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Wait!<br>So has Balfe been replaced due to having other projects?<br>I thought it had been completed?Why was there the change of composers?...wouldn't being really busy be an argument *for* him possibly being replaced? When you're signed on to 10 movies and release schedules are being constantly pushed around because nobody has a clue when theaters are going to open again, you shouldn't be surprised if eventually you might run into some conflicts.Jackman is not replacing Balfe! <br>Balfe is the most busiest composer at the moment so he isn’t going to get replaced last minute!!!!!Thank you for your replies. On IMDB she is listed.
Alright, after re-listening to the score, I've made a few educated guesses of what the additional composers did, based on what we know about the score and their previous work. Note that none of this is confirmed by Hybrid, just my opinion.<br><br>Lorne Balfe: Seems to practically be a co-composer here. I hear a lot of him in this score. It seems he did Invasion (as he's known for contributing trailer music to films he works on) seemingly the suites "Brooding", "Deciphering the Signal", "Battle", and the one we know he cowrote, "Journey Suite". Based on this here's my guess as to what he contributed. <br><br>Soccent Attack - Sounds like his style, probably him arranging AllSpark and Decepticon material. <br><br>Keller's Briefing - Arrangement of "Deciphering the Signal"<br><br>Deciphering the Signal - Obviously another arrangement of "Deciphering the Signal" with Batman Begins-like action at the end.<br><br>Sam's Pink Bike Ride (Part 2) - Sounds like an arrangement of "Brooding" material. <br><br>(Possibly?) Are You LadiesMan217? - Some arrangement of "Brooding" and "Journey Suite" material, although hard to say whether the theme at 1:10 is Steve's or Lorne's. Could be Steve arranging Lorne material, as it sounds more Jablonsky-esque to me. <br><br>Autobots to the Rescue - Could be Steve imitating Batman Begins style, but sounds far too Lorne for me to not consider it a co-written track. <br><br>Sector 7 Chase - Part 1 sounds more Jablonsky than Lorne, but there's no question to me that part 2 has a lot of Balfe in there. <br><br>Where Is My Car? - Batman Begins-like again, probably Lorne solo, or Lorne and Steve<br><br>Decepticons Mobilize (Part 2) - Arrangement of "Brooding"<br><br>Freeway Fight - Battle version of Decepticon theme from "Brooding"<br><br>Stumble Bumble (Part 1) & (Part 2 Alternate) - Arrangement of "Journey Suite", second part not used in the film sounds like Steve & Lorne Combo to me. Film version of part 2 sounds pure Steve to me. <br><br>You're A Soldier Now (Parts 1 & 3) - Lorne being heavily involved in the final battle is known, and Parts 1 and 3 have arrangements of Lorne material. I'm also fairly certain that Lorne wrote the Optimus vs Megatron theme from Part 3 and "Optimus vs Megatron".<br><br>Optimus vs Megatron - Finale of theme introduced in "You're A Soldier Now (Part 3)" as well as the "Journey / AllSpark" theme which could be Lorne's or Steve's. <br><br>Trevor Morris: I can infer from his work on Pirates 2, The Island, and the one track we know he worked on. <br><br>Soldiers Arrive - Not sure why, but I've always assumed this military theme was Morris'.<br><br>Arctic 1897 - Dark theme that reminds me a lot of his work from Pirates 2. <br><br>Scorponok - Known fact that he co-wrote this. <br><br>Hoover Dam - Arrangement of military theme<br><br>Transforming -  Same theme from Arctic 1897<br><br>Sam on the Roof (Part 2) - Arrangement of theme from Scorponok, though could be Steve or Lorne arranging it.<br><br>Optimus vs Megatron - A slight hint to the Military theme when they begin attacking Blackout, and Scorponok theme reprisal, once again could be Steve or Lorne arranging these themes. <br><br>Creeper Suite / A Call to Arms (Unused) - Original music for Optimus' Epilogue, contains arrangement of military theme. <br><br>Jay Flood: Can be inferred from his work on Transformers: The Game, his overall more orchestral writing, and his contributions to Nightmare on Elm Street, Sims 3, and Desperate Housewives. <br><br>Camaro on the Run - Definitely has a TF: The Game sound to it overall. As well as a bit of Thomas Newman-esque music. <br><br>Witwicky (Parts 1-3) - Definitely some of his style here along with Steve's overall Desperate Housewives-esque music. <br><br>Decepticons 2 Suite / Frenzy - The suspenseful strings make me think of Flood's Nightmare on Elm Street work, and the brass writing seems more characteristic of him than Jablonsky to me, though it was still probably a co-written suite. <br><br>Tense Action Suite - Once again reminds me of Flood's Nightmare suspenseful string writing, probably at least co-composed with Jablonsky. <br><br>Clay Duncan - I can guess somewhat based on his contributions to "The Island" but otherwise I don't know much about him so I'm not sure about any of the inferences I'm about the make. <br><br>Angry Camaro - This sort of drone music sounds like it could be him as his contributions were very electronic in The Island.<br><br>Bumblebee vs Barricade - Strange electronics and sounds plus more minimalist writing make me think Duncan. <br><br>Tow Truck Charge - Definitely has The Island's sound. Could be Trevor Morris too. <br><br>TJ Lindgreen: I know so little about his style except he works with Elfman and did additional music for TF: The Game so not much I can say for what he did. <br><br>Belly Shot(?) - The ethereal choir style sounds somewhat like TF: The Game's score and Elfman's choir. <br><br>Not to Hear That(?) - Maybe he composed this motif for Mikaela that also appeared in "Belly Shot". <br><br>Surreal Mikaela(?) - Once again I'm hoping the specific choir sound is part of his style. <br><br>Anything I didn't mention is a track I'm assuming is all Jablonsky. Please note that I'm not trying to take away from Steve's work on this score, and that for most of these track I'm assuming Steve had some involvement in as well, I'm just speculating for fun because I've always wanted to know who did what on this score.LP sadly, but it's also on Spotify.Technical reasons ! lol ;)<br><br>But she was there.Most welcome news. Should be a nice replacement for the Fantastic Beasts score that will have to have been pushed off. I imagine his work on Jungle Cruise will be great as well. 2021 is looking pretty exciting for score releases!She definitely performed on the score, I don't know why she is uncredited...
The poster shows Lorne Balfe as the composer.<br><br>But then it also did have Desplat!So no solo cello by Tina Guo? Is it digital then or is it no cello?CD or LP release?Why is Lorne Balfe not nominated for a Grammy for Ad Astra ?To my understanding, James never worked for Hans or Remote Control. They’re simply friends and have collaborated on a few projects. Powell (and Gregson-Williams) used to work at Remote Control before moving on to his own studio/endeavors. <br><br>BUT, I am equally as excited for James to return to Disney Animation. Very excited for this and Jungle Cruise.
I guess James Newton Howard doesn't count as a Remote Control composer anymore (and yet John Powell does? I don't get it), but anyway, he's scoring Disney Animation Studios' Raya and the Last Dragon. After his epic trilogy of Dinosaur, Atlantis, and Treasure Planet, I welcome his return to the studio!Some original cue titles with slates from a music mixing CD-R:<br>1M13 Transactions<br><br>2M16 Jake Gets Stoned<br>2M20A Alley<br>2M21 Rapists Castration<br><br>3M24 My Old Division<br>3M27 Go Fetch Dog<br>3M30 The Freeway<br>3M32 Alonzo Steals Money<br>3M33 Into The Jungle<br><br>4M41 Safety Is First / Busting Into Rogers<br><br>5M46 Helicopter<br>5M48 Sunset / Wet Streets<br>5M51 Jake Gets Beaten<br>5M52 Smiley Calls His Cousin<br><br>6M57 On The Roof<br>6M58 Jake Lands On Car<br><br>7M61 Alonzo Dies<br>7M63 Sun ShotMovie credits:<br><br>Music by Hans Zimmer & David Fleming<br><br>Music Supervisor: Joe Rudge<br><br>Score Produced by Hans Zimmer<br>Supervising Music Editor: Ryan Rubin<br>Music Editor: Nate Underkuffler<br>Music Production Services: Steven Kofsky<br>Additional Music by Ben Powell<br>Featured Guitar Soloist: Derek Trucks<br>Score Mixed by Seth Waldmann<br>Score Mix Assistant: Aldo Arechar<br>Technical Score Engineer: Chuck Choi<br>Technical Assistants: James Grimwade, Aldo Arechar, Steven Doar & Fabio Marks<br>Synth Programming: Hans Zimmer<br>Digital Instrument Design: Mark Wherry<br>Digital Instrument Preparation: Taurees Habib, Raul Vega, David Naroth & Paul Salerno<br>Studio Manager for Remote Control Productions: Shalini Singh<br>Assistant to Hans Zimmer: Cynthia Park<br>Score Mixed at Remote Control Productions, Santa Monica CA<br>Music Clearances: Jessica Dolingerthats trueCan't think of a more meaningless and laughable award than the Oscar.
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Hans ZimmerLorne BalfeBenjamin WallfischAndrew Kawczynski
ComposerAdditional MusicAdditional MusicAdditional Music
Dunkirk
Label: WaterTower Music
Length: 59'46
HZimmer.com rating:        Not yet rated
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   2/5 (4704 votes)
  1. The Mole (5:35)
    Hans Zimmer (Sir Edward Elgar)
  2. We Need Our Army Back (6:28)
    Hans Zimmer
  3. Shivering Soldier (2:52)
    Hans Zimmer
  4. Supermarine (8:03)
    Hans Zimmer
  5. The Tide (3:48)
    Hans Zimmer (Sir Edward Elgar)
  6. Regimental Brothers (5:04)
    Hans Zimmer, Lorne Balfe (Sir Edward Elgar)
  7. Impulse (2:36)
    Hans Zimmer
  8. Home (6:02)
    Hans Zimmer, Benjamin Wallfisch (Sir Edward Elgar)
  9. 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)
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Moggyman reply Replies: 10 || 2020-11-10 04:02:35
We need the complete score to this movie to come out. There is such good material that wasn't released.


Eustace2020-11-10 23:39:42
Yeah we need that.


Ahmad2020-11-11 02:57:43
Was hoping for some sort of expanded release by WaterTower Music but it seems 11 tracks is all we’ll ever get.

I’d be interested in more demos and suites from Hans. Seems like the score was indeed worked on as a one long cue - according to a podcast with sound team. Alex Gibson probably played a big role in how the final score sounded in collaboration with Hans and his team at RCP. They keep talking about how there are multiple times where the music and sound effects cross over and how there ins’t a clear line on what’s music and what’s sound effects.

Another score that will be glued to the film.


elgordo2020-11-11 04:39:11
The hard thing with a demo release is that the whole score is essentially one long continuous tempo increase (Hans talked about creating an early tempo map). I feel like even breaking it to individual tracks can be very challenging.


Ahmad2020-11-11 19:02:01
I’m sure Hans had lots of demos and ideas without the Risset Rhythm concept. Most of the album tracks were suites. Only “The Tide”, “Impulse” (Slightly different intro and no tempo changes), “Variation 15” and “End Titles” are actual cues from the film.

Wish they just went full hardcore and released a 100 minute track - or just an isolated score track on Blu-ray. And no doubt trying to cut tracks out of that 100 minute track would be a nightmare.

Btw, same trick was used on a recent film that should remain unnamed because mentioning it here would create unwanted discourse lol. And thank goodness the track was actually released recently.


elgordo2020-11-12 05:30:27
Considering JXL got an hour long demo released with Run All Night, I am still hoping (foolishly) the 100 minute demo would someday get released


Ahmad2020-11-12 14:27:27
What I understand is the “tempo map” Hans provided was made up of mostly percussive elements: ticking, heartbeats, footsteps, etc... per Nolan’s request (He mentioned it in several interviews). Pretty sure you can hear some of it in the prologue.

Apparently, in Tom Shore’s book “The Nolan Variation”, Nolan mentions the alternative orchestral score Hans recorded for Dunkirk. So that’s another thing people would be curious to hear as well.


...2020-11-12 16:34:53
What does it say in the book about Zimmer's orchestral Dunkirk score?


Ahmad2020-11-12 18:31:00
I don't know but someone I follow owns the book, and tweeted about it asking if anyone was aware of the score's existence. And he then found an article from 2018 when Hans himself mentioned it.

"I went and recorded a large orchestral score at one point, and there’s something weirdly liberating when you put it up against the picture and go, “No, this doesn’t work at all. Let’s throw it in the bin.” You have to have the courage."

https://deadline.com/2018/02/dunkirk-hans-zimmer-oscars-orig ina-score-interview-1202280792/


Moggyman2020-11-13 00:33:51
Ahmad, Hans talked about a secret that they used to create the score in the article you shared. Has anyone ever figured out that secret?


Ahmad2020-11-13 03:31:13
Pretty much. There is a guy who recreated some of Hans’ most popular cues who figured it out (gotta give him credit). He recreated “Stretcher Carry”. But the concept is not new - it’s just not very popular because it’s not easy to make.

I remember Hans saying somewhere that it’s very mathematical and he’s not joking. I think they used the concept of “Risset Rhythms” (sorry Hans if I revealed the secret lol). It’s the equivalent of a Shepard Tone but instead of sine waves and pitch, it deals with tempo and rhythms. You have layers of rhythmic elements varying in speed on top of each other and with tempo and volume automation you create the illusion that the rhythm is infinitely accelerating or decelerating. It’s fascinating.

Now, creating this illusion with a simple and straight forward rhythm or beat is easy - I actually (finally) succeeded at making a Risset rhythm. But to apply the concept to different instruments and melodies... that’s sorcery.

Zimmer fan reply Replies: 0 || 2020-10-24 20:10:08
WE NEED HANS & CHRIS BACK TOGETHER!
I’m afraid that Ludwig would be replacing Hans for good, nothing against Ludwig, but Hans is irreplaceable.

Bilal Kahhaleh reply Replies: 8 || 2020-10-12 13:54:15
The collaboration of Hans & Chris is just magical. Their creative visions align perfectly & every movie they did is unparalleled. I hope to see them reunite on future films despite the tough experience they had on this one.


Zoe2020-10-12 15:24:32
i sincerly hope not. enough of the nolan-collab which destroyed the beauty of hans' melodical writing.


Bilal Kahhaleh2020-10-12 15:52:34
I disagree, all his other films with Nolan have beautiful melodic pieces, Dunkirk does not because that's what's best for the story. I'm wishing for more collabs because although Ludwig did a good job on Tenet, Hans was definitely missed.

Both Hans & Chris are revolutionaries, and they still have new worlds to create through their work, let's hope their relationship is intact.


MrZimmerFan2020-10-12 18:38:22
'destroyed the beauty of hans' melodical writing'

Someone hasen't listen Inception neither Interstellar.


Edmund Meinerts2020-10-12 18:44:01
Those two scores have melodies but are still less melodic, overall, than Zimmer's older work.


MrZimmerFan2020-10-12 20:02:32
But that isn't the matter here.

It's obvious Interstellar or Inception haven't some of the most melodical writing of The Lion King or Rain Man, still, those two scores are not the 'destruction' that person have said. Dunkirk in the other hand, isn't a melodical or orchestral score, the movie don't asked for something like Saving Private Ryan or The Thin Red Line. Other thing is: 'can you enjoy listen it?'


superultramegaa2020-10-12 20:59:23
"I disagree, all his other films with Nolan have beautiful melodic pieces, Dunkirk does not because that's what's best for the story."

Enough of this nonsense. Drones, sound design, and unmelodic music are not automatically "what's best for movie A". They're serviceable, and sometimes have a few elements of creativity, but ultimately they're done because the director wants the movie to be dark and intense, and that's the most obvious musical way they can illustrate this now.

Movies like Dunkirk have had beautiful, melodic music in the past. Saving Private Ryan is arguably just as dark and intense (if nothing else the Omaha Beach scene is), Schindler's List, even more so, and both have distinct, beautiful, and memorable scores.

If Nolan had made those movies, he would have wanted a sound design score just because that's the type of music he thinks is interesting for whatever reason. Doesn't mean he's right, and that's "what's best for that type of movie." It's just what he prefers.


Hybrid Soldier2020-10-12 21:42:17
So Batman Begins is not a melodic score.


I learnt something today, thank you !


Bilal Kahhaleh2020-10-12 21:56:42
Based on your insight Hybrid, do you think there will be more future collabs with Chris Nolan?

FaresTdkr reply Replies: 2 || 2020-09-02 10:34:56
Some one Who watched the teaser for Dune said that the music by Hans was mix between Interstellar and Gladiator! Any one confirm that?


badbu2020-09-02 10:46:38
saw it too but i'm not 100% sure that the cue was from hans


badbu2020-09-02 10:52:28
and the sound was like a BR2049 alternate cue :P

badbu reply Replies: 4 || 2020-09-01 07:43:45
Hybrid, i saw the teaser for dune! is it hans?? i'm not sure...


MrZimmerFan2020-09-01 14:14:48
Would be released by WaterTower Music.


badbu2020-09-01 14:16:59
yes i know, but is it from hans? :P it could be...but i'm not 100% sure


Kalman2020-09-01 14:31:31
Let's hope for a CD release as well - even if it's WaterTower who doesn't release many CDs nowadays... :( (In my imagination it's a deluxe release a la Interstellar or Man of Steel...)


badbu2020-09-01 19:28:53
digital is fine for me :)
oh man, can‘t wait for the Dune score! This will be the score of the last years!!!

nvictor reply Replies: 2 || 2019-09-28 14:37:33
the best end titles of all end titles :)


Edmund Meinerts2019-09-30 00:12:32
Uh. Well. That's certainly...an opinion.


Der Profl2019-09-30 23:35:20
It is my opinion as well, but I would say "one of the best" to be precise.

Mr.Unbreakable reply Replies: 0 || 2019-08-26 04:46:44
Do we know if Lorne Balfe will be involved in Dune? Maybe he could compose the Dune series

bob reply Replies: 1 || 2019-07-16 19:41:52
We got the answer from Hans:
theplaylist.net/hans-zimmer-dune-christopher-nolan-20190716/

Hopefully they collaborate again


Mephariel2019-07-17 05:48:32
Yeah I am glad there is no falling out.

manny manfred reply Replies: 1 || 2019-05-27 11:56:02
Has a complete/expanded score been leaked?


Anonymous2019-05-27 13:14:19
No. People jyust like to talk in this thread about everything not related to Dunkirk.

Mr.Unbreakable reply Replies: 4 || 2019-05-23 15:45:05
Bob,The Training is basically Ramin Djawadi and Mr.Charles is Balfe


Michael Baker2019-05-23 16:25:14
Not as simply as that.... Training is Ramin's arrangement of a Hans theme, and the core of Mr. Charles when the Fischer theme isn't playing is a Hans idea, too, as far as I know. Take the Zimmer out and those moments wouldn't be the same.


Mr.Unbreakable2019-05-23 22:44:24
Hybrid confirmed that training is composed by Ramin and Hans and it is obvious that Ramin's influence is superior to that of Hans.


Mr.Unbreakable2019-05-23 22:50:05
Lorne also confirmed that he took charge of Mr.Charles, and without saying that Lorne was on the good side of Score in general, so his influence was substantially high.


Edmund Meinerts2019-05-24 14:17:33
In what way is it "obvious", exactly, that Djawadi had more influence on that Training cue than Zimmer? It's basically just a statement of Zimmer's theme, and doesn't really sound notably "Djawadi-esque" to me in any way.

nvictor reply Replies: 0 || 2019-05-23 20:44:26
are we expecting the score for dark phoenix to be released in a week or so, if the movie itself drops early june?

isildur reply Replies: 24 || 2019-05-22 18:40:39
Christopher Nolan’s new film is an action spy film titled Tenet and apparently it is being scored by Ludwig Göransson.

It would be interesting to see what they come up with. But I am heartbroken that we will not be hearing a Nolan-Zimmer score.

https: //www.empireonline.com/movies/news/christopher-nolan-new-fil m-titled-tenet/


Joshua2019-05-22 18:49:51
Nobody ever believes me lol.


George2019-05-22 19:06:10
Very interesting. Wonder if anything happened between the two, or if Zimmer was even asked to do it?..

That being said, I’m not exactly by this news. Don’t get me wrong, I LOVE the Nolan/Zimmer collaborations, but part of me is excited for HZ to move beyond that relationship (for now) and pursue new projects and innovate film scoring even more.

I also partially blame Nolan (not sure whether I should or shouldn’t) for pushing Zimmer away from melodies and towards the atmosphere of and textural type of scoring.


mpolonest123 2019-05-22 19:07:20
I like Ludwig Göransson so this doesn’t bother me too much, I’m more concerned about Zimmer and Nolan’s relationship. I hope Dunkirk wasn’t THAT taxing on them.


Hybrid Soldier2019-05-22 19:09:03
You can't say I didn't warn you !


isildur2019-05-22 19:16:20
You did. But Hans-Nolan personal relationship is fine though, right?


Mephariel2019-05-22 19:56:19
I am actually very intrigue by this. When I heard that Zimmer may not be scoring it, Ludwig Göransson was my pick.

I honestly think Ludwig Göransson has a chance to be the future Zimmer.


Mephariel2019-05-22 20:00:44
I also wonder whether or not this is a fallout or is Zimmer too busy? Or a mixture of both? It could be a amicable separation and may not be permanent.


mpolonest123 2019-05-22 20:12:25
@mephariel
It’s hard to compare the two stylistically but I can definitely see Ludwig being on a similar level of fame down the line if he picks the right projects. Another excellent composer who is just as experimental as Zimmer is Daniel Pemberton.

It will be interesting to see if Zimmer sticks with Denis Villeneuve and/or scores any of Nolan’s future films, they are fairly similar directors in terms of approaching music in their films.


George2019-05-22 20:16:16
I can’t imagine this was a scheduling issue. He was on tour and made time for Dunkirk. And HZ always seemed to be on board so far in advance with the Nolan projects, so you’d presume he would’ve known about this project for awhile if he were doing it and would have blocked time off for it.

So maybe it was an either/or situation with Tenet or Dune, which would mean he CHOSE Dune over Tenet...

Who knows lol. I’m still building my excitement for Dark Phoenix next month, and then WW84, Top Gun, Dune, and even Spongebob. Lots of fun potential there!


challenge2019-05-22 20:19:45
So Dunkirk really was that awful an experience then? Wow.


Mephariel2019-05-22 20:37:09
@mpolonest123

I am not sure if I am sold on Daniel Pemberton. I still think his music never goes beyond sonic wallpaper most of the time.


Mephariel2019-05-22 20:41:02
@George

Like I said in another forum, Nolan/Zimmer is one of my favorite collaborations, but if the choice is Zimmer scoring Tenet or Dune, I much rather he than score Dune.

I honestly probably rather he score Wonder Woman 1984 than Tenet, because Zimmer needs to do more fun films. But then maybe I am making too much assumptions about Tenet. A Nolan espionage movie sounds incredible, but it is probably a cold and dark film.


ThePhantasm2019-05-22 20:42:07
This is actually pretty shocking and completely unexpected. Even if he wasn’t gonna score it, I was a 100% sure it was gonna be Lorne Balfe. I’m not crazy about Ludwig so for the first time ever in a long time I’m not particularly excited about a Chris Nolan movie soundtrack. I wonder if it’s cause Zimmer is damn busy with concerts and movies, could sworn he’d go with someone from RCP


mpolonest123 2019-05-22 20:44:41
@mephariel
I can definitely see that, especially with King Arthur and Spiderverse. I do think his music adds a lot to the films he scores (Steve Jobs and Man From Uncle being two great examples) where he consistently switches up styles and tones to keep things fresh. Maybe not the strongest theme writer but I do love his approaches.


mpolonest123 2019-05-22 20:46:17
And if I’m completely honest, I’m more excited by WW84, Spongebob, Top Gun, and Dark Phoenix than another potential Nolan collab.


George2019-05-22 20:49:05
@mephariel @mpolonest123 - glad I’m not the only one who’s more excited for those compared to cold and dark Nolan/Zimmer scores. I’m kinda over those to be honest.


Mephariel2019-05-22 21:00:57
@George

To be fair, Interstellar is a genuine masterpiece score and maybe one my favorite score of all time, but I am not sure when Nolan will allow Zimmer to return to that type of scoring.

Hell, Time is my favorite cue ever, but again, I am not sure if Nolan is interested in that kind of music anymore.

I guess we will see with Tenet. And yes, I absolutely think Göransson can be a future star in the making and if anyone is allow write his or her own "Time" cultural moment, it may as well be him.


George 2019-05-22 21:21:44
@Mephariel - you’re right. However Interstellar and Inception, musically speaking, are simple scores. They are moving, beautiful, and masterpieces, but still simple. Which is great!

But if we are wanting Zimmer to return to a type of music, I’d much rather prefer something along the lines of Pirates, The Rock, The Last Samurai, Crimson Tide, etc. Tonally, of course it would be more modern and new, but melodically a return to those forms would be a dream come true.


Ds2019-05-22 23:26:56
@mpolonest123: those Pemberton scores are indeed pure gold, very cool on album but insanely good in the movie. My favorite is still his King Arthur, that was a beast of a score that stuck with the movie like glue and really enhanced Guy Ritchie's dark, twisted, trippy vision.


Miralsice2019-05-22 23:34:49
I think I am the only one, who would be glad about David Julyan return.

I really like his music for early Nolan's films, especially Insomnia, and it's what i can call an "atmospheric experience".

Don't know how his music fits for espionage timetraveling movie, but, for me, i'st would be something interesting to hear.


Mr.Unbreakable2019-05-23 02:44:42
I really believe that Nolan has made a mistake as a composer.I think Lorne Balfe, David Julyan or Justin Hurwitz would be much better options than Ludwig Goransson.


Mephariel2019-05-23 04:12:54
Justin Hurwitz I can see. I enjoyed La La Land and First Man. But Both Hurwitz and Göransson are several notches above Lorne Balfe.

I think 80/100 directors would rather work with Göransson than Balfe.


Bob2019-05-23 08:54:24
I hope these two team up again. Zimmer's score is the main driving force for some memorable scenes. Just a few
Batman Begins-The Training
TDK- Joker crash the party, Gordon's speech and ending
Inception - Time, Mr.Charles,
TKDR - the climb, imagine the fire and orphan
Interstellar-Stay, Docking, coward, mountain
Dunkirk - well the entire movie


Mr.Unbreakable2019-05-23 15:50:41
I think Balfe working with Nolan would have done a great job

isildur reply Replies: 3 || 2019-03-05 23:54:22
Apparently, the new Nolan film is a romantic thriller described as North by Northwest meets Inception. I can't even imagine how Hans' score would sound like. But I am so pumped for this score. Probably they'll go full orchestral with beautiful themes!?

https: //twitter.com/prodweek/status/1102990235569405952


mpolonest123 2019-03-06 00:02:05
Nolan has always been a pretty cerebral filmmaker, so seeing him do a romantic film in the vein of Hitchcock has me very excited. As for the music, I really would kill to hear Zimmer do an old fashioned “Bernard Hermann esque” type of score. I love Zimmer’s experimenting but it’s been a while since we’ve gotten a big orchestral score from him. Especially since he is capable of writing some beautiful love themes (think “Marry Me” or Pearl Harbor).


Mephariel2019-03-06 01:23:33
This sounds interesting as hell. I wonder what Zimmer will come up with.


Kent Öberg2019-03-06 12:21:24
This has been debunked.

Jerry reply Replies: 7 || 2019-02-20 23:56:00
With the complete cue sheet out now. Does anyone know what the chronological order of the album would be?


Mike2019-02-21 03:01:21
It's not really possible to chronologically order the album because the album doesn't use the same tracks as the movie. Plus, the album is more or less chronological anyway, given the areas where they are the same.


mpolonest123 2019-02-21 03:30:17
Comparing it to YFM’s sfx edit this is what I’ve got;

“The Mole” seems to be an alternate of the opening sequence. The first minute or so is used, while the rest isn’t. “We Need Our Army Back/Regimental Brothers” are both made up of several cues from different points in the film.
“Home” is completely different in the film, which makes me think it may have been recorded specifically for the album. Similar situation with “Oil”.
“Supermarine” is definitely a suite. The rest is chronological.

Interesting thing to note, it seems like a lot of the tempo changes/ticking effects/bass overlays were removed from the album release, making almost every track sound different from the actual film versions. The music in context has a constant pulse going, especially in the way cues segue into each other and change tempo.


Mike2019-02-21 04:52:38
I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train.

I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product?

While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.


Ahmad2019-02-21 10:32:55
The Mole P1 (0-1:57)
Regimental Brothers P1 (0-1:19)
The Mole P2 (1:57-3:44)
Regimental Brothers P3 (2:44 onward)
We Need Our Army Back
Shivering Soldier
Supermarine P1 (0-2:47)
The Mole P3 (3:45 onward)
We Need Our Army Back (again)
Supermarine P2 (*5:33)
Impulse
The Tide
Home
The Oil
Variation 15
End Credits

As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.
The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different.

So if you were to order the tracks as first heard in the film it would be:
The Mole
Regimental Brothers
We Need Our Army Back
Shivering Soldier
Supermarine
Impluse
The Tide
Home
The Oil
Variation 15
End credits

As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.


mpolonest123 2019-02-21 14:10:39
@Mike
Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.

I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.

Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.


Mike2019-02-21 23:03:38
That's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it."

I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?


YFM2019-02-22 04:23:51
Most of the album is comprised of suites, with one consistent tempo per track.

The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)

Mike reply Replies: 2 || 2019-02-19 08:20:30
I watched the movie and tried to put the cuesheet that Hybrid posted into chronological order... This is what I was able to gather from watching the movie:

1. Opening Pt. 1 - HZ
2. Opening Pt. 2 - HZ, SM
3. The Beach Pt. 1 - HZ
4. The Beach Pt. 2 - HZ, AK
5. The Air - HZ
6. Stretcher Carry - HZ, AK
7. Approaching Trawler - HZ
8. Bandit 11 O’Clock / Off You Go - HZ
9. One Bandit Down - HZ
10. Meeting Rear Admiral - HZ
11. Shivering Soldier - HZ
12. Fortis Leader Down - HZ
13. Stuka Bombing Medical Ship - HZ, Andy Page
14. U-Boat - HZ
15. Boarding Destroyer/Below Deck - HZ, Andy Page
16. I’m Not Going Back to Dunkirk - HZ
17. Heinkel 11 O’Clock - HZ, Satnam Ramgotra
18. Torpedo - HZ, Satnam Ramgotra
19. Soldier Locked Below Deck - HZ
20. Collins Water Landing - HZ
21. Torpedo Aftermath - HZ
22. Wait for Another Lifeboat - HZ
23. Turn it Around! - HZ
24. George Falls - HZ
25. Farrier Attacks Heinkel - HZ, LB
26. The Bodies Come Back - HZ
27. I Can’t See - HZ, Alex Gibson
28. Farrier Turns Back - HZ
29. Activate Small Vessels Pool - HZ
30. Waiting for the Tide - HZ
31. Should We Turn Back - HZ
32. Smoke From the Spitfire - HZ
33. Dutch Sailor Comes Back - HZ
34. Collins Crash Landing - HZ
35. There Was No Chute - HZ
36. Target Practice - HZ
37. Collins Struggles / Ditch Ballast - HZ
38. Sauerkraut Sauce - HZ
39. Collins Underwater HZ
40. Minesweeper Bombed / Trawler Floats - HZ, AK
41. Plug the Hole - HZ
42. Nimrod - HZ, BW
43. Covered in Oil / Abandon Ship - HZ, AK
44. Where Are You From - HZ
45. 109 Approaching - HZ
46. Engineless Flight - HZ, BW
47. Rail Yard - HZ
48. Variation 15 - HZ, BW
49. End Credits / 5MEC1 - HZ, BW, LB
50. End Credits Long Note Harmonics v.12.7 - HZ
51. End Credits Air - HZ v.31.07
52. End Credits Tommy v8.00

I'm missing the following in this list: Attack Aftermath / Navy Requisition, Decent Altitude, Destroyer By, Farrier Chasing 109, Farrier Chased by 109, and Little Boats. Anyone know where those go?


Andrew K2019-02-19 22:50:51
I recommend you check out YFM’s edit cause it has all those cues properly where they belong as well as a slightly different order.


Mike2019-02-20 01:11:03
Thanks for the heads up. Haven't checked his stuff in a while. Like I said, I figured some stuff was off here.

Kent Öberg reply Replies: 1 || 2019-02-08 12:46:40
From a new French interview with HZ:

Q: Do you plan to work with Nolan on a next feature film?
A: No idea! I spoke to Chris a few months ago. I asked him how it was and he said, "I'm sitting in front of a blank page now." [Laughs] I understand that.

Kind of surprising, no? HZ is usually onboard so early when it comes to Nolan.


Knight2019-02-08 12:56:59
By the sounds of it, the film is in super early stages of production, so it makes some sense that HZ isn't in the project yet

Radik reply Replies: 14 || 2019-01-26 09:51:09
Christopher Nolan announed his new project. Hope Hans is going to be at board. I anticipate anothrr masterpiece. :)


challenge2019-01-26 18:59:35
It'll be interesting to hear what experiment they come up with next. Interstellar was great. Dunkirk was interesting.

Wouldn't it be interesting if Nolan subverted expectations and challenged Hans to write proper, well-formed classical music. It'd be really interesting to hear the results.


Mephariel2019-01-27 02:52:36
How many movie is Zimmer going to score in 2020? He already has Wonder Woman 1984, SpongeBob, and Top Gun: Maverick. Now he is going to score Nolan's next film. That is like 4 films in within a 3-4 months span. Hopefully he won't spread his ideas too thin.


Knight2019-01-27 03:01:54
I expect a lot of work for Mazzaro and Kawczynski in the coming years xD


isildur2019-01-27 09:10:57
Hans is scoring SpongeBob movie? When did this news come out? I think Hans is finished scoring WW1984 movie already.


Mephariel2019-01-28 00:23:46
Maybe Hybrid can confirm, but I highly doubt Zimmer is finished with WW1984 already. He is still working on The Lion King and I am not sure if he finished Dark Phoenix yet. Where will he find time to do WW1984? Besides, WW didn't finished production until December of last year. That means they are still editing the movie.

And yes, he is doing the next SpongeBob movie. It was announced last year.


java2019-01-29 08:22:13
what event film it's gonna be? Inception


Scorefan2019-01-30 00:16:14
Hans is working on The Lion King. The Dark Phoenix is completed even with the reshoots to this year. Next Year WW84, so he has enough time.


Mephariel2019-01-30 05:47:05
He will probably finish WW1984 by fall of this year. I think he won't do much on Top Gun. Harold Faltermeyer will do most of the work. That leaves Spongebob and maybe his team can do most of the work as well. So he will spend most of winter and next year on Nolan's project. That is what I am thinking.


Ian2019-01-31 07:44:51
Damn, seeing how many projects Hans has lined up honestly makes me worry that we'll be getting a ton of recycled/generic/minimalist/ambient/ghostwritten stuff rather than authentic, compelling Zimmer. I do hope I'm wrong, though!


mpolonest123 2019-01-31 13:06:07
@Ian
I wouldn’t worry. Just look at 2013. We had MOS, The Lone Ranger, 12 Years A Slave, Rush, and Mr. Morgan’s Last Love. Pretty strong/diverse lineup if you ask me.


Ds2019-02-02 11:48:32
@mpolonest: so in fact in 2013 the only real Zimmer scores we had were Man Of Steel and Rush.
Most of The Lone Ranger was done by the additional composers (Geoff mainly). And so was Mr Morgan's Last Love, if I remember well.
12 Years A Slave is a lazy piece of rehashing that cannot be given as an example of anything good.

So that's exactly the kind of concerns Ian was talking about :-p


mpolonest123 2019-02-02 13:30:38
Yeah, I probably shouldn’t have included 12yas lol...

But even The Lone Ranger, despite being heavily influenced by other sources and having the ghostwriters, is still a pretty fun score that does have Zimmer’s stamp on it. I would take that over “Widows” any day...


Mike2019-02-02 20:45:59
I think we can count The Lone Ranger as a real Zimmer score. As far as we know, he did the suites (Absurdity, Silver, Home), and the whole score sounds like him throughout. True, he didn't like working on the movie, which he admitted, but I definitely think it's "his" score as much as any other score post-2005.

Zanelli was working on Finale before Zimmer wrote anything, but even there, he couldn't finish the cue until Zimmer came in to write stuff.


Ds2019-02-02 22:11:05
Don’t get me wrong on The Lone Ranger, I like this score (and LOVE that movie), but to me it sounds like HZ did this quickly to help a friend, but didn’t put a lot of heart or ideas in it. Absurdity is a fun suite but it’s little more than another spin on 160BPM. Silver is lovely but heavily lifted from some source music (can’t remember which one). And Home is just like this Solomon theme from 12yas.

A fun and enjoyable score, free from any « concept » or « experiment », which felt fresh, but ultimately didn’t really bring anything we hadn’t heard before. Except the astonishing work on William Tell, of course!

curba reply Replies: 2 || 2019-01-04 03:31:54
Hans enough! relaese the complete score!.....


Hans2019-01-06 17:32:48
Sure. Calling the company right now.


Mike2019-01-07 16:30:34
Classic

lomp reply Replies: 2 || 2018-11-08 11:52:14
the complete score is out!!!


kareem2018-11-09 01:33:34
No, you lying...


Will2018-11-13 02:16:08
I wish

nvictor reply Replies: 0 || 2018-10-21 01:12:35
i love this score so much. this comment is for Hans and team again for making such an amazing score. if they ever read what we write here lol : )

so, i am not a movie goer and many people claim and say that scores are to serve movies, and so and forth. well, i finally watched Dunkirk and it is an excellent movie. the movie did not do justice to the score imo.

here's an example. "Variation 15" on Nimrod is the "soothing" track for me in the whole score. much more soothing than "Home". i can play it in a loop. it surprised me that the cut gave it only a mere few seconds in the movie. now, i only watched Dunkirk once but i am pretty sure it played once, and for a few seconds, while "Bane" was in the plane.

another fact is that i always felt like being in a war plane when listening to "Supermarine". not an helicopter but more like a fast moving plane. that was before watching the movie and i never read about the movie. i knew it was about war and the only war machine i could think of was that. the fact that i was able to match the music with my own images says how great Hans and team were on that.

the constant tension felt in the "Mole", "Supermarine", etc. is more intense in the movie though. i liked that.

also, i watched the movie credits to the very end. i wanted to see if they would match it with the track. they did, and it ends exactly with the starting point as i expected. for me it was a cue that "the war didn't end there". sad, yes, but the effect was on point.

so okay, i am minority here in saying that a score album put together is its own thing. doesn't need a movie to exist. great movie. great score. both in their own rights!

nvictor reply Replies: 17 || 2018-06-26 13:55:59
anyone knows scores similar to dunkirk? can't get enough of this sound (or rather need more of it...)


Jay the Dinosaur2018-06-27 07:39:19
Elgar's Nimrod Variations


nvictor2018-06-27 13:19:20
you got me lol. no no, not the Nimrod sound : ) the other sound of dunkirk


... 2018-06-27 15:22:55
Captain Philips has similar portions


Mike (OTM)2018-06-27 16:00:45
Yeah, Captain Phillips is the closest thing I can think of to Dunkirk... And Hans did writing on it, coincidentally.


Ds2018-06-27 22:15:28
When I was watching A Quiet Place there were quite a few moments where I thought the score was kind of similar to Dunkirk, mostly in the suspense cues. Never relistened to it though, so maybe it was just an impression.


nvictor2018-06-28 19:46:09
thanks all


Koly2018-06-28 22:15:09
Gravity IMHO


nvictor2018-07-17 23:08:36
finally got to listen to a quiet place. it has indeed the atmospheric vibe i got from dunkirk. although i will give it another listen before deciding. anyways, you have great ears Ds. and you said you listened to the background music during the movie even, wow!

after that i got to listen to 3:10 to yuma, which went straight onto my wishlist. and made me research Marco Beltrami. no idea how i never heard from his scores till now! he is very amazing on those two scores i have listened to so far.

now, i realized that (most) horror movies might have that atmospheric/ambient sound. so i wondered what makes dunkirk special? pretty sure it is that tension that never seems to fade (not the nimrod theme though). most horror movies are to scare you at particular moments. dunkirk keeps the tension constant. so much that you get comfortable with it. that's what makes it so special for me.

will keep looking. oh i tried captain philips and gravity too. will give those another listen.


Ds2018-07-18 10:58:28
mvictor: it's funny, 3:10 To Yuma is perhaps the only Beltrami score I really like :-p

In my opinion, what made Dunkirk special is that it's a Zimmer score, so it sounds better, massive, impressive, while most horror scores stay in the background except for a few jump scares that are not pleasing at all when you listen to the album. Dunkirk is a tension-builder, but it's more than that.

You should definitely listen to Gravity a couple more times, it's an absolutely amazing score, in my opinion better than Dunkirk, as it's equally tense and massive, but has more refined electronic manipulation, it's more colorful and it's simply more musical. Go straight to the track 'Shenzou', play it very loud, and you'll see what I mean :-p


nvictor2018-07-24 18:27:56
alright, will give Gravity another try

i had 3.10 to Yuma in a loop for days now. the theme is stuck in my head. can't get it out. and today i tried logan. it got me immediately. give it a try if you haven't.

what got me is the blend of a real grand piano and a real drumset with the orchestra. i have not heard it done so well. Marco Beltrami is now a definite favorite and i am only the 3rd soundtrack


mpolonest123 2018-07-24 19:38:39
Marco Beltrami is a solid composer who seems to get pigeonholed in horror most of the time.

I would definitely recommend I Robot, Soul Surfer, SnowPiercer, Scream, and Logan if you want a good variety of his style.


Mephariel2018-07-24 22:53:20
I absolutely hate Beltrami's writing. He doesn't have the melodic prowess of the elites and sucks at writing virtually any underscore or suspense music.

I can't believe he made Soul Surfer because that score is so good, I keep thinking Horner wrote it.



Edmund Meinerts2018-07-25 11:09:05
Beltrami's not that great melodically but I think he's a more than solid action/suspense composer. I particularly love his Die Hard scores for that, as well as I, Robot, Hellboy, Seventh Son and Gods of Egypt. And he's also pretty good at coming up with unusual and creative textures and orchestrations. But a lot of his albums end up being slogs, and the quality seems to vary a lot from project to project.

He's a mixed bag of a composer but not remotely deserving of the hate I sometimes see him get from people like Mephariel, Ds or Macejko.


Ds2018-07-25 19:43:14
Lol since when am I a hater? :-o

If anything, Beltrami is in my "I don't care" zone. I remain fully open-minded if I watch a movie scored by him, but I confess I don't pursue his projects in the same way I'm doing my best to watch any movie scored by major RCP composers :-)


nvictor2018-07-25 20:18:27
come one guys, you always want to turn everything into a debate. thanks again, Ds, for making me discover Marco Beltrami.

also can we post youtube links here? here's logan main title, such a great track https://www.youtube.com/watch?v=Be1HdTnSGZo


Edmund Meinerts2018-07-26 00:33:12
"you always want to turn everything into a debate"...uh, my bad? Didn't realize that wasn't what this comment section was for. Must have missed the memo.

Ds - sorry, could've sworn I had seen disparaging comments about Beltrami from you at some point. Like I said, he gets a weird amount of hate around here, maybe I confused you for someone else...


Ty2018-07-26 18:14:07
Check out any of Gyorgy Ligeti's work from the '50s-60s. Second string quartet

badbu reply Replies: 0 || 2018-07-25 08:32:31
i want the complete score so so much!!! arggggh

Anonymous reply Replies: 17 || 2018-05-10 13:57:31
What is the next project of hans zimmer in 2018 for a movie ?
Is there any block buster movie in 2018 which hans zimmer composed ?


Max Potcats2018-05-10 14:56:36
he mentioned a top secret project with wallfisch, also he's making the lion king live and dark phoenix for 2019, but that's it I think


Mephariel2018-05-10 17:02:31
Where did you hear about a top secret project with Wallfisch?


George2018-05-10 17:05:16
In the Hans Zimmer Roundtable by Spitfire Audio on YouTube. Well worth the watch by the way.


Joshua2018-05-10 23:18:33
I was looking through all the releases from now till the end of the year trying to think of possible films it could be. Do we know the story with Disney's Christopher Robin? I remember reading Klaus was gonna do it. But then when Johann passed, it was revealed he was actually scoring it. So does that mean Klaus is back in or is there someone new? I could see Hans and Ben doing this film.


George2018-05-11 01:00:16
I've done the same, Joshua, and honestly I have no idea what film it could be. I'm hoping it's at least something with strong themes with a strong Zimmer stamp on it... its been awhile since we've had one of those.


Mephariel2018-05-11 17:18:30
Major 2018 films with no composers announced

Alpha, Escape Room, Mortal Engines

Not a lot of choices. I would love to see Zimmer score something like Moral Engines. Or course, it could be a small film we don't know about. More likely, he is doing a replacement score.





lol2018-05-11 21:29:58
It's called sherlock Holmes 3


mpolonest123 2018-05-11 22:21:49
Apparently the animated Spider-Man movie coming from Sony has no one attached yet as a composer. Imagine Zimmer returning to that universe? And he has a relationship with Sony already so it’s not too unlikely.


Mephariel2018-05-11 22:48:52
Possible. But they either didn't ask him to do Venom. Either that or he decline to do that film. I feel like Zimmer is too picky now to do something like Spider-Man.


Max Potcats2018-05-11 23:51:58
No more "dumb blockbusters" for Hans now, so I don't see him scoring Venom.
On Sherlock 3 if Guy Ritchie is call to direct it I don't see why HZ wouldn't make it, he had some issues with the producer on SH1 but I guess it's over now..
In the "worst" scenario Pemberton on Sherlock would be great, as for King Arthur.


Dunkirk2018-05-12 07:42:14
I am curious for complete soundtrack of Dunkirk than what's gonna be his next movie


lol2018-05-12 07:46:46
its sherlock 3.


Everan2018-05-13 01:57:33
Ludwig Goransson from Black Panther is attached to Venom for now. Besides Dark Phoenix, and hopefully Sherlock 3, doubt he'll make another big one until Nolan makes another film


Joshua2018-05-13 07:42:21
Sherlock 3 doesn’t come out until 2020.


Jsdamian2018-05-13 23:53:40
Widows, november 2018, steve mcqueen


Jsdamian2018-05-16 19:18:24
Maybe snyder's cut?


awesome2018-06-04 13:35:30
the complete score is so amazing!!!

Anonymous reply Replies: 1 || 2018-05-11 14:14:04
I hope hans zimmer compose the music of captain marvel . Future of MCU is bright and amazing Unlike DCEU which without nolan is going down .


Mephariel2018-05-11 17:09:01
While that is highly unlikely, I think Zimmer moving into Marvel films is a good idea. I think the terrible quality of DC films really affected Zimmer's scoring. Dark Phoenix is a nice start.

With that said, Zimmer doesn't seem like he wants to score conventional superhero movies. Dark Phoenix is more like a drama than a superhero film from what I read.

Thomas reply Replies: 0 || 2018-05-11 09:28:52
Schreckliche Musik!

Radik reply Replies: 2 || 2018-03-21 07:14:12
Stretcher Carry is avaibale on soundcloud. It' merely recreation but it's awesome almost like film version.


Jon2018-04-27 02:08:07
Where can I find it?


Radik2018-04-30 20:14:16
It's seems that it is already gone but I was able to get it. If you have interest, you can contact me PM.

Mephariel reply Replies: 0 || 2018-04-20 07:35:47
Andrew Kawczynski scored the movie Sky Hunter. The score is available on Spotify now.

The score is probably the most melodic/heroic that I heard from him.

Mike (OTM) reply Replies: 0 || 2018-04-14 19:27:02
This may have been brought up before, but... why exactly did Hans need Ben Wallfisch for Variation 15? It's hardly that much different than the original, and besides, the most memorable part of it that's not the original is the string-brass crescendo at the end. And that was obviously Hans.

So what did Wallfisch do? Honest question.

George reply Replies: 2 || 2018-03-15 15:34:51
Have any of you done Hans' Masterclass online? I'm considering getting it really just to see and understand his process better, but is it worth my money?


mpolonest1232018-03-15 16:57:28
I did it about a year ago and if you are a fan of Hans, or just want to get some great insight on film scoring in general, you should definitely check it out!


nvictor2018-03-24 20:30:32
it didn't give me super composer powers lol but you should give it a chance. the community is building up it seems. they have the advantage of talking directly (or having questions sent) to Hans.

anyway, i am a bigger fan of what Junkie is doing for free on youtube. it's way less abstract than what Hans told us. for example Hans explained to us to write to the picture, the director is your metronome and such... it wasn't until Junkie explained that he can't show us any cuts from tomb raider it finally made sense.

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