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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.
Saw the film again last night and there are a ton of great cues missing, especially from the first half of the film. It's a crime the cue when they carry the stretcher onto the ship wasn't included.The answer is: Christopher Nolan ;-)It doesn't crossfade as much as, say, The Dark Knight Rises or Inception, but there is  very rarely dead air. I haven't listened enough times to determine when it does and doesn't crossfade, but the tracks are, at least, very closely edited together.I Love Hans' stuff but this score didn't really do it for me. I don't see how people are repping this as Oscar worthy but trash something like CHAPPiEs score, something with actual emotion and melodies.This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team
Does anyone know whether the cd version actually has the cues crossfading into each other? Since in the film the score plays almost as an entire cue, it would have made sense if they did that. It sounds like some cues in the digital version end kind of awkwardly, like 'Impulse' and 'Home'. These cues fade out while there still seems to be some instrumentation progression going on. Hence the crossfade thought...Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because<br>1. Use of a classical musical piece throughout<br>2. More than one guy is credited.<br><br>Anyway, that's how Hans always liked, crediting everyone.I have to agree on the soundtrack being mostly unlistenable...<br><br>This is nothing like Inception, or even Interstellar.<br><br>I seriously doubt there's going to be a big stink made about any track from this score the likes of "No Time For Caution" back in 14...<br><br>I tried...I tried real hard to find something to keep me interested in this score, but I personally couldn't find anything. Most of it is tension building noise. I'm sure it's great within the film, but outside the film? Not so much.<br><br>I guess Zimmer is on "retirement mode" now...He's slowing down and not wanting to produce the rockin stuff that he used to...I can't blame him, but still...This score sounds like a total experiment.Sorry bud...<br><br>Its not.Hi everyone, does anyone know the name of the music in the Dunkirk Trailer 1 at 01:30? It doesn't not seem to be in the score, I'm assuming it's not in the movie, I'm going to see it Sunday. If anyone knows the music or where to find it, please Comment, thanks!
Tina had a lot of work to do here!Each time I listen to "The Oil," I'm convinced it can't get any louder and larger, but it does. If you don't look at the track time, you're just constantly thinking it's about to end, and yet it somehow continues to up the ante until you almost can't handle anymore!I was on three concerts so far and just at the one at Frankfurt some band members came down from the stage after the concert. I didn'f got a autograph but I did photos with nile marr and nick glennie smith. But if you would ask some of the band members I am sure they will say "ok perhaps I can arrange it" would try it this way :)I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.A fanmade.<br><br>Hybrid probably took the track from here because the guy behind the channel was stating that it was original without being. Leaving the link here would only give him more audience.
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Harry Gregson-WilliamsJohn PowellJames McKee SmithSteve Jablonsky
ComposerComposerAdditional MusicAdditional Music
Chicken Run
Label: RCA Victor
Length: 62'28 (Score: 59'52)
HZimmer.com rating:        5/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   3/5 (5409 votes)
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  1. Opening Escape (3:39)
    John Powell
  2. Main Titles (3:24)
    John Powell
  3. The Evil Mrs. Tweedy (4:22)
    John Powell
  4. Rats! (1:09)
    Harry Gregson-Williams
  5. Chickens Are Not Organized (1:01)
    John Powell
  6. We Need A Miracle (2:03)
    John Powell
  7. Rocky And The Circus (3:51)
    John Powell
  8. Flight Training (3:39)
    John Powell
  9. A Really Big Truck Arrives (5:56)
    Harry Gregson-Williams
  10. Cocktails And Flighty Thoughts (1:58)
    Harry Gregson-Williams
  11. Babs' Big Break (1:40)
    John Powell
  12. Flip Flip And Fly - Ellis Hall (2:09)
  13. Up On The Roof (3:08)
    Harry Gregson-Williams
  14. Into The Pie Machine (3:10)
    John Powell
  15. Rocky‚ A Fake All Along (3:28)
    Harry Gregson-Williams
  16. Building The Crate (3:32)
    John Powell
  17. The Wanderer - Dion (2:47)
  18. The Chickens Are Revolting (2:45)
    John Powell, Gavin Greenaway
  19. Lift Off (3:41)
    Harry Gregson-Williams
  20. Escape To Paradise (4:59)
    John Powell, Gavin Greenaway, James McKee Smith
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Edmund Meinerts reply Replies: 4 || 2013-11-17 15:21:00
How come there are some guys like Jablonsky and Zanelli who are listed as additionals here, but don't have any cues credited to them?


Frisbee2013-11-17 16:34:20
Two possibilities:

1) The parts they wrote didn't make it to the album program, or

2) It is known that these guys did write some music for this film, but the exact cues are not known.


Edmund Meinerts2013-11-17 16:42:36
Not sure about #1, because I honestly don't think there's much more music in the film than there is on this album.


Mike2013-11-19 04:15:54
Perhaps they did source music not included here...I know that was what Zanelli did on Antz.


Mr Tweedy2013-11-19 22:24:11
Actually Edmund there are a few tracks in the film that didn't make it to the album (5 minutes or so I think).
This could be an explanation. Perhaps some additional composers just helped here and there but didn't earn credits because their contribution was meager too much ?

I don't remember if there was any source music in the film apart from "The Wanderer" (that was not composed by the score team, of course).

MacArthur reply Replies: 1 || 2013-08-11 19:30:05
I Kinda Sounds Like the Great Escape Theme by Elmer Bernstein


Edmund Meinerts2013-08-11 22:40:22
Well, considering the movie is essentially The Great Escape except with chickens, I think that was the general idea. ;)

Anonymous reply Replies: 0 || 2013-06-25 07:55:05
So then, I take it JP was the primary guy here?

Ele reply Replies: 1 || 2009-12-16 00:00:00
There's mistake. Geoff Zanelli did not write additional music here.


Mike2013-04-10 04:59:28
Apparently he did. The film is listed on his site.

Mike reply Replies: 0 || 2012-12-28 09:26:05
Steve Jablonsky worked on this score! Wow!

FunnyML reply Replies: 0 || 2011-04-12 00:00:00
According to the film's credits sequence, Geoff Zanelli actually did an additional cue.

Mario Soundtrack reply Replies: 0 || 2009-07-25 00:00:00
New Actualist!!!!! John Powell and Harry Gregson-Williams is the best DUO. Yes, and with Hans Zimmer too.!

Opening Escape - Main Title - The Evil Mrs.Tweedy - Chickens Are not Organized - Flight Training -
A Really Big Truck Arrives - Cocktalis and Flighty Thoughts - Into the Pie Machine -
Building the Crate - The Chickens Are Revolting - Lift Off - Escape to Paradise !!!! 12 of 20 Goods!!

Mario Soundtrack reply Replies: 0 || 2009-02-28 00:00:00
Opening Escape - Main Titles - A really Big Truck Arrives - Into the Pie Machine - Building the Crate - Chickens Are Revolting - Lift Off & Escape to Paradise!
The best!!

Mario Soundtrack reply Replies: 0 || 2008-11-19 00:00:00
This audible band is especially good, very varied and wonderful. The by that? The name of the two authors explains it all, loves me this duo. My favourite songs of here are:
Opening Escapes, Main Titles, A Really Big Truck Arrives, Building the Crate, The Chickens Are Revolting, LIFT OFF & Escape to Paradise.

DemonStar reply Replies: 0 || 2008-07-24 00:00:00
Amazing score!

Anthony reply Replies: 0 || 2006-12-23 00:00:00
Go Hans Zimmer? Excuse me?

Anonymous reply Replies: 0 || 2006-10-24 00:00:00
Great score for an amazingly made movie. Go Aardman. Go Hans Zimmer. Go life!

Ant reply Replies: 0 || 2006-08-13 00:00:00
Heh, the kazoos are just the cherry on top!

Peter Mandelson reply Replies: 0 || 2005-01-09 00:00:00
Great score for a great film!

John Mason reply Replies: 0 || 2005-01-09 00:00:00
My excitement just couldn.t be contained when I heard that Chicken Run was being scored by Gregson-Williams/Powell after their amazing collaboration on Antz. I knew we were all in for a treat!
I heard somewhere that main title music is a good way of telling how good the rest of the score is going to be and this is no exception. The "--Opening Escape"-- and "--Main Titles"-- tracks are seven minutes of sheer excitement. The music could be easily inserted into any old-fashioned war movie like 'The Great Escape' (which the film and music obviously parodies).
The introduction of the Mrs Tweedy character, which is gloriously placed in track 3, is at first ominous and then sad to accompany the execution of a fellow chicken.
There are many other sad, heartfelt cues in the score such as "--We Need A Miracle, "--Up On The Roof"-- and "--Rocky, A Fake All Along"--.
There are also many other action filled tracks (tracks 14 and 16).
I almost forgot to mention the kazoos - they are great. They provide a perfect comical feel to the score whilst preventing it from becoming too serious.
There are two songs on the album, one existing and one original - which is very enjoyable.

A great collaboration between the two composers who will continue to produce, interesting and exciting scores for years to come.

***** out of *****

Mr.Tweedy reply Replies: 0 || 2004-12-07 00:00:00
Certainement l'oeuvre la plus aboutie écrite par John Powell et Harry Gregson-Williams.
Les deux compositeurs ont réalisé un travail excellent pour ce film des studios Aardman, déjà créateurs des courts "--Wallace &-- Gromit"--.
L'humour est omniprésent et les différents thèmes sont recherchés, et d'une énergie rare.
Du "--Main Titles"-- au "--Building the Crate"-- survitaminé, pas une seule seconde de musique n'ennuie l'auditeur. Même les deux chansons ("--Flip Flop and Fly"-- &-- "--The Wanderer"--) s'inscrive parfaitement dans le contexte.
L'utilisation des kazoos donne un son nasillard très drôle, en guise d'identité sonore de la bande originale.

Une petite perle que tous les fans de Powell et Gregson-Williams se doivent d'avoir dans leur collection. Magnifique.

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Chicken Run soundtrack - Harry Gregson-Williams - John Powell 2000