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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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Hans ZimmerJim DooleyLorne BalfeHenry Jackman
ComposerAdditional MusicAdditional MusicAdditional Music
The Simpsons Movie (Complete Score)
Label: Unofficial Release
Length: 76'10
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 (4810 votes)
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  1. 1m02v3 (0:32)
  2. 1m03-04v4 (0:24)
  3. 1m05v2 (0:20)
  4. 1m06v11 (0:30)
  5. 1m07s - Green Day Theme (1:24)
  6. 1m03s v2 (0:15)
  7. 1m09s - American Idiot Funeral Version (0:46)
  8. 1m10sv04 c13 (0:20)
  9. 1m11-12v17 (1:11)
  10. 1m13v8.10 (0:38)
  11. 2m14-15v2 (0:54)
  12. 2m16v5.1 ALT (0:31)
  13. 2m18v5.1 (0:50)
  14. 2m19v8FIX (1:11)
  15. 2m20-23v5 (0:47)
  16. 2m21s - Turtles Happy Together (2:57)
  17. 3m24v4.6 (1:21)
  18. 3m26v3 (0:32)
  19. 3m28v3 (0:15)
  20. 3m29v5 (0:24)
  21. 3m30s Town Hall Guitar (0:17)
  22. 3m32 w Whistling (0:19)
  23. 3m33v1 (0:09)
  24. 4m34v1 (0:27)
  25. 4m35v10.0 (1:28)
  26. 4m36v13 (0:27)
  27. 4m37v20 (1:26)
  28. 4m38v3 (0:18)
  29. 4m39v16 (0:48)
  30. 5m40x v3.1 (0:07)
  31. 5m42v3 (0:31)
  32. 5m44v1 (0:08)
  33. 5m46v5 (4:30)
  34. 5m49-50v15 (0:59)
  35. 6m51v2 (0:24)
  36. 6m52v5 (1:29)
  37. 6m53v2 (0:22)
  38. 6m54s Carousel Ride (1:16)
  39. 6m55-56v5 (0:54)
  40. 6m57-58v10 (1:08)
  41. 6m59-60v6 (1:06)
  42. 7m61v6.2 (1:03)
  43. 7m62-63v13 (1:40)
  44. 7m64s Grand Canyon AD (1:44)
  45. 7m66v3.1 (0:51)
  46. 7m67as v4 (0:24)
  47. 7m67bs v1 (0:06)
  48. 7m68v1.2 (0:42)
  49. 7m69s - Carpenter Close To You (3:42)
  50. 7m70v1.2 (0:31)
  51. 8m72-73v6 (2:22)
  52. Spiderpig v1.7 (1:06)
  53. 8m74v3.1 (0:36)
  54. 8m75-76v3 (0:35)
  55. 8m78v1.6 (0:25)
  56. 8m79s Sax (0:16)
  57. 8m80v5 (0:56)
  58. 8m81v3.1 (0:07)
  59. 8m82v1.2 (0:15)
  60. 8m83v2 (0:34)
  61. 9m84-86v1.10 (0:36)
  62. 9m85s Harmonica v3 Dry (0:07)
  63. Untitled Track 18 (0:51)
  64. 9m87-89v6 (1:39)
  65. 9m90v91v.1.8 (0:48)
  66. 9m92v1.14 (2:28)
  67. 10m93v7 (0:41)
  68. 10m93v8 (0:43)
  69. 10m94v3 (1:51)
  70. Homer v3 (5:08)
  71. Giddyup v1.1 (3:08)
  72. Theme v2.0 (4:57)
  73. Springfield Anthem (Cast) (0:40)
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vced reply Replies: 9 || 2015-04-19 20:49:37
Great score. But its a pity the credited composer wrote almost none of it.

I know it's a tired debate, but I don't know how people here are so comfortable with the fact he takes full compositional credit for scores like this, Madagascars etc.

Scores like this you can't even earnestly say he wrote the themes like with Pirates. At least there the core of the material is coming from him. Here, the giddy up theme is Lorne, the villain theme and Homer suite are Jackman, the Lisa theme is Alti, etc. etc. Even the main theme arrangement isn't his.

I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him, that's not the problem. Those aren't his strengths, it's not a big deal. Hans is good at what he's good at, simple melodies and interesting sound-scapes. He's also good at organising his talent. The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me.


Hybrid Soldier2015-04-19 20:53:59
Well if you take the cue sheet every composer is credited for every cue on this score...

The name on the film credit is a contract.


I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...


Zimson2015-04-19 22:59:11
Exactly, ghostwriting is very common in the industry. At least his collaborators get credited here.

"Hans is good at what he's good at, simple melodies and interesting sound-scapes."

You're making it seem as if he was some sort of second rate composer, probably unintentionally, but let's not forget that he wrote Gladiator, Lion King and Prince of Egypt almost all on his own and those are considered film score classics. The first one even made it's way into many contemporary classical selections.

It's true that he took a step back in the 2000s focusing more on his role as a producer and this one is probably the prime example. However, his theme suites, especially for potc, are already a very good representation of the score's memorable parts and I'm sure the result wouldn't be very different if he did everything by himself.

And what exactly do mean by "his limitations"? You seem pretty new to Zimmer's music. He can do Powell as well if necessary as shown in Kung Fu Panda 2.


Hybrid Soldier2015-04-19 23:13:32
Don't think Hans can't do anything and needs people to do so... I think it was valid 25 years ago when Shirley Walker was orchestrating & arranging his scores...

But now, not really, he can do anything... He doesn't use add. composer because he HAS to, but because he wants to. Most of the times he starts the cues, gives direction and leads his guys where he wants them to go, and always has the final say...

I'll take an example, Rush... If you check the cuesheet, it's quite a mess, you basically have 0 cue with Hans alone... And yet he wrote most the themes to picture this time, with Ron Howard & Peter Morgan in the room. No theme suites... Then the guys just arranged slightly & added stuff... But a lot of the cues are him in the first place...


Edmund Meinerts2015-04-19 23:14:36
Except that was Powell himself doing Powell in KFP 2 (well, Powell and Palfe). ;)


NM2015-04-20 00:11:30
Palfe? haha... btw Edmund, do you still think "More Cannons" is Powell. I'm pretty sure I hear bits of it in Lorne's (excellent, btw) "Home" score!


Edmund Meinerts2015-04-20 00:35:44
"More Cannons" is Bowell/Palfe. What the weighting is, I don't know, though I'd be inclined to think something like 70-30. Bits of Home sounding like it isn't all that convincing an argument, since a composer doesn't need only to rip off his own repertoire ;) I'm more convinced by the Megamind similarity towards the end of that track.


isildur2015-04-20 22:59:38
"I know due to his limitations, he needs others to arrange the complex, intricate Powell-esque stuff for him"

LOL. How funny is this statement. Just can't stop laughing. Ignorance is bliss.


Leo2015-04-21 02:29:38
>I know composers who don't write their scores, and the co-composers don't get 1 cent of royalies...

Now you got me curious...


JamesT2015-04-21 04:43:13
@vced:
"The problem is all the material is labelled as *his*. It's gotten better recently, and I know in most scores he doesn't write as little as this one, but it still bugs me."

Interesting you impress upon this point with this score. Conversely, like Hybrid cites, a contract is a contract. Let us not pretend that Hans kicks and shoves his collaborators -- writers, arrangers, etc -- into a closet never to be mentioned or heard from again. Essentially everything he does is a collaboration, and credited so appropriately, minus an example or so by my observations.

I don't criticize Harry or Powell every time the liner notes from a score don't specifically praise Hans.

Who knows @ the dynamics, influence, inspiration, success of a given cue? Those that work on it. From the idea, to the last note.




rEne. reply Replies: 0 || 2012-09-13 23:12:42
The Simpsons Movie - Complete Score Tracklist ;-
CD 1

01. Moon Landing (0:32)
02. Itchy the Hero (0:24)
03. An Accidental Launch (0:20)
04. Simpsons Theme (0:30)
05. Simpsons Green Day Theme (1:24)
06. Source Cue (0:15)
07. American Idiot Funeral Version (0:46)
08. Church Organ Source (0:20)
09. Church Prophecy (1:11)
10. Homers Chores (0:38)
11. Lisa Goes Door to Door (0:54)
12. Lisa and Colin (0:31)
13. Bart Skates (0:50)
14. Bart Humiliated (1:11)
15. A Twisted Tail (0:47)
16. Turtles Happy Together (2:57)
17. Thats What Snug Is (1:21)
18. Marge Cleans (0:32)
19. Fishing with Flanders (0:15)
20. The Lake (0:24)
21. Town Hall Guitar (0:17)
22. Town Cleanup (0:19)
23. Simpson Home (0:09)
24. Pig Crap (0:27)
25. Homer Takes A Dump (1:28)
26. EPA Arrive (0:27)
27. Operation Dome Drop (1:26)
28. Town Gathers (0:18)
29. Trapped Like Carrots (0:48)
30. Trappuccino Source (0:07)
31. Maggie Outside (0:31)
32. Sandbox (0:08)
33. Lynch Mob (4:30)
34. Outside the Dome (0:59)

CD 2

01. EPA Helicopter (0:24)
02. Homers Solution (1:29)
03. Believe In America (0:22)
04. Carousel Ride (1:16)
05. Homer Speeds Up (0:54)
06. Gas Station (1:08)
07. Alaska (1:06)
08. Homer and Marge (1:03)
09. Town Panics (1:40)
10. Grand Canyon AD (1:44)
11. One Choice (0:51)
12. Grand Theft Walrus Source (0:24)
13. Game Over Source (0:06)
14. Marge and the Kids Leave (0:42)
15. Carpenter Close to You (3:42)
16. Homer Out Cold (0:31)
17. Homers Epiphany (2:22)
18. Spiderpig (1:06)
19. Giddyup (0:36)
20. Must Keep Going-Boob Lady (0:35)
21. Homer Sees Dome (0:25)
22. Lisa Saxophone Source (0:16)
23. Wrecking Ball (0:56)
24. Town in Ruins (0:07)
25. Emperor Moe (0:15)
26. Operation Soaring Eagle (0:34)
27. Homer Climbs the Dome (0:36)
28. Harmonica Source (0:07)
29. Supply Shed-Tricked By An Idiot (0:51)
30. Bart Goes to Church (1:39)
31. Epiphany Tree (0:48)
32. Nice Knowing You Homer (2:28)
33. Cargill Ver. 1 (0:41)
34. Cargill Ver. 2 (0:43)
35. A Happy Ending (1:51)
36. Homer Suite (5:08)
37. Giddyup Suite (3:08)
38. Theme Suite (4:57)
39. Springfield Anthem (Cast) (0:40)

Dakota reply Replies: 0 || 2011-02-20 00:00:00
Ya ok, 1m11-12 Chruch Prophecy definitely belongs with Angels & Demons. I've heard it in the trailer. And you can hear the themes in there.

Dakota reply Replies: 0 || 2010-10-25 00:00:00
@Prott,

Very interesting, didn't even notice that one. It sounds like it belongs in Angels & Demons

Prott reply Replies: 0 || 2010-10-24 00:00:00
1m11-12v17
Source cue for Angels & Demons? :-)

Skyler reply Replies: 0 || 2010-08-28 00:00:00
I didn't realize until listening to this complete version just how much music there is on the commercial release that *wasn't* in the film.

Mikel Siw (a fan from Spain) reply Replies: 0 || 2010-08-28 00:00:00
Im sure this edition is very cool!! I love the music of the official release. Nice!!

Hybrid Soldier reply Replies: 0 || 2010-08-28 00:00:00
What, spending hours to create pages for this site ? Yeah that'd be me !!! :D

Anonymous reply Replies: 0 || 2010-08-28 00:00:00
is this your doing, hybrid soldier?

Hybrid Soldier reply Replies: 0 || 2010-08-27 00:00:00
And here we are (again) !

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The Simpsons Movie (Complete Score) soundtrack - Hans Zimmer 2007