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 FAN COMMENTS's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-p
haha hybrid :D made my dayHybrid, yes!wow man, hybrid. this isn't right from you. actually really embarrasing and an absolute no-go from a staff/member of this site to write such a comment. even if it's a joke, this is a shame and sad.I was a bit over the line, I admit. I should have made it clearer that all of that "hottest shit in town" bit was meant purely as a part of my personal opinion regarding his output. I never saw or read any interviews with him. <br><br>I also know about his wife, of course... but I guess I'm just too cynical to accept it as an all-encompasing excuse while seeing such massive fanbase clamoring for his new music. I don't know, I admittedly feel a bit bad about what I'm saying myself. I AM an asshole, sure, but only to an extent. <br><br>I think that saying "he is writing scores that he feels comfortable with" and "living his life however he wants", albeit understandable, is still ignoring the fact that he is an artist with a fanbase. We are living in a time when film composers are slowly getting a mainstream recognition as a type of musicians comparable to bands or singers. And that creates a certain responsibility towards that fanbase. An artist doesn't have to fulfill it, sure, but he should at the very least acknowledge and address it.<br><br>Which brings to mind an image of Hans going on a massive tour whilst giving zero fucks about the CD presentation of his scores, but I digress.<br><br>I wouldn't dare giving Powell advices about how to deal with a pain of the loved one's loss. But on the other hand, I strongly believe in artist's responsibility towards the fans. <br><br>For example, that's why I would kick everybody saying "GRRM is not your bitch" right in the goddamn nuts.Now I have ONE true reason to want this score to win !<br><br>PEACE ! lol
I stand corrected. Though it's still possible that the score is a combination of live orchestra and samples, a lot of RCP music does that.Ds beat me to a few of the points I was going to make, so thanks. :) I'll try to keep this brief, but it won't be.<br><br>Macejko, the only part of your statement that I would 100%, strongly, absolutely disagree with is the "pretentious douche" part. When has he ever "acted like the hottest shit in town"? Do we have any record of him actually refusing assignments? I mean, clearly his output has slowed down since 2012, but why do you act like he's doing that because he thinks he's better than everyone else? I don't see that as pretentious. Especially not given what we know about his personal circumstances. For all we know his decision to take on less work was caused by the knowledge that his wife was sick and wanting to spend as much time with her and with their son as he could. You really still want to call him pretentious?<br><br>Now, what I do agree with is the impression that Powell is no longer really developing as an artist. He's found his niche and is writing scores that he feels comfortable with, but I haven't been "surprised" by anything he's written since probably 2010 or 2011. Is that a problem? Well, depends on what your priorities are. I don't rate innovation as highly as I do music that speaks to me on an emotional level, that I love listening to and want to hear over and over again. And with scores like Pan and HTTYD2 Powell has definitely provided that, while Hans Zimmer for all of the "pushing the envelope" and "breaking boundaries" he's done (or claimed to have done) in the last 7, 8 years has in the process left behind many of the things that made me love his music in the first place. He's written some fine and certainly interesting scores in those years (and some I never want to hear again), but I'd throw out every single one of them to hear another At World's End or King Arthur, just a big old epic larger-than-life fun time that cares more about entertaining you than trying to musically divide by zero or whatever. But now I'm turning this into a Powell vs. Zimmer argument which was never really my intention. :p<br><br>At the same time I can't pretend that it doesn't hurt to see how much Powell has slowed down. I mean his run of form from 2003-2011 is the stuff of legend, 3-4 scores a year in all sorts of different genres, all of it quality stuff. He was pretty much hitting the sweet spot: innovating, developing his style, trying out new things but not sacrificing his voice or the accessibility of his music. If he were to keep up that trajectory for a career spanning several decades he'd be in contention for greatest of all time IMO. Sadly it doesn't look like that's going to happen anymore. I think it's a fair criticism to say he's dropped off, or at the very least leveled out. I just don't think it's fair to call him pretentious for doing so. The man's a human being and he has the right to live his life however he wants.But you know he never said he has nothing to prove. I don't think he even think such a thing, actually he seems like a very humble and nice guy, much like Hans. I just tell you this based on all the great things he did in many genres throughout his career.<br><br>I guess he just want to write music he likes and the way he likes it. Many producers/directors want something more restrained for their movies, that's ok, they can get someone else. If you can afford doing what you like for a living, why the hell would you accept jobs you don't like?<br><br>And SW isn't about "creativity", it's just about this kind of busy orchestral music with lots of frenetic parts which Powell seems to really like these days.If only every annoying film music fan would be so willing to take his own life as this one...If this nominated for golden globe or even Oscar and win the title I'll kill my self.<br><br>This score is nothing compared to interstellar or even to POTC 3.
The moment an artist thinks he has "nothing more to prove", he is creatively dead. <br><br>Also, thinking that only animation and Star Wars provide a field for any kind of innovation and experimentation is just ludicrous beyond words, Ds. SW especially is the most musically restricted franchise on the planet.Fair point. Just look at what Balfe did this year, Lego Batman, Churchill, Genius, The Crown, Geostorm... and all are somewhat different in tone. He was on fire this year for sure.Here is another comparison which to me seems more relevant than yours :<br>Lorne is doing a lot of projects and getting better and better in various styles.<br>And Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity. I'm not saying he doesn't evolve, but at this rate he will need 3 lifes to catch up on Balfe's current level.<br><br>Powell has nothing to prove, he has already mastered all genres and is now able to write the music he likes most : crazy orchestral pieces where nothing is forbidden. Today, only animated movies allow this style of scores to exist. And also Star Wars :-pEdmund wrong again !!!!!balfe posted some photos of the recording sessions for the crown^ lol. Harsh, but heís not wrong. Although, I hate to say it, we could say the same for Zimmer in my opinion.

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Harry Gregson-WilliamsHalli CautheryAnthony LledoJustin Burnett
ComposerAdditional MusicAdditional MusicAdditional Music
Label: La-La Land Records
Length: 42'20 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 (6662 votes)


  1. Stanton, PA (3:33)
  2. Frank Barnes (2:11)
  3. Will's Story (1:56)
  4. Ned (2:08)
  5. Dewey (2:25)
  6. Not A Coaster (2:18)
  7. "Are You In Or Are You Out?" (6:13)
  8. Realign The Switch (3:10)
  9. Galvin's Strategy (2:25)
  10. Playing Chicken With Trains (1:35)
  11. Will Guides 1206 (4:04)
  12. The Stanton Curve (6:02)
  13. "Who Do I Kiss First?" (4:20)
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Snake reply Replies: 5 || 2011-07-18 06:01:09
There are two missing musicians there. Heitor Pereira and Tony Morales. I have the soundtrack so if you ask me an image of it I'll gladly send you that guys.

Anonymous2011-07-18 06:07:04
you have unreleased music?

Snake2011-07-19 01:44:23
Unrealesed music?WTF?

Snake2011-07-26 07:36:41
I bought the Original Soundtrack and there are missing credits such as Heitor Pereira and Tony Morales on Guitars and Hugh Marsh on violin and Ryeland Allison isn't the music programmer, that is Anthony Lledo. Richard Whitfield, Jamie Luker and Del Spiva are also included in the Soundtrack.

Snake2011-07-26 07:39:47
I bought the Original Soundtrack and there are missing credits such as Heitor Pereira and Tony Morales on Guitars and Hugh Marsh on violin and Ryeland Allison isn't the music programmer, that is Anthony Lledo. Richard Whitfield, Jamie Luker and Del Spiva are also included in the Soundtrack.

Snake2011-07-26 07:52:29
I forgot some other credits: Halli Cauthery and Hybrid as additional music programmers, Booker White as copyist and Tim Lauber as recordist

Anonymous reply Replies: 0 || 2011-02-11 00:00:00
I felt the same when I heard it, but i don't think that he wanted to steal the tune. What really feds me up is the fact that some cues sound almost exacly like Pelham 123 :S

Prott reply Replies: 0 || 2011-02-11 00:00:00
Rango: I don`t think it`s Harry`s fault (I can`t imagine he did it because he wanted to).
... Probably someone really liked the temp track.

Rango reply Replies: 0 || 2011-02-11 00:00:00
this is a soundtrack where i have to say, and I am a HGW-fan, shame on you harry!!!
Such a bad score, just some ugly cracking beats and that's it. And then having the idea of doing such an immense copy of WHY SO SERIOUS is absolutely... oh man. I can't believe that he earned with that score so much money.

I'm wondering if Hans has heard some cues of it, especially the brutally rip-off of his track for the Joker. Everything is there, the guitar theme, the one note that gets higher, the rusty violins and cellos...

Absolutely wow, and really shame on you Harry for this :/

It has a beautiful melody in there but too short and then always put together with that immense rip-off.

Anonymous reply Replies: 0 || 2010-12-30 00:00:00
The Stanton Curve = Why So Serious?

Falconet from Italy reply Replies: 0 || 2010-12-01 00:00:00
Here's some addittional credits :

Ryeland Allison: music programmer
Justin Caine Burnett: composer: additional music
Hybrid composer: additional music
Martin Tillman: soloist: electric cello

cameron reply Replies: 0 || 2010-11-25 00:00:00
Frank Barnes is great sound track was copies from Indian Bollywood music...but great work

Adrian reply Replies: 0 || 2010-11-19 00:00:00

Ah thanks! That strange American style... I don't get why they do it here, since they are French!
Maybe BECAUSE they're French...........

Cloud reply Replies: 0 || 2010-11-19 00:00:00
Yes, it's a little confusing, as it's usually year / month / day. Here it's month / day / year. Oh, well... btw. my (autographed) copy got shipped out today, yay! ;)

asd reply Replies: 0 || 2010-11-18 00:00:00
@Adrian: hahaha no buddy. not july ^^. it's the 7th december ;P

Mcbain reply Replies: 0 || 2010-11-18 00:00:00
Those are the best soundclips from a Tony Scott movie I've heard in a long time! Hopefully the rest of the score is just as good! Go Harry!

Adrian reply Replies: 0 || 2010-11-18 00:00:00
Thanks for the tip!

It sounds like a fusion of Bourne and Wolverine... especially Frank Barnes!

But it sounds very good, I'll most likely buy this one :-) Hopefully will offer the autographed copies too! Why did they announce it now, but release it in July? That's so long away... Are they waiting to see if the film is a succes? Or are they afraid of a Season of the Witch-repeat?

HGW4 reply Replies: 0 || 2010-11-17 00:00:00
La La Lands Records website has some sound clips up....they were also selling autographed copies...

tomPoland reply Replies: 0 || 2010-11-17 00:00:00
Sounds like Deja Vu 2 (at least in the movie)

Bondo reply Replies: 0 || 2010-11-17 00:00:00
Great score, just saw the film! Lots of samples from DEJA VU are used

Todd reply Replies: 0 || 2010-11-16 00:00:00
Where can we hear sound slips?

HGW4 reply Replies: 0 || 2010-11-12 00:00:00
So excited....

David reply Replies: 0 || 2010-11-10 00:00:00
I Love Harry Gregson WIlliams.
The Best Composer ever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Harry reply Replies: 0 || 2010-11-10 00:00:00
100 Copies with the sign!!!!!

RuthlessGravity reply Replies: 0 || 2010-11-10 00:00:00
Wow, a month away from release of the actual movie? That sucks, but I guess it shouldn't be that much of a problem considering we are going to get it eventually.

Wayne reply Replies: 0 || 2010-11-10 00:00:00
One of the best Gregson!!!
I can't stop listening the track number 3(beautiful) and the top action track number 6,10,11.
''Who Do i Kiss First?'' i'ts amazing!!Wow!!
Great work Harry!!

Dakota reply Replies: 0 || 2010-11-09 00:00:00
Damn, why such a late release date? I hope it's good

Lasse reply Replies: 0 || 2010-11-09 00:00:00
i really look forward to this one :)
Harry Gregson Williams music in tony scott style :)
hell yeah :D

Anonymous reply Replies: 0 || 2010-11-09 00:00:00
from what reviews are saying it's totally forgettable. Typical Harry and Tony borefest

Bondo reply Replies: 0 || 2010-11-09 00:00:00
Considering I've enjoyed their past few collaborations (namely Deja Vu), I remain optimistic!

Jaros428 reply Replies: 0 || 2010-11-09 00:00:00
here's the tracklisting....

1. Stanton, PA
2. Frank Barnes
3. Will's Story
4. Ned
5. Dewey
6. Not A Coaster
7. Are You In Or Are You Out?
8. Realign The Switch
9. Galvin's Strategy
10. Playing Chicken With Trains
11. Will Guides 1206
12. The Stanton Curve
13. Who Do I Kiss First?

Jaros428 reply Replies: 0 || 2010-11-09 00:00:00
also, here's what a reviewer on Cine Talk said about the score....

"Harry Gregson-Williams score is very good, although it does sound very similar to THE DARK KNIGHT score, in some ways itís better, because it really fits the feel of the picture. When these two, Gregson-Williams and Scott, get together, its always great. I did notice that there were some cues from AVP2 score too".

Jon reply Replies: 0 || 2010-10-27 00:00:00
Awesome. And it comes from La-La-Land, which is an excellent label.

HGW4 reply Replies: 0 || 2010-10-27 00:00:00
I can't wait!!!!!© 2001-2017 OST 
Unstoppable soundtrack - Harry Gregson-Williams 2010