synth Programmer
Chuck Choi
Technical Score Engineer
Thomas Broderick
Technical Score Engineer
Gavin Greenaway
Music Consultant
Mark Wherry
Digital Instrument Design
Andrew Zack
Score Coordinator
Steven Kofsky
Music Production Services
Czarina Russell
Studio Manager
Shalini Singh
Studio Manager
INCEPTION, 2010, Directed by Christopher Nolan
Music by Hans Zimmer
Supervising Music Editor: Alex Gibson
Music Editor: Ryan Rubin
Assistant Music Editors: Peter Oso Snell & Mike Higham
Score Produced & Additional Music by Lorne Balfe
Ambient Music Design: Mel Wesson
Synth Programming: Hans Zimmer & Howard Scarr
Guitar: Johnny Marr
Orchestrator: Bruce L. Fowler
Orchestra Conducted by Matt Dunkley
Digital Instrument Design: Mark Wherry
Music Production Services: Steven Kofsky
Music Score Consultant: Gavin Greenaway
Score Coordinator: Andrew Zack
Score Recorded by Geoff Foster
Score Mixed by Alan Meyerson
ALBUM ASSEMBLY
Half Remembered Dream : 1m0 Logos + 3m15 Dreams Or Memories (Edited)
We Built Our Own World : E Tragic Strings Suite
Dream Is Collapsing : F Riff Suite (Edited)
Radical Notion : 2m10 Physics & Subconcious
Old Souls : Mal Dark Suite
528491 : 7m44 Fisher & Son (Edited)
Mombasa : Mombasa Suite
One Simple Idea : Kick It Suite (Edited)
Dream Within A Dream : 6m30-33 To The Complex (Edited) + 6m37 Walking Through Limbo (Edited)
Waiting For A Train : 4m25 Mal & Cobb (Edited) + 7m39-43 Truth Once Known (Edited)
Paradox : 7m46 Honor Our Agreement (Edited)
Time : Time Suite
Projections : 1m2 Stealing Secrets
Don't Think About Elephants : 6m35-36 It's A Trap (Edited)
1m1 Cobb Meets Saito (2:05)
1m2 Stealing Secrets (7:05)
1m3 Audition (1:17)
1m6 I Don’t Like Trains (1:06)
1m7 Hotel & Helicopter (6:08)
2m8 Miles Introduces Ariadne (4:53)
2M10 Physics & Subconscious Change (3:46)
2m11 Totem (1:14)
2m12 Thief & A Forger (1:48)
2m13 Mombassa Chase (2:33)
3m14 Penrose Steps & Sleepers (5:09)
3m15 Vultures Are Circling (3:15)
3m16 Strategy (7:03)
3m18 Dreams Or Memories (5:43)
4m19 En Route (3:29)
4m21 Train Spotting (0:07)
4m22 Looking Into Limbo – Interrogation (5:59)
4m22 INS Looking Into Limbo (Insert) (0:53)
4m23 Saito’s Fate (0:43)
4m24 Disappointed (1:43)
4m25 Mal & Cobb (7:06)
5m26 Into The Van (3:13)
5m27 Mr. Charles (12:34)
5m27 INS1 Mr. Charles (Insert #1) (0:18)
5m27 INS2 Mr. Charles (Insert #2) (2:40)
6m29 Planning The Diversion (1:22)
6m30-33 To The Complex (3:28)
6m35-36 It’s A Trap (8:51)
6m37 Walking Through Limbo (4:43)
6m38 An Idea Is Like A Virus (2:23)
7m39-43 Truth Once Known (7:30)
7m44 Fischer & Son (3:27)
Hans Zimmer, Lorne Balfe
7m46 Honor Our Agreement (4:43)
Hans Zimmer, Lorne Balfe
7m47 Welcome Home Mr. Cobb (3:39)
Suite – “F” Riff (1:58)
Hans Zimmer
Suite – Mal Dark (7:53)
Hans Zimmer
Suite – Mombasa (4:55)
Suite – E Tragic Strings (1:39)
Suite – Kick It (4:06)
Hans Zimmer, Lorne Balfe
Suite – Time (4:38)
Hans Zimmer
Trailer Music (1:17)
Hans Zimmer, Lorne Balfe
"Half Remembered Dream" & "Waiting For A Train" contain interpolations of "Non, Je Ne Regrette Rien", performed by Edith Piaf, written by Charles Dumont & Michel Vaucaire
Music by Hans Zimmer
Music Produced by Hans Zimmer, Lorne Balfe, Christopher Nolan & Alex Gibson
Executive Album Producer: Christopher Nolan
Executive in Charge of WaterTower Music: Jason Linn
Executives in Charge of Music for Warner Bros. Pictures: Paul Broucek & Darren Higman
Additional Music: Lorne Balfe
Guitar: Johnny Marr
Ambient Music Design: Mel Wesson
Synth Programming: Hans Zimmer & Howard Scarr
Digital Instrument Design: Mark Wherry
Supervising Orchestrator: Bruce L. Fowler
Orchestrators: Elizabeth Finch, Walter Fowler, Rick Giovinazzo, Kevin Kaska, Suzette Moriarty, Ed Neumeister & Carl Rydlund
Music Score Consultant: Gavin Greenaway
Orchestra Conducted by Matt Dunkley
Supervising Music Editor: Alex Gibson
Music Editor: Ryan Rubin
Assistant Music Editors: Peter Oso Snell & Mike Higham
Sequencer Programming: Nick Delaplane, Andrew Kawczynski & Jacob Shea
Head Technical Score Engineer: Thomas Broderick
Technical Score Engineer: Chuck Choi
Orchestra Contractor: Isobel Griffiths
Music Production Services: Steven Kofsky
Score Coordinator: Andrew Zack
Music Preparation: Booker White & Jill Streeter
Score Recorded by Geoff Foster
Assistant Engineer: Chris Barrett
Scored Mixed by Alan Meyerson
Assisted by Daniel Kresco
Score Recorded at Air Lyndhurst, London, UK
Score Mixed at Remote Control Productions
Sample Development: Claudius Bruese, Sam Estes & Michael Hobe
Studio Managers for Remote Control Productions: Czarina Russell & Shalini Singh
Principal Violin: Perry Montague-Mason
Principal Viola: Peter Lale
Principal Cello: Anthony Pleeth
Principal Bass: Mary Scully
Tenor Trombone: Richard Edwards
Bass Trombone: Dave Stewart
Tuba: Owen Slade
French Horn: Richard Watkins
Synthesizers: Hans Zimmer
Soundtrack Album Mastered by Pat Sullivan at Bernie Grundman Mastering, Hollywood, CA
Film Music Clearance: Bobby Thornburg
Music Business Affairs: Lisa Margolis, Jamie Roberts & Emio Zizza
Special Thanks: Christopher Nolan, Emma Thomas, Alan Horn, Jeff Robinov, Paul Broucek, Lee Smith, Richard King, Gary Rizzo, Lora Hirschberg, Bonnie Abaunza, Bob Badami, Eva & David Balfe, Tiffany Bordenave, Marc Brickman, Jo Buckley, Ben Burfield, Alison Burton & the staff at Air Studios, Ronni Chasen, Melissa Crow, Suzannz Fritz, Jordan Goldberg, Max Golfar, Juli Goodwin, Michael Gorfaine, Peter Gorges, Isobel Griffiths, Tina Guo, David Hall, Nick Haussling, Urs Heckmann, Jason Hillhouse, Aleksey Igudesman, Alana Kass, Steven Kofsky, Sue Kroll, Emy Macek, Heather MacFarlane, Christina Mansky, Lisa Margolis, Satoshi Noguchi, Diamuid Quinn, Satnam Ramgotra, Xavier Ramos, Rachel Reyes, Jaimie Roberts, Lee Rossignol, Andrew Rossiter, Jeff Sanderson, Sam Schwartz, Charlie Steinberg, Diego Stocco, Chris Strong, Jonna Terrasi, Derek THorn, Bobby Thornburg, Ryan Uchida, Elizabeth Warren & Emio Zizza. Suzanne Zimmer & the Mini-Z's & Zoë Zimmer
02 – We Built Our Own World (1:56)
03 – Dream Is Collapsing (2:24)
04 – Radical Notion (3:43)
05 – Old Souls (7:44)
06 – 528491 (2:24)
07 – Mombasa (4:54)
08 – One Simple Idea (2:28)
09 – Dream Within A Dream (5:04)
10 – Waiting For A Train (9:30)
11 – Paradox (3:25)
12 – Time (4:36)
13 – Limited Digital Bonus Track : Projections (7:04)
14 – Limited Digital Bonus Track : Don’t Think About Elephants (5:35)
Wait, how the hell do we not have cue-by-cue credits for fucking Inception? Obviously the score as a whole is Hans + Lorne and we know who did what thematically, but still.
The Saito motif is only two notes but it sounds very Hansy to me
I haven’t been able to find the rest of the credits, but up to cue Mr. Charles it’s all Hans/Lorne except what I mentioned before, which is just Lorne. Although I remember there were a couple of Lorne solo tracks on the remaining tracks. And regarding Mr. Charles, Lorne himself confirmed to me that he took care of all the cue.
So it really is a Lorne Balfe score huh…
Maybe Stephane can add, but my understanding from HZ interviews is Hans scored the “script” for Nolan early on, and Lorne scored the actual “film” using Hans’s themes and working with Hans.
Yeah that’s what I figured, Hans suites, Lorne arrangements, great results
Not to undermine Lorne’s contribution in any way, but I’m pretty sure Zimmer was very hands on in this project. It’s a Nolan film after all and one of the biggest of his career. Yes Lorne might’ve added the finishing touches to the picture but I doubt Zimmer just scored to script and just left it there.
Hans was definitely hands on with this. Just because a cue has Lorne’s name with Hans doesn’t mean Hans didn’t work on the cue. This score has the HZ sound through and through. Zimmer almost never mentions Lorne in connection to this score either. He sells it as his own project. And like I said above….I don’t buy that the Saito motif isn’t Hans if that’s what the old credits said. Lol.
Why is it important to know who programmed every single note into the DAW. I don’t understand the obsession. It’s weird!!
It’s not that it really matters, it’s just that we really love this music so we’re interested in knowing who exactly did what, we’re endlessly curious
Wait, how the hell do we not have cue-by-cue credits for fucking Inception? Obviously the score as a whole is Hans + Lorne and we know who did what thematically, but still.
The Saito motif is only two notes but it sounds very Hansy to me
I haven’t been able to find the rest of the credits, but up to cue Mr. Charles it’s all Hans/Lorne except what I mentioned before, which is just Lorne. Although I remember there were a couple of Lorne solo tracks on the remaining tracks. And regarding Mr. Charles, Lorne himself confirmed to me that he took care of all the cue.
So it really is a Lorne Balfe score huh…
Maybe Stephane can add, but my understanding from HZ interviews is Hans scored the “script” for Nolan early on, and Lorne scored the actual “film” using Hans’s themes and working with Hans.
Yeah that’s what I figured, Hans suites, Lorne arrangements, great results
Not to undermine Lorne’s contribution in any way, but I’m pretty sure Zimmer was very hands on in this project. It’s a Nolan film after all and one of the biggest of his career. Yes Lorne might’ve added the finishing touches to the picture but I doubt Zimmer just scored to script and just left it there.
Hans was definitely hands on with this. Just because a cue has Lorne’s name with Hans doesn’t mean Hans didn’t work on the cue. This score has the HZ sound through and through. Zimmer almost never mentions Lorne in connection to this score either. He sells it as his own project. And like I said above….I don’t buy that the Saito motif isn’t Hans if that’s what the old credits said. Lol.
Why is it important to know who programmed every single note into the DAW. I don’t understand the obsession. It’s weird!!
It’s not that it really matters, it’s just that we really love this music so we’re interested in knowing who exactly did what, we’re endlessly curious
this NEEDS a la la land expanded edition set
As far as I am able to understand the current situation, currently WB is not licensing out their music library to third parties so even if it were a plan for Hans/Lorne, WB won’t let it happen right now.
this NEEDS a la la land expanded edition set
As far as I am able to understand the current situation, currently WB is not licensing out their music library to third parties so even if it were a plan for Hans/Lorne, WB won’t let it happen right now.