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My one hope is that this doesn't mean Chris Nolan will be tying Zimmer's hands behind his back for future scores. If he wants to do that here, okay. I can get over one score. But I hope Nolan doesn't keep calling for this non-melodic approach.That was one of my favorites, wish it was on the OST.Yeah, was also looking for that track.Nolan's liner notes, which explains a lot on the score :<br><br>"British people are raised on the story of Dunkirk. The events of the evacuation are sacred ground, not to be ventured onto without great care. Daunting for a filmmaker. But the things that place Dunkirk so firmly at the heart of a nation's self-image are the very qualities that make it one of the greatest stories in human history. Irresistible to a filmmaker.<br><br>This film required a remarkable creative team, and Hans Zimmer, as well as having been a valued member in the past, knows how to assemble his own great team. From our first meeting, where I described to the percussionist, Satnam Ramgotra, the unusual rhythmic structure of the script and how it needed to be amplified by the music, through the finishing touches applied by Lorne Balfe during our last weeks of mixing, the importance of teamwork was paramount. The process nicely echoed the circumstances of the events we were trying to honour- a triumph of communal effort, not individual heroism.<br><br>When I called Hans one night with a one word suggestion- "Nimrod", I wasn't sure he'd accept experimenting with an existing theme for the climax of the film. To my surprise, he knew just who to call to achieve the deconstruction of Elgar's monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It's a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father's coffin on my shoulder. Hans brought in Benjamin Wallfisch, who, in collaboration with the great music editor Alex Gibson and myself, fashioned a modern reworking that grows out of the sights and sounds of the movie- tapping the original's resonances without feeling unearned. Hans's brass accents complete the piece's power to move without sentimentalizing.<br><br>Hans went on to incorporate Elgar's theme elsewhere in the score, a score that on this album has been divided into cues, but which in the film plays as one long piece with a unifying and complex rhythmic and tonal structure. The structure of the screenplay itself builds upon the shepherd tone concepts I first explored with composer David Julyan in the soundtrack for "The Prestige", but here Zimmer's team (in particular Andy Page and Andrew Kawczynski) and I added a whole new rhythmical structure. This can't be fully represented on the album, but in the film it is able to integrate sound effects and even story structure into the very fabric of the music in a new and unique manner.<br><br>The rigid structure, to which we adamntly stuck, at times proved frustrating for the musicians, but they persevered and produced extraordinary cues based on unusual solutions (such as a recording of my watch that Hans and his team adapted into many different rhythmic voices). The disciplined procedural approach stopped the music for "Dunkirk" from ever resorting to arbitrary cinematic emotionalism, something Hans and I always felt was vital, given the inherent emotional heft of the real life events. This has been a long and hard journey, but I am proud of the final results, and hope that you will share my appreciation for the talent of the artists who worked so hard for so long on this score.<br><br>CHRISTOPHER NOLANI don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.
Saw the film again last night and there are a ton of great cues missing, especially from the first half of the film. It's a crime the cue when they carry the stretcher onto the ship wasn't included.The answer is: Christopher Nolan ;-)It doesn't crossfade as much as, say, The Dark Knight Rises or Inception, but there is  very rarely dead air. I haven't listened enough times to determine when it does and doesn't crossfade, but the tracks are, at least, very closely edited together.I Love Hans' stuff but this score didn't really do it for me. I don't see how people are repping this as Oscar worthy but trash something like CHAPPiEs score, something with actual emotion and melodies.This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team
Does anyone know whether the cd version actually has the cues crossfading into each other? Since in the film the score plays almost as an entire cue, it would have made sense if they did that. It sounds like some cues in the digital version end kind of awkwardly, like 'Impulse' and 'Home'. These cues fade out while there still seems to be some instrumentation progression going on. Hence the crossfade thought...Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because<br>1. Use of a classical musical piece throughout<br>2. More than one guy is credited.<br><br>Anyway, that's how Hans always liked, crediting everyone.I have to agree on the soundtrack being mostly unlistenable...<br><br>This is nothing like Inception, or even Interstellar.<br><br>I seriously doubt there's going to be a big stink made about any track from this score the likes of "No Time For Caution" back in 14...<br><br>I tried...I tried real hard to find something to keep me interested in this score, but I personally couldn't find anything. Most of it is tension building noise. I'm sure it's great within the film, but outside the film? Not so much.<br><br>I guess Zimmer is on "retirement mode" now...He's slowing down and not wanting to produce the rockin stuff that he used to...I can't blame him, but still...This score sounds like a total experiment.Sorry bud...<br><br>Its not.Hi everyone, does anyone know the name of the music in the Dunkirk Trailer 1 at 01:30? It doesn't not seem to be in the score, I'm assuming it's not in the movie, I'm going to see it Sunday. If anyone knows the music or where to find it, please Comment, thanks!
Tina had a lot of work to do here!Each time I listen to "The Oil," I'm convinced it can't get any louder and larger, but it does. If you don't look at the track time, you're just constantly thinking it's about to end, and yet it somehow continues to up the ante until you almost can't handle anymore!I was on three concerts so far and just at the one at Frankfurt some band members came down from the stage after the concert. I didn'f got a autograph but I did photos with nile marr and nick glennie smith. But if you would ask some of the band members I am sure they will say "ok perhaps I can arrange it" would try it this way :)I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.A fanmade.<br><br>Hybrid probably took the track from here because the guy behind the channel was stating that it was original without being. Leaving the link here would only give him more audience.
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Music Programmer
James S. LevineBobby Tahouri
ComposerMusic Programmer
Nip / Tuck
Label: Promotional Release
Length: 21'40
HZimmer.com rating:        3/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4382 votes)
  1. Kimber's Face (1:23)
  2. Ass Implants (0:59)
  3. Goodbye Scarecrow (1:26)
  4. Pedophilia (2:00)
  5. Threesome Intervention (1:41)
  6. Enough is Enough (1:22)
  7. Sean and Matt (1:46)
  8. Test Drive (1:31)
  9. Self-Circumcision (1:58)
  10. Who's the Daddy (1:57)
  11. Apology Montage (0:32)
  12. Cara and Matt (1:22)
  13. Talking Heads (1:38)
  14. Meet Mrs. Grubman (1:20)
  15. Everything Will Be OK (0:39)
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Laurie reply Replies: 0 || 2012-11-27 18:57:15
Like to buy piano score from season 6 episode 14 of Nip/Tuck

pierrick reply Replies: 0 || 2010-02-18 00:00:00
How can we buy this CD ?

Chris reply Replies: 0 || 2010-01-14 00:00:00
I think this show is really good, just too bad its going away soon. I love the score, but alas don't see it around anywhere. if anyone has a thought, kindly let me know.

Regards,

C

DWIGHT HOLIDAY reply Replies: 0 || 2009-10-29 00:00:00
I LIKE TO KNOW THE NAME OF THE SONG THAT WAS PLAYING ON NIP TUCK WHEN MARIO AND SEAN SON WAS MAKING THEIR FACE UP THE MUSIC IN THE BACK ROUND SHINNING AS ANY THINK THATS WAS SOME OF THE WORDS TO THAT SONG , WAS THAT RECORDED BY THE ENGINE ROOM BAND , DOES ANYBODY KNOW THIS SONG IT WAS SO GOOD THE MUSIC WAS SO COOL. SEAN NEW WIFE WAS KILLING THE WOMAN WITH THE LEACHES IT WAS PLAYING THEN ALSO , I WOULD SURE LIKE TO KNOW THE NAME OGF THE SONG.

richard bath reply Replies: 0 || 2009-07-31 00:00:00
where can this cd be purchased from?

DemonStar reply Replies: 0 || 2009-07-31 00:00:00
It's a promo, so it cannot be purchased in stores sadly. You'll have to look for it the "unofficial" way, if you know what I mean. ;-)

Patel reply Replies: 0 || 2009-04-13 00:00:00
Can anyone tell me where i can find this soundtrack i would like to purchase it.

Thanks!

Dillon reply Replies: 0 || 2009-02-21 00:00:00
Wow, I've been looking for this CD everywhere. :( I would really love to have all of James S. Levine's Nip/Tuck scores. Anyone know where I can get them?

Anonymous reply Replies: 0 || 2009-01-28 00:00:00
I'll second *Dee's* plead for the soundtrack of THE CLOSER... especially the amazing end titles... so unbelievably soulful and quietly grooving...

THANKS for any tip!
fedtho

Peter - Poland reply Replies: 0 || 2008-10-20 00:00:00
Hi! I have this promo CD :-)

Sapila reply Replies: 0 || 2008-06-26 00:00:00
I wan't this so bad.

Bongo reply Replies: 0 || 2007-10-28 00:00:00
this needs to be released somewhere.

Albin (Germany) reply Replies: 0 || 2007-08-23 00:00:00
This is the music, me in my car and an open road at night - clear sky. So good - please release it!!!!

bias reply Replies: 0 || 2006-12-03 00:00:00
gosh, why not release a cd of these nip/tuck themes?

they're so moody and cool.

actually, i was involved in making the hungarian dub for 3 episodes in the first season (including the one with the "Test Drive") and for the complete 2nd season as sound-engineer and was loving every minute of work with it.

guys, please get this music released, and not just this, but all the themes Mr. Levine has composed so far, like the two themes of the Carver in S02 EP13 (afaicr). PLEASE.

bias.
(Dezso Sebestyen, Hungary)

Jorge reply Replies: 0 || 2006-09-20 00:00:00
can you upload the Megan O'Hara funeral theme? that was exelent and emotional music

Kerry Muzzey reply Replies: 0 || 2006-08-31 00:00:00
I adore the score for this series... sure wish it was available on iTunes!

Dee reply Replies: 0 || 2006-08-30 00:00:00
I really would love to have the music track from The Closer. Is there somewhere I can get it, or at least hear it?

Thanks,
Dee

bgensprint reply Replies: 0 || 2006-07-16 00:00:00
Antas,

Is this a release available somewhere? I imagine it must be. I'm trying to found what the song is called at the end when Christian's baby is baptized, or when Sean is looking off into the ocean before parting way with the lady's ashes. Its a piece often used for emotional effect.

Renaud reply Replies: 0 || 2006-06-17 00:00:00
I NEED this disc. Does anybody knows where I can order it ? In advance, thanks.


Antas, Webmaster reply Replies: 0 || 2006-06-11 00:00:00
indeed Sylvos

Sylvos reply Replies: 0 || 2006-06-11 00:00:00
If it is a promo, it should only have those cues that were written by James S. Levine. I guess that's why that song is not included.

patrak reply Replies: 0 || 2006-06-11 00:00:00
Too bad the Title Song "A Perfect Lie" by The Engine Room is not on it.

Otherwise, nice promo for this amazing tv serie.

 HANS-ZIMMER.com 2001-2017 OST 
Nip / Tuck soundtrack - James S. Levine 2003