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Bear McCreary is a good composer but all he did for Godzilla KOTM was modernize the original Godzilla theme, which isnt super creative. Junkie, on the other hand, may give us a really creative score based on his eagerness to do the project.Yeah besides the massive disappointment that is the movie Godzilla: King of the Monsters, the even bigger disappointment is that Bear McCreary won't be back for fool.... its impossible ! everybody knows that there is only one batman theme.... (joke)In a recent interview, Junkie mentioned that he's bringing back themes for Superman and Wonder Woman, while everything else is new. I wonder if he's gonna make a new Batman theme.It's true, there is completely different team from composer to director in crossover :)
But the film was particularly bad...<br><br>So I rather have a whole other team do something ELSE lol...Yeah... McCreary's score is one of the best from last year so I'd rather have him again.I open to ANY composer in this movies.<br><br>To answer the question, YES, i'm ready<br><br>Specially to a guy, who loves G14, KSi and KOTMNo way. After what Bear McCreary did on King of the Monsters last year I definitely want him back.Atli still has his studio at Remote but mostly works from home in Iceland.<br><br>Guillaume game back to settle to Remote a couple of years ago (before he was splitting time between RCP & France).<br><br>Heitor still is at RCP as far as I know, haven't heard anything in a while.<br><br>Nathan Stornetta left Remote in 2015 (against Hans' will !! :)) cause he didn't fancy much that whole Hollywood business. He is home in Switzerland doing his own projects, but also touring with Hans...
Atli ÷rvarsson, Heitor Pereira, Guillaume Roussel and Nathan Stornetta ?Marc left RCP in like... 2003 ? lol<br><br><br>And yes he is, check his page, he just doesn't have much going on anyway.But Marc is no longer with RCP I am assuming. His scores are not advertised here.If the Snyder Cut comes out, who's ready to hear Junkie XL score Godzilla vs. Kong? business-zack-snyder-justice-league-junkie-xl-tom-holkenborg -dcu-snyder-cut/ business-zack-snyder-justice-league-junkie-xl-tom-holkenborg -dcu-snyder-cut/Marc just reunited with Ridley on the amazing Raised By Wolves series.<br><br>Klaus is more worried about his other businesses rather than film scoring, I think...Will any tracks from Man of Steel be played on the Live2021 tour? It is a life ambition of mine to experience a live performance of it!I missed Jasha Klebe. I thought he did some really good stuff at Bleeding Fingers. I am looking forward to hearing more from Kara Talve. I think she is a really good talent.<br><br>What happened to Marc Streitenfeld? I was going to ask about Klaus Badelt, but I am pretty sure I am not going to get that story.<br>Tom's more recent work has received more love, but I personally love the Fury Road and Rise of an Empire type soundtrack more. I'm looking forward to this and I hope it's close to what Man of Steel and Dawn of Justice sounded like. Although, the snippet he shared doesn't really sound like it. We'll see.

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Hans ZimmerLorne BalfeBenjamin WallfischAndrew Kawczynski
ComposerAdditional MusicAdditional MusicAdditional Music
Label: WaterTower Music
Length: 59'46 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 (4509 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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OskarC reply Replies: 0 || 2017-07-15 18:34:46
I'd like to.belive that the End Titles is an awsome long piece with some epic theme statements if there even is a theme.

Maximouss86 reply Replies: 0 || 2017-07-15 11:28:06
Hey guys,
Could someone define the role of a Andrew Kawczynski and Steve Mazzaro as additional composers please?
I'm not sure to understand their investment in these scores.

Kingfannypack reply Replies: 0 || 2017-07-14 09:20:00
Reviews for the film are good, the same is so for the soundtrack's effectiveness at being incredible tense- excitement building!!!!

Jack Afrogarrix2017 reply Replies: 0 || 2017-07-14 01:16:51
Another Great Work For Hans Zimmer And Works Again With Christopher Nolan In This War Film Dunkirk. The Track "Supermarine" Is An Intense Best Track I Ever Hear

I Got A Question: Does Lorne Balfe Is Going To Be Additional Music Or Music Producer? Because The IMDb Music Department Say That.

Jack Afrogarrix2017 reply Replies: 0 || 2017-07-14 01:16:49
Another Great Work For Hans Zimmer And Works Again With Christopher Nolan In This War Film Dunkirk. The Track "Supermarine" Is An Intense Best Track I Ever Hear

I Got A Question: Does Lorne Balfe Is Going To Be Additional Music Or Music Producer? Because The IMDb Music Department Say That.

Kingfannypack reply Replies: 4 || 2017-07-11 23:16:06
I can't even be the only one here who likes Supermarine? It felt very tense, fast paced, and had a panicked vibe to the entire track. It will sound better after the movie is released, and we have seen the scene this is paired with.

Brent2017-07-11 23:19:10
I agree. Though it's not very inventive or anything new in style, it's still very enjoyable and I suspect it will fit the film nicely.

badbu2017-07-12 06:09:52
the track is amazing! so simple but so good!

Leo2017-07-13 00:53:11
I really like the second half of the cue, but I find everything else to be "meh".

Mortifer V.2017-07-13 11:52:39
I LOVE it.

Ahmad reply Replies: 3 || 2017-07-11 23:29:33
A 30sec clip featuring new music from the score: volk/status/884874191878619138

Maximouss862017-07-11 23:56:51
this tension music just for a simple discussion makes me feel that it will be that during all the movie, 1h45 of tension thanks to the score :O

Anonymous2017-07-12 03:01:24
I think we're in for a good balance of action, and very powerful, trademark Hans, dramatic themes!

badbu2017-07-12 06:09:05
i like it!!! :-)

Naji reply Replies: 19 || 2017-07-08 00:06:28
Im Just listening to Supermarine, is this even Music?
come on HZ what is happening to u r u the same guy behind thin red line?
so disappointed so disappointed.

Ahmad2017-07-08 00:17:46
I really respect others opinions I really do, and I don't expect everyone to like the same exact things, but comments like these trigger me, for god's sake...
Do you think if Nolan wanted a traditional score like the one you mentioned above from Zimmer, Zimmer would've been like: no, let me do this instead?
Also why do you want Zimmer to do the same exact thing, over and over again?
This is a collaboration between Zimmer & Nolan. And by the way, it's a film score that is supposed to be heard with the movie and it has to fit perfectly with it not just please listeners.
Sorry, I just had to get it off my chest.

Naji2017-07-08 00:22:42
no worries darling u r free to reply.
1. Zimmer is doing the same thing since 10 years
2. What i mentioned before which Thin red line is a masterpiece zimmer didn't touch this level since long long time.
3. for me this is not lets try somthing new this is a lazy Score with same nots which we r heard b4

Ahmad2017-07-08 00:42:38
I kindly disagree with you. Does Angels & Demons sound like Inception? Does Freeheld sound like Interstellar? Does Inferno sound like Sherlock Holmes? Does The Dark Knight sounds like Frost/Nixon?
The Thin Red Line is a beautiful score that belongs to a beautiful movie. This movie demanded a different approach that might not please everyone.

James2017-07-08 00:46:38
Only to demystify the idea that the old Hans who composed everything by himself does not exist anymore. In fact he has always worked like this. Not always, ok. But in the majority of times. And he's not the only one who works like that. Danny Elfman also has limited knowledge of technical writing of music and works almost like Hans with difference, I think, that he writes directly with samplers for most scenes.

Here's John's interview. iew-scoring-bourne-hans-zimmer-faceoff-and-more

Alexander2017-07-08 00:58:51
Thank you man for saying that ! Journey to the line is still a majestic masterpiece as studio version and as live version. I don't get it why so many are defending this Supermarine track just because of the fact that this is it what Nolan wants from Hans Zimmer. We all know that this Track/Score is a result of the Zimmer/Nolan collaboration but this fact does not make it better. And I would not say that Hans did the same thing over and over again in the last 10 years.
If you like it because you really like the music than alright nobody will say something against that but don't say "hey its what Nolan wanted" that doesn't make things better

Alexander2017-07-08 01:03:39
For sure all these movie scores sounds different. But all that you mentioned sounds great. Nobody said that this one doesn't sound different but it sounds not good as one of the scores you mentioned above. And it is just one track. Lets wait for the entire score. Even if there are so many saying that this one is different cause the movie is different there must be a theme or at least one peace that has a melody and perhaps we all fell in love with it

Ahmad2017-07-08 01:16:27
Of course saying that it's what Nolan intended doesn't automatically make it good. If you don't like it, you just don't like it. But some people are blaming Zimmer for not making a traditional score with eccentric melody lines and what not, that's why I brought up that director's intent plays a big role in this.

But what really bothers me is the idea that a score should always be a certain way or have a melody line to count as a score, and that to me limits creativity. Who knows, they might have tried a more traditional compositions but it just doesn't work and it doesn't fit with the tone of the movie.

Another thing that bothers me is people's limited definition of music. "What is this bunch of noise? This is not music", I find comments like that to be quite ridiculous.

Alexander2017-07-08 01:30:49
I agree with you in most of the points you brought up. For sure blaming Zimmer because he (maybe) didn't delivered a "classic" score is dump. But because of the fact that Hans scores are always different and fresh, finding new sound IS a classic Zimmer score. And when it comes to this Track. Well it sound interesting but not really good (in comparison to other "fight" tracks like in Inferno).
Well I see what you think of music and the room you have to give to a composer but I still think That a good score has to have something melodic in it. It can be as new and as complex as it will but it must feel melodic and it must have a drive so that you can lay yourself in it and you can feel the music if you want so. Finding a beat and some interesting sounds doesn't make a good Track or Score. I think we just don't want Hans to fell into a Steve Jablonsky mode cause Jablonsky did some GREAT music in the Island or in the Transformers movies but the rest... he always have interesting sounds but somehow he lost it. And now he just make good music for the Transformers movies every 3 or 4 years. Compare Merlins staff to a pain and gain track. For sure you can say that even Pain and Gain is art but I would put my money on it that most people would like Merlins staff more and not beacause there are fans of a classic strucured score but because of the melody.

Naji2017-07-08 02:32:37

what i believe Nolan its great for hans and bad at the same time,
if u have idea how hans did a beautiful amazing themes for TV series far from nolan.
when they said Hans will work with nolan for this kind of movie i should get something big magnificent not the same notes which he use in a lot of previous movies.
I love all hans works, he is one of my fav but i feel that inception style is expired and it has to be changed.
Don't forget Hans Drop a lot of Great movies for nolan and he is not working with Ridley Scott anymore and no more superheros themes, I don't want to here this style of Lazy OST over and over again
i wish that u understand my point.

Anonymous2017-07-08 04:08:12

Dude, I think you are really wasting a lot of time and energy making early criticisms on the basis of only hearing one track. Just take a breath, stop typing, wait for the movie, buy and listen to the whole score, the fire off the opinions. Remember, Zimmer said this was his most demanding score. I love Supermarine, but if you think this track represents the demand he refers to, I think we are all in for a big surprise. This track reflects the immense talents of Hans to build tension and fear, like he has done time and time again. I can only imagine the gem you are looking for hiding in the remainder of the score. Could be wrong....doubt it.

Ds2017-07-08 10:27:35
@Alexander: for sure more people would like "Merlin's Staff" over anything from "Pain & Gain". But if you want to follow what "most people like", I have no clue why you even listen to film music. More people also prefer catchy pop songs over film music: does that make those pop songs any better for you?

Alexander2017-07-08 14:15:51
For Sure youre right about the pop Music thing but try another Point of view. If this supermarine Track would have been Wirten by some private guy that Nobody knows. Everyone would have Said "oh no Thats garbage" or "he Will Never sound as melodic and magic as Zimmer". Look I am a huge Hans Fan, went to three concerts so far and I am Sure that the Dunkirk score will have something for me. But I just Don't want Hans to Write garbage, putting his mae in it and than saying " oh well Are You just Listening to Mainstream or why don't You like it ?!?"
You Know These "Mainstream" Tracks just became Mainstream because of there quality. For Sure I like ist to listen to Time or King of Pride Rock. These peaces Are super Mainstream but that doesn't mean that they Are Less worth.
Are You getting my Point ?

Ds2017-07-08 15:12:13
Not really I must admit... Usually mainstream tracks become mainstream because they have a catchy melody that quickly connects with many people. Doesn't mean they are any "better" than the other tracks.
Hans' job is not to compose catchy themes and sell many albums to a broad audience. His job is to support the picture and create whatever soundscape, emotion or atmosphere is required by the movie.
This Supermarine track is loud, heavy, tense, I'm sure it was never meant to be "beautiful" or "melodic". And I appreciate it for what it is, because it's powerful and very well done. Very Hans.
Of course it would be great to see Hans doing a big epic movie in the next few years, with big, broad power anthems just like he did in the 90s and 2000s. However I don't see that happening soon, no director seems to want that anymore...

Alexander2017-07-08 15:47:22
Oh than You perhaps misunderstood my Intire Point. I don't say it is Bad when it comes to heavyness or intensness. I just don't Said to myself "Now I wanna hear a very stressy or Heavy Electronic thing". So I Personally was disapointet cause I didn't thaught that. For Sure in a Action scene this will work Great I can Imagine yea but it is nothing I would repeat all day like I bet we all did as the Batman Movies came out. Best Example Molossus. A very intense Track but somehow it has somethin in it that make me Listen and listen it again. Well I See it different I belive Hans has to Tell a Story with his Music and he Said it even hisself that in a Story there Are Great Times, lame times, Action Times and epic times so his Music represents that. And by now I think there is no doubt about it that this Track is a mix between lame and Action Times cause it tryes to be Action but compared to Molossus or other Tracks of this Kind by Hans or isn't that good for hearing it seperatly.

Olzoy2017-07-09 20:25:18
Seeing a lot of people reply saying the reason you don't like Supermarine is because it's 'unexpected' which is ridiculous
1. His score for interstellar was 'unexpected' and I was blown away by it, I loved it when I first heard it and I still love it now
2. There's really nothing new about an electronic score with heavy percussion, it's no different to what junkie xl did for mad max or batman vs superman, which was awful
3. Mentioning angels and demons and the dark knight in a comment where you argue none of hans' scores are similar is just laughable

Mike (OTM)2017-07-09 20:47:54
Yeah...Supermarine is not "unexpected." If anything, it's too expected. It sounds like a cheap "this is what Zimmer sounds like" track. It may work well in context, but it's boring by itself. The frenetic ostinato is something we've heard a thousand times, from Zimmer and his associates.

traditional2017-07-10 21:31:40
" if Nolan wanted a traditional score"

This is pretty much now the standard "Zimmer-esque" score track though. It's probably fine in context but let's be honest if you didn't know who wrote it how would you distinguish it from any other unspectacular production library music everyone can write these days?

What's funny is Inception, Interstellar, Little Prince, Kung Fu Panda... all in their own way are miles away from what his sound is stereo-typed as! The one thing you can't claim Hans is whether you like him or not is generic.

But let's wait and hear all of it before judging. Maybe the rest of it is more intriguing.

Waymann2017-07-11 08:28:57
Early reviews praise the score, only happens when it's really good like with War for the Planet of the Apes which is already an oscar worthy score. Still hyped for this, the score will be one of the leading voices of the film because of the non-linear story telling and minimum of dialogue. Don't think they would have rushed this big task.

DoubleOhDutch2017-07-11 19:41:43
Bombers over Dunkirk remix...

I really respect Zimmer's work when he really tries to push it further. Thin red Line, Interstellar, Inception are simply sublime. Inferno, Pirates 4 and to a certain degree the Superman scores all have this weird remixes that simply do not fit.

Then again I would buy his music even if he composed music for supermarkets...

isildur reply Replies: 11 || 2017-07-07 22:42:39
So, "Variation 15" is by Wallfisch based on Elgar's theme according to

Mike (OTM)2017-07-07 23:07:57
But Wallfisch isn't listed here...?

ss2017-07-07 23:29:32
Dude im sure Hans just composed The Mole and Home. Other tracks another composers. Im sure with that. Hans is not old Hans. Trust me.

James2017-07-07 23:43:14

James2017-07-08 00:10:50
Search for a an recent interview with John Powell. In it he says Hans has been working like this since the 80's.

Naji2017-07-08 00:16:46
What u mean like this?

James2017-07-08 00:47:43
Only to demystify the idea that the old Hans who composed everything by himself does not exist anymore. In fact he has always worked like this. Not always, ok. But in the majority of times. And he's not the only one who works like that. Danny Elfman also has limited knowledge of technical writing of music and works almost like Hans with difference, I think, that he writes directly with samplers for most scenes.

Here's John's interview. iew-scoring-bourne-hans-zimmer-faceoff-and-more

James2017-07-08 00:48:19

ghosts2017-07-08 12:57:00
Interesting that John Powell uses the term "ghost writers". Can we now just admit that that's what it is.

isildur2017-07-08 20:35:22
No. Ghost writing is when no one knows who worked on that score. Everybody knows who did what on almost all the scores of Hans. He never backed away from giving credits to those who worked on the score. There are many other composers who take help from their so-called "ghost writers" and nobody even mentions their names anywhere.

ghosts2017-07-08 21:45:56
Thanks for the attempt at an explanation but I think I'll take John Powell's opinion over yours.

I don't really see anything wrong with it as long as everyone's happy with the outcome. But the denial that that's what it is, is ridiculous.

Hybrid Soldier2017-07-08 21:56:00
What denial ?

You're on the wrong website to talk about denials on additional music writers ! LOL

Dingo reply Replies: 0 || 2017-07-08 20:03:54
Listening to Supermarine and I don't understand all the hate. It sounds great to me and it will probably be even better once you have a scene to go with it.

theGordo reply Replies: 0 || 2017-07-08 11:30:22
There's been an update on and it says that "Variation 15 (Dunkirk)" is done by Benjamin Wallfisch and is based on a theme by Edward Elgar

Lynk reply Replies: 0 || 2017-07-08 07:04:24
"Supermarine" is about the closest the composer has come to writing a spiritual "sequel" to "Synchrotone" from Black Hawk Down to me.

It is quite a "busy" tune - even busier than Synchrotone. Among all that's going on in this cue, I particularly like those faint sound effects in the background that resemble plane flybys or plane engines or whatever that truly is.

Stylistically speaking though, it feels more like a score for a present day conflict than something from the WW era - at least in this cue so far. I hope there is more to this score than what this particular cue represents.

Either way, I so damn miss the days of Thin Red Line, Gladiator and Last Samurai. Wish those things could become "hip" again.

Kent ÷berg reply Replies: 22 || 2017-07-07 15:17:10

Luis Goes2017-07-07 15:32:54
Amazing! It's pure Zimmer + Nolan!

Alexander2017-07-07 15:33:28
Oh god it's a mess. To heavy on the electronics and not even a pinch of a melody.
I mean he did a lot of Dunkirk during tour break so there is the chance that he wasn't really in it you know. I mean he worked years on Inception and now he had months to do this one. The sound from 4:51 to 4:54 reminds me of some tracks from inferno. I just hope that this is the one non melodic fight track that every action/war/battle movie has.

Rescue continues from Hacksaw ridge is awesome. I hope we get something like this !

Medigo2017-07-07 15:42:18
Or maybe this is just not going to be the kind of movie/soundtrack you expected/wanted.
I am assuming this scene is supposed to be about tension rather than something heroic.
At least the length is hopefully a good indicator of other tracs lengths.

Mortifer V.2017-07-07 15:54:18
I love it.

Waymann2017-07-07 15:59:02
Why do we have to download this as a single on iTunes? Why not as an album pre-order.

Ahmad2017-07-07 16:05:29
@Alexander I guess you haven't seen the prologue? We knew from the beginning that we might not get a melodic/traditional score from Zimmer this time. It's very experimental and heavy on sound design. I'm so hyped to hear the rest of the score.

Alexander2017-07-07 16:14:58
Oh ok if this is the case I shouldn't Hype myself as I did. I thaught that he was Experimenting with New Sounds in Inferno or Boss Baby and that he would come back to his melodic roots for the Big scaled nolan Movies like befor in Inception or interstellar. Today I got my Angels and Demons Vinyl and of You listen to it You hear that he was Experimenting as well but it Sounds good and beautiful. I just Hope he doesn't lost it and there is at least one Nice melodic theme in the score...
Thank You for Information @Ahmad

Mephariel2017-07-07 16:25:06
Don't like it too much. Too experimental for my taste. Got to see it with the movie.

Waymann2017-07-07 16:28:03
It's just one track, it's sounds great, especially the last two minutes, it will work fine in the film for sure. This was the score I was expecting so i'm not surprised it sounds like this.

There is also not really a big main character in this film, so don't expect themes or heroic music, this movie is not about that. This is not a war film in the first place as Nolan stated before. It will be a fast paced thriller with little exposition, not another Saving Private Ryan or that overhyped Hacksaw Ridge movie. So don't even expect a score like one of those films.

BTW Interstellar is not very melodic either....

Ahmad2017-07-07 16:28:15
No problem. The thing is, the movie itself imposes a non-traditional score with it's non-traditional structure. Don't give up on this one just yet though, it's only one track out of 11.

Waymann2017-07-07 16:35:59
On the site of Water Tower Music you can click on a itunes thumbnail on the album page of Dunkirk and you will see an option between Standard, Deluxe or streaming... ? Is their going to be a deluxe edition digital ? Hybrid?

Ahmad 2017-07-07 16:41:25
"BTW Interstellar is not very melodic either...."
I kinda disagree with you @Waymann :)
I don't know what your idea of a melodic score is but the score was mostly variations of one melody accompanied by other tunes here and there.

You can sum the melodies/tunes this way:
1- Day one and it's variations (Cornfield chase, S.T.A.Y, etc...)
2-Stay and it's variations (Detach, Message from home, etc...)
3-Murph/Dust/I'm going home
4-The end of "Murph"/the end of "Detach"
5-A place among the stars/No need to come back
6-The wormhole and it's variations (Not much melody-wise but might still count)
The rest is sound design and variations of those 6 distinctive tunes.

Ahmad2017-07-07 16:42:05
Oh man! I hope there is a deluxe edition.

Alexander2017-07-07 16:53:19
I think interstellar is very melodic :D and it is interesting because Hans Said as far You Nice away from Earth as far the melody moves from its roots. It very interesting to hear it again knowing this fact. I See that there Are Not 100 melodys but if You Look at Last of the mohicans You See that it's one Main melody as well

Well I'm Pumped as f*** for the Vinyl !!! I Hope that the pressing is good and the Design as well !

Waymann2017-07-07 16:59:16
Listened 3 times now to this new track, and god I love it even more and more.

Medigo2017-07-07 17:24:55
I am not musically inclined, but what would you count the 'No Need for Caution' music as?

Ahmad 2017-07-07 17:41:44
It's definitely a variation of "Day One" aka the main theme :)

Joseph Solano2017-07-07 18:37:29
This track is really intense. Like really intense.

mpolonest123 2017-07-07 20:11:48
Just going by this track alone I'm not really sure what to think. I do love the style and energy here but.... it feels like it's missing a solid theme. Almost like this is the base/background meant to underlay a track while the orchestra plays over it. Oh well, it's gonna work wonders to picture most likely (unless it's a suite).

Alexander2017-07-07 20:43:41
@mpolonest123 total Agree with You ! It's an interesting idea to bring back the clicking sound from thin red line back. But as in Journey to the line the klicking sound was in the Backround to create atmosphere. I absolutly Agree with You and Hope that there is a Suite with this interesting sound in the Backround.

Ahmad2017-07-07 21:40:02
You guys really need to see the prologue to really get how the score works in that movie. The music just fits perfectly. Lots of ticking, lots of humming, lots of movement. The ticking speeds up and gets faster with the action. Although I like this I think it would've better if they had released that instead. I guess they don't want give away the goods too soon. So either go see the prologue in a theater near you (if you're lucky) or try to find the bootleg.

Mike (OTM)2017-07-07 22:34:14
It sounds like "Initiate the Tow," which Hans did in Captain Phillips. :P

Waymann reply Replies: 1 || 2017-07-07 16:44:28
Vinyl will be released on Octobre 13th.

Yeah ok, Interstellar has some melodic themes but has a lot of sound design too. Especially when you listen to the complete score and the suites. But I think the Interstellar score an genre on it's own. haha

Ahmad2017-07-07 16:56:05
I totally agree. What's interesting is that a lot of the sound design elements on Interstellar sounded very organic and not as in your face as other Sci-Fi scores. Hell, he even programmed wind and waves for the score lol.

According to Amazon, it's a double vinyl release, it's a good indicator that the album is not short at all (At least not as short as Inception).

Nick reply Replies: 8 || 2017-07-04 02:31:36
So, I'm going to be honest - I'm not a huge fan of Zimmer/Nolan collaborations. While I believe Interstellar is a highlight in Zimmer's portfolio, the rest of Nolan's scores are, to say the very least, distant seconds.

Like all other film composers, Hans Zimmer's music is heavily influenced by the director and his distinct style. In my mind, HZ scores from Gore Verbinski and Ron Howard films are my favorites (with Da Vinci Code and Angels and Demons being #1), and you can easily tell why - both directors are very charismatic and aesthetically pleasing, narratively and visually. That sense of color and personality likewise translates to Zimmer's music, producing scores that can be jaunty, frightening, and classically epic.

Nolan, however, is a different story. I am a fan of Nolan as well, but compared to others, his directing style is very stoic and monochromatic and heavy; there's very little wiggle room for a liberating sense of fun or enjoyment. Not saying that's a bad thing, but that style shows itself in the scores, and let me be honest, it's much more pleasing on the eyes than it is the ears. Batman, Man of Steel, Inception, they're all the same to me - at best, pensive and reflective; at worst, muddy and bland.

To me, they suffice as background music, to kind of zone out to while I'm preoccupied with something else. With other scores, I'm fully engaged in the soundscape, picking it apart and losing myself in the music - but in my view it's kind of pointless with these aforementioned scores. If I had to describe them with a word, I'd say "serviceable."

That being said, I'm looking forward to Dunkirk with enthusiasm, but only with the hope that Zimmer and Friends can produce something unique and engaging, something that breaks the mold set by other Nolan scores.

mpolonest123 2017-07-04 05:33:11
I both completely agree and disagree with you.

With regards to Nolan I do understand how his films come across as ultra-serious, heavy handed. Especially in the tones and performances. At the same time I think his strengths as a filmmaker (and the aforementioned performances/cinematography) do compensate. Hell, Interstellar had the best balance of stoicism and genuine human emotion. Could they be more fun? Definitely, although something like Dunkirk wouldn't benefit from levity.

Now on to where I disagree, at least partially. Zimmer. If you go through each of the scores he did for Nolan, they are fairly different from each other. Batman Begins couldn't be further in tone or style from Interstellar. Just like Inception and TDK are at different ends of the spectrum. And MoS (since you mentioned it) is almost nothing like the Nolan scores outside of similar instrumentation. I think the key difference between the Nolan/Zimmer collaboration and other collabs is that on a Nolan film Zimmer tends to have a more suite based approach. They basically function as library scores initially. Compare that to something like Rush, where Zimmer scored to picture. Both approaches work imo, and I definitely wouldn't say Interstellar or TDK are bland. Maybe oppressive, but even JNH's contributions to the Batman films show more emotion than given credit for.

Nick2017-07-04 07:26:41
@mpolonest123 As I mentioned, in my opinion Interstellar stands alone in terms of the risks Zimmer took and how they paid off in the end.

What I don't understand is when people cite Nolan's Batman trilogy or Inception as some of Zimmer's best work. Both are similar to each other in the fact that they're slow, churning, more reliant on sound design and sonic ambiance than melody, and they are heavily derivative from Zimmer's past projects (TDK is just a stripped-down regurgitation of prior action scores).

To put it simply, they're just exercises of pure brawn and melancholy. Like I said before, it's serviceable and complementary to the context of the film, but outside, on their own, it's borderline intolerable to me.

Mephariel2017-07-04 20:07:58
If you are talking about isolated listening experience, then I think Interestellar is the only Nolan score that I really enjoy listening to from beginning to end. It is undeniable however that some of Zimmer's best cues came out of his Nolan scores: "Time" from Inception, "Like Dog Chasing Cars" from The Dark Knight, "No Time for Caution" from Interstellar. But I disagree with your idea that all his Nolan score sounds the same. I don't think Batman sounds like Man of Steel or Interstellar.

I also disagree when you said his Nolan scores are only "serviceable." Interstellar is one of the greatest scores of all time imo, and is absolutely magical when watched with the movie. I would almost say the score drove the film more than the other way around. It is also Zimmer's best work since Angels and Demons.

The Dark Knight is not one of my favorites, but it has more soul and identity than almost any other superhero scores out there. If you think about all the Marvel scores, I serious can't remember a single note from those movies other than The Avengers theme and Patrick Doyle's incredible score for Thor. But I can remember Zimmer's two note motif no problem as well as the progression leading to those notes.

The one thing that I agree is probably the fact that Zimmer's career at this point could use more Howard or Verbinski style scoring. I am really looking forward to Dunkirk, but we really don't need another solemn, dignify, reflective score from Zimmer about war.

mpolonest123 2017-07-04 22:27:05

To each his own, I can understand why the scores you mentioned may not work for some people. For me, TDK works because it is basically world-building in musical form. You have the insane sound design for Joker, the traditional scoring for Harvey, and the pure Zimmer action/chord progressions for Batman. Some sections may be generic sound design (an issue I had with Batman Begins) but from start to finish it tells a story, and basically revolutionized action music when it came out. You definitely have to judge it as a sum of its parts.

Now Inception on the other hand, is somewhat overrated imo. It's a good score, and has a great blend of electronic styles that match perfectly with the film, but doesn't offer the same variety or development as something like At World's End. People just seem to really connect with "Time"

Mephariel2017-07-05 01:03:06

Definitely. I love the concept of Inception's score: blending electronic guitar with classical arrangements. But the score is just a tad too underdeveloped to me. The cues are all interesting but not fleshed out enough. Conceptually, the score is incredible, but the execution just fell short.

And yes, without question "Time" elevated the score, or else Inception wouldn't even be top 20 on my list of Zimmer scores. "Time" is just one of those special cues that captures your emotions into a bubble every time it plays. Your life literally flash before your eyes when listening to it. Introspective and moving. Simple, yet profound.

Bolidzar2017-07-05 22:10:14
Interesting. I think that Nolan brings out a genuine side of Zimmer that results in orginal performances as opposed to recycled cues for movies past (Gladiator/PotC). That is one thing I've always loved about their relationship.

Ian McCarthy2017-07-06 01:53:56
Bolidzar - you make a good point; I think I've listened to all of the Nolan/Zimmer scores, and I don't recall any apparent temp-tracking or reuse of cues, except in the case of something like TDKR reusing cues from the previous Nolan Batman films. Nonetheless, I think the issues of these scores generally being slow, churning, lacking melody, etc remain.

future2017-07-06 10:39:06
no reuse of temp-tracks or other cues? what about the 'time'-cue, where all girls screaming out loud when they hear the first tones? it's just a 'journey to the line' 2.0, which zimmer itself said that in an interview.

@tomPLivo reply Replies: 0 || 2017-07-05 05:46:05
What is Balfes envolment with the score ?

Tohid reply Replies: 0 || 2017-07-01 10:26:55
Your work is best...

Joseph Solano reply Replies: 9 || 2017-06-27 21:47:16
I understand why there are only 11 tracks, but I hope we get more demos and suites in the future.

Edmund Meinerts2017-06-28 13:07:13
Those 11 tracks could be each over ten minutes long and the album be pushing two hours for all you know.

Waymann2017-06-28 13:13:46
This album will probably around 1 hour... Inception had 12 tracks and was 49 minutes without the two bonus tracks.

Ahmad 2017-06-28 14:14:22
Definitely not two hours though since CDs are limited to 74-80mins of audio. I was hoping for an extended digital deluxe edition.

mpolonest123 2017-06-28 15:26:10
While it would be unusual for a Zimmer/Nolan collab to not have any suites, we still don't know how much music is in the film itself. Take 12YAS for example; a 2 hour movie with only 40 minutes of score. For all we know, this release might be 80% of the music written.... or more.

Now if it's anything like Inception (which is such a disappointing album) then this will be a letdown.

MrZimmerFan2017-06-28 15:29:16
I love Inception


Ahmad2017-06-28 15:33:31
The movie is 1H47Mins long with credits. If credits are 7 minutes long, we're left with a 100 minute movie (who knows how much music was written/used). Not to mention the relentless pace. I want to believe that we might get everything we want/need out of this release but I'm really not sure.

mpolonest123 2017-06-28 16:09:06
@MrZimmerFan Oh I love Inception too, it's a great score. But that album situation though.,.. missing some major cues. At least Interstellar was a solid release, only missing one major track.

JBSO992017-06-29 10:35:05
@mpolonest123 But that one track got us out of our mind because they did many different releases, and I think that until the compete score appeared, we couldn't heard it. Luckily it didn't took it too long to appear.

Also I cannot wait for this score, I love all collaborations between Zimmer and Nolan and I hope they do a release with suites or demos or something like that like in Interstellar.

And one last thing, If the movie is about 107 minutes long we may get a very complete release in this album. I cannot wait!!!

Mortifer V.2017-06-29 12:27:40
Track #10 'Variation 15 (Dunkirk)' has to be a suite.

ss reply Replies: 3 || 2017-06-28 16:24:02
The Mole - Full clock-ticking and rythm

Kalman2017-06-28 17:23:03
How do you know? Have you heard it yet?

ss2017-06-29 00:05:05
Because i saw IMAX prologue, if this track opening, track. It's probably be. Opening scene starting clock-ticking.

Max Potcats2017-06-29 01:19:51
please god (HZ, of course) stop teasing us x'D, the longest 22 days left of my live :)

SPECTER reply Replies: 1 || 2017-06-28 23:05:04
How does Hans Zimmer choose who is going to help him on his scores?

Anonymous2017-06-28 23:36:21
Probably cycles through them all. Rotation. Or he just chooses who he wants. He's the boss.

superultramegaa reply Replies: 1 || 2017-06-28 00:47:19
Does anyone know if the score will sound like the trailer music? The song with the weird instrumental dubstep even though it's WWII, and dubstep/electronics would make no sense for that era?

Anonymous2017-06-28 02:49:38 ments-on-hans-zimmers-dunkirk-score/

... reply Replies: 1 || 2017-06-23 16:41:15
Can anybody tell me how can Satnam Ramgotra be listed as additional music composer for this? I thought he was just a musician

LP2017-06-27 14:54:05
Hans Zimmer can credit anyone whom he thinks has helped him out on the score.

Luis Goes reply Replies: 2 || 2017-06-27 03:37:17
I'll never forget how thrilling it was when I watched Interstellar, once the cd was released after the movie, because Hans and Nolan wanted us to feel the images and sound together. I'll do the same with Dunkirk and all further movies with these amazing director and composer.

Mephariel2017-06-27 08:48:33
Yeah, I don't think I can help it, but I really want to watch the movie first before listening to the score.

With Interstellar, it was a magical experience, especially when Cornfield Chase was playing and No Time for Caution melding perfectly with the docking scene.

Waymann2017-06-27 09:25:38
I always like hearing a score first before I go in. Especially with a film like this. When I haven't heard the score first I pay too much attention to the music so I can take everything in but then I stop using attention to the movie itself. But in case with Dunkirk the movie comes out few day before the score gets released in my country.

Manulder reply Replies: 12 || 2017-06-23 15:48:24
11 Tracks ( but no titles :-)

Manulder2017-06-23 15:49:08
Sorry :-)

Waymann2017-06-23 15:54:26
Great, another soundtrack we can wait for to get the complete score.

Kalman2017-06-23 15:58:55
I wonder if there will be a special edition too. The latest albums from Hans that came out on the WaterTower label all had a special edition release as well.

I don't know if I should pre-order it or wait a couple weeks to see whether a double CD edition will follow. Would be good to know...

Hybrid Soldier2017-06-23 16:02:48
There won't be a 2 CD.

Anyway the film is pretty short, 1h45, so I guess Hans everything he needed in this release.

Medigo2017-06-23 16:07:11
Lets pray for the FYC to be huge like it was for Interstellar

Hybrid Soldier2017-06-23 16:13:37
Well I hope Hans "could" credit everybody and disqualify himself from the "FYC" award races like he loves to... But not easy with a Nolan movie !

Iamtommie2017-06-23 16:46:03
Why does evrybody assume that the album will be short. Mayne the ttack lengths are 10 or maybe 16 minutes long. He's done it before on Crimson Tide. This had 5 tracks and an hour of playtime.
So who knows. Mayne it's a score more than 1 hour.

Kalman2017-06-23 17:30:50
Thanks for the info, Hybrid! Anyway, it's really strange that a war epic is maybe Nolan's shortest film so far. He barely seems to be able to make a movie under 140 minutes.

Mephariel2017-06-23 18:34:06
I suspect this film is all about intensity. I think none of the characters will get an introduction. The movie will just start in the middle of the war.

sverige19772017-06-24 19:43:15
Is Dunkirk also released on vinyl?

isildur2017-06-24 20:49:27
@Mephariel, You are right. And it is not exactly a war film. It's more like a suspense thriller. Whether they'll get home (we know they will) but it's more about how they will and how each of them experience this journey.

isildur2017-06-24 20:55:46
Hybrid, how big is the contribution of Balfe, Mazzarro, Kawczynski in this? Is it more like Hans wrote everything like in Interstellar or is it more like his "Jamming with a band" kind of thing?

Joshua reply Replies: 1 || 2017-06-24 19:54:38
Variation 15 (Dunkirk) - Hans maybe letting us in on how many times he had to rework this cue? lol

James2017-06-24 20:22:31
I also asked myself the same thing lol

Radik reply Replies: 0 || 2017-06-23 17:09:36
I hope this time will all epic cues from movie inclued in released score :) Cant wait to see it. This is movie event of year.

Alexander reply Replies: 0 || 2017-06-23 16:04:17
1. The Mole
2. We Need Our Army Back
3. Shivering Soldier
4. Supermarine
5. The Tide
6. Regimental Brothers
7. Impulse
8. Home
9. The Oil
10. Variation 15 (Dunkirk)
11. End Titles

Official track List and I have to say that I put my Money on it that "the tide" and "end titles" Are Nice mayestic themes. Just judging by the titles

Broken Note reply Replies: 4 || 2017-06-23 13:43:56
It will be interesting to hear what the score will sound like since Mazzaro and Kawczynski is on the team. Hope it will be heavy on the electronics and sound like Chappie :D

Iamtommie2017-06-23 14:47:50
I hope it's going to be something in between 'Inception' & 'Interstellar'. I hope there are not as much electronics as in Chappie.

Andres2017-06-23 15:05:11
That's what worries me . Having them in it doesn't excite me. I am excited though to see Balfe back working with Zimmer and Nolan.

Alexander2017-06-23 15:16:43
I hope that Hans will punch out his next big thing with Dunkirk and I hope that they will not use electronics that much. It is a Hans Zimmer score so for sure there will be electronics but I hope on something that sounds like "Journey to the line" or inception for sure. You know what would be cool ?! To hear something that sounds like the live version on "Journey to the line" for sure another melody but something that is as mighty as the live version. I really like the drums in it at the end they put much more pressure in it and make it sound heavier. I don't mean the drum solo at the end but the part before that when the main melody kicks in.

...2017-06-23 15:38:57
I hope Hans does something inventive and interesting with the orchestra and not just relies on electronics! The best zimmer scores are in my opinion where the orchestra does the heavy lifting and not the synths!

The fact that Nolan said throw out the percussion and string ostinatos when they did Interstellar is a good sign and I hope Dunkirk won't go back to that style!

Jean-Pierre reply Replies: 1 || 2017-06-23 10:14:17
See the cover on

Link2017-06-23 10:17:16 ._SL1500_.jpg

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Dunkirk soundtrack - Hans Zimmer 2017