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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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  Dunkirk2017-07-22 21:00:33
Mike (OTM)
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.
  Dunkirk2017-07-22 20:56:33
Gotham Rogue
That was one of my favorites, wish it was on the OST.
  Dunkirk2017-07-22 20:06:25
Waymann
Yeah, was also looking for that track.
  Dunkirk2017-07-22 19:50:10
Hybrid Soldier
Nolan's liner notes, which explains a lot on the score :

"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.

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.

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.

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.

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.

CHRISTOPHER NOLAN
  Dunkirk2017-07-22 19:39:36
Mephariel
I don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.
  Dunkirk2017-07-22 19:27:21
DabMaster69
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.
  Dunkirk2017-07-22 17:45:46
Ds
The answer is: Christopher Nolan ;-)
  Dunkirk2017-07-22 17:09:16
Nerdboy2013
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.
  Dunkirk2017-07-22 17:06:59
SPECTER
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.
  Dunkirk2017-07-22 14:14:00
Martin
This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team
  Dunkirk2017-07-22 11:52:41
Laurens
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...
  Dunkirk2017-07-22 06:35:37
Anonymous
Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because
1. Use of a classical musical piece throughout
2. More than one guy is credited.

Anyway, that's how Hans always liked, crediting everyone.
  Dunkirk2017-07-22 03:26:50
Meta
I have to agree on the soundtrack being mostly unlistenable...

This is nothing like Inception, or even Interstellar.

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...

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.

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.
  Dunkirk2017-07-22 03:22:27
meta
Sorry bud...

Its not.
  Dunkirk2017-07-22 01:45:20
Christian Adamson
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!
  Dunkirk2017-07-22 00:34:55
James
Tina had a lot of work to do here!
  Dunkirk2017-07-22 00:27:10
Gotham Rogue
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!
  Hans Zimmer Live On Tour (Shows)2017-07-22 00:10:27
Alexander
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 :)
  Dunkirk2017-07-21 23:02:49
iii
I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.
  Dunkirk2017-07-21 23:01:33
James
A fanmade.

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.
  Dunkirk2017-07-21 22:47:57
Anonymous
So I'm curious about something...that fake End Titles track that was posted here twice and removed...if it wasn't Dunkirk, what WAS it? It was actually a decent piece and sounded like Hans.
  Dunkirk2017-07-21 21:14:17
Bolidzar
I agree. This to me was Nolan's Revenant. Good looking cinematography, but almost no story and zero emotional connection to anything happening. I disagree with Adam. It doesn't drudge up negative feelings either because, unless you have an explicit connection to the Battle of Dunkirk, it doesn't try to give anything meaning. The film was everything I feared when I saw the trailer, boring and limited in depth. As I was leaving I heard someone describe as a documentary, but I wouldn't even call it that. It is like an art film, definitely not for everyone. I'd probably call it a historical recreation on film.

As for the "music". It definitely fit the "movie" in that it hardly was the fundamental thing it is described as. Mostly droning noise, air, or ticking. Not for everyone and not really listenable either.

Overall this felt like a pop-avant garde project. Maybe Dunkirk is something extremely culturally relevant in England? Like still present in the vernacular? I don't know but this movie fails to take add anything to the human experience. It does not transcend its basic scenario and title. Dunkirk. That is it.
  Dunkirk2017-07-21 19:52:21
Olive
Nope, it has the inicial feeling of 528491 of Inception.
  Dunkirk2017-07-21 19:03:41
Rigby
Shivering Soldier is DEFINITELY similar to Bruce's theme in BVS
  The Hitman's Bodyguard2017-07-21 18:19:59
Jack Afrogarrix 2017
The Tracklist Of This movie has Been Released At film Music reporter And Film Music Site. There Us much Of The Score By Atli Örvarsson And Various Artists:

1.Nobody Gets Out Alive
(Samuel L.jackson)
2.Hello(Lionel Ritchie)
3.Hitman's Bodyguard(Atli Örvarsson)
4.Ships On The Ocean(Kunior Well's Chicago Blues Band)
5.Smells Like Ass Back Here
(Atli Örvarsson)
6.Jag Didn't Smells Like Ass
(Atli Örvarsson)
7.I Want To Know What Love Is
(Foreigner)
8.Amsterdam Chase(Dmitri Golovko)
9.Black Betty(Spiderbait)
10.Little Quennie(Chuck Berry)
11.One Of The Good Guys?
(Atli Örvarsson)
12.Kincaid's Gospel
(Atli Örvarsson)
13.Dukovish(Atli Örvarsson)
14.Broken Wing(Atli Örvarsson)
15.Dancing In The Moonlight
(King Harvest)

Atli Örvarsson:Composer
Additional Music By Claudio Olachea & Dmitri Golovko
Music Supervisor By Selena Arizanonic
  Hans Zimmer Live On Tour (Shows)2017-07-21 16:48:25
Johnnyecks
Has anyone had any luck getting an autograph after one of his concerts? Going to one soon.
  Dunkirk2017-07-21 16:33:20
Mike (OTM)
*four. Yes, I can do math. :P
  Dunkirk2017-07-21 16:27:45
Mike (OTM)
I like that Lorne is directly credited on Regimental Brothers and End Titles. Ditto Wallfisch with Home, Variation 15, and End Titles. That's three credits from the start!
  Pirates Of The Caribbean - Dead Men Tell No Tales2017-07-21 15:44:49
Callahan
I agree, but this one is much better.
  Dunkirk2017-07-21 15:07:07
Adam
It probably felt less emotionally engaging because we've been fed with emotions like friendships, love, joy or sorrow in most of the films. Dunkirk was emotionally engaging with emotions like fear of death, longing to go home. Hope this gives you another perspective
  Dunkirk2017-07-21 14:56:18
Jack
Divisive opinion:
I honestly wasn't crazy about the film. It wasn't bad, and the score was very appropriate, but I felt they could have done something different to not just be visually engaging, but emotionally engaging. Maybe I'm crazy, I'm seeing it again today, but that's my initial reaction.
  Dunkirk2017-07-21 14:08:10
James
@Hari "I am afraid?"

There is no need to fear. Lol.
They have been doing this since ... always
Filmtracks since 2003.
The problem is that HZ has no formal musical training and this will always put him on a step down when compared to those who have or who in one way or another try to follow in a more orchestral way."At least for people who claim to be more cultured"

--------------------------------------------------

@Hari No! He never assumed that. The other day, I think in BvS or Boss Baby review, he commented that people accuse him of always bashing HZ works in exchange for views. But he denies, saying he does this to make it clear that not all people are satisfied with the current situation of the scores produced these days. And that HZ has yes, his share of guilt about it.

--------------------------------------------------

I do not like hatred in what he writes. First because it influences other reviewers to do the same and second because it is not 100% fair.

For PoTC 5, for example, he gave 3 stars. While the other scores of the franchise were always migrating between 1 and 2 stars.
If everyone had 3 stars, with the exception of the 4 effort, I'd be okay with that.And his justification for this is that Geoff is ridding the music of the damage franchise brought by Hans. WTF?

But at the end of the day I'm okay with that too.
----------------------------------------------
I make it clear that I do not have so much trouble with the way he review the scores. No problem. The problem is the use of hate words whenever it comes with a score review by Hans.

He called Captain Philips of a piece of shit. Even if I agree with him that it is bad, is sad that you read this. But okay.
  Pirates Of The Caribbean - Dead Men Tell No Tales2017-07-21 13:31:50
Hale
Wonder Woman wasn't too bad :D
  Dunkirk2017-07-21 13:21:51
Naji
its just Tick Took effect, Great for the Movie but so Disappointed As an Album.
  Dunkirk2017-07-21 13:14:44
Ahmad
You misunderstood me, everything I've heard about the score excited me and I still am very excited to see the movie and to hear the score. I was one of the people who defended Hans' approach early on when "Supermarine" was released. I like what i've heard from the score and I don't want a melody or a main theme. (even though it seems like Supermarine can count as a main theme from what I've heard about the score)

My issue is with the 11 track 59 minute album. Let's take "The Mole" for example, I've been told that at the 2:00 mark there was a section that's in the movie but was cut out of the track so "The Mole" would've been much longer than 5 minutes. That section is one of my favorite things about the score (it was featured in the prologue). The first clip with Mark Rylance featured music that is similar to the end of "The Mole" but it's not the same cue and it doesn't appear elsewhere on the album.
I'm a big, big fan of Hans and Nolan but the fact that they keep screwing up their soundtrack official releases is bothersome to me.
  Dunkirk2017-07-21 13:05:49
mpolonest123
@Hari

Oh really? For any reviewer out there, if you can't go in without some bias you shouldn't review it. It's a shame too, he is one of the few score reviewers who really breaks down and analyzes the music. Oh well....
  Dunkirk2017-07-21 13:03:16
Guitwo
@ahmad when u'll watch the movie u'll see that it does not need any cues or melodies or main theme. and hopefully u'll understand
basically, the main character of the movie is an idea hence the music.
  Dunkirk2017-07-21 12:42:14
...
Where does the filmtracks guy admit that?
  Dunkirk2017-07-21 12:41:24
Ahmad
I totally get what you're saying @Guitwo, that's why I'm not judging the score itself, I'm just bummed at how the album seems like an after thought. The fact that I'll be walking out of the movie wanting to listen to my favorite cues but I won't be able to bothers me a lot. Anyway, I'm seeing it on Thursday.
  Dunkirk2017-07-21 12:24:18
Guitwo
Ahmad: Wait until you watch the movie bro... i did not risk myself watching anything but the prologue for one time only... I did not listen to supermarine beforehand... you have to discover this score in the movie.
it's probably the sole purpose of this score because it's just so important into context.
  Dunkirk2017-07-21 12:21:49
Guitwo
It is just mind boggling tbh... it's probably what nolan tried to pursue in his last three movies but couldn't totally achieve.
An entire movie, without breathing room or time out and a supreme mastercraft for building cmplexe narratives, mind f***ing characters' arc and he challenges "the truth" and "the fact" and the ambiguity of the truth/fact in the next scene constantly. this is insane... this is just insane... and it's gonna get a lot of hate because of it.
it is very modern interpretation of our H24 media oriented word and the different pov you can have, and the angle you choose to take... damn... damn...damn.
It ain't your classical war movie, it's really truly an immersive experience of war for 1h37 minutes which is truly daring and original in cinema. I haven't seen a war movie like that so far
  Dunkirk2017-07-21 12:16:28
Ahmad
After a couple of listens, *not judging the score but judging the album release itself* it's not bad it's just incomplete and that's coming from some who has only seen the prologue and clips from the movie. I wish there would be an isolated score option or a complete musical experience release similar to La La Land (even though that was a musical but it'd still work).

Hybrid, I know I'm fighting a war by myself here but is there any chance for the prologue music to be released as a bonus track?
  Dunkirk2017-07-21 12:04:31
Dunkirk
Finally end titles included for this movies
  Dunkirk2017-07-21 10:00:31
Hari Haran
mpolonest123, he's actually admitted to using Zimmer to draw numbers to his site a few months back, so there goes his credibility. When it comes to Zimmer, no matter how much he tries to lie and cower otherwise, he is without a doubt severely biased against him and has resorted multiple times to bashing him more than actually analysing his music. A reviewer who has lost his touch of professionalism long ago, I'm afraid.
  Dunkirk2017-07-21 09:40:17
Laurens
Hmm never mind they just updated it it seems...
  Dunkirk2017-07-21 09:33:54
Laurens
Very strange that the iTunes release does not contain track 11 (End Titles). I haven't checked for other countries, but at least that's the case in the Netherlands.
  Dunkirk2017-07-21 07:40:18
Halo
Some Cues are missing on the "official" Score right?
  Dunkirk2017-07-21 02:36:22
mpolonest123
@Hybrid It's been a while since I took a listen to Captain Phillips (I remember being extremely unimpressed with that one) and I always forget HZ/LB contributed to that mess. I'll definitely relisten though...

And yes, Filmtracks is going to shit on this one for sure. I normally love that reviewers style of writing (even if I usually disagree) but after TASM2 you can tell he has an extreme bias against Zimmer and his colleagues.
  Dunkirk2017-07-21 02:14:21
Catastrophic Jones
Very interested with this one. Normally I stray away from the war movies from recent years but the fact that Nolan considered this a story worthy enough to make into a film makes it a must see in my book. Chris has that style of elegance and intelligence in his films, while also being capable of delivering a full on action powerhouse that easily rivals Michael Bay. (Seriously, how is that guy still allowed to make 'films'?) Hans' score is no exception. I can understand why it may cause some people to turn away but personally, for me if something works for the film it is intended for, the composer has succeeded in his job. Not every score has to be an engaging hundred piece orchestra and an ambient-electronic film score is nothing new, it's an approach that has been around for decades! The way of cinema isn't being destroyed by it. It's simply another way to tell a story. I personally feel this music will best suit the film based on what I've heard so far and even as a stand alone listening experience I love it. That tense feeling that dread and doom is near, that I am about to go to war against someone or something. Sounds like he took the feel of Interstellar if it wasn't a space film, the ambiance of Inception and effects from Inferno. Supermarine is easily my favorite, but I do like Variation 15 and End Titles a lot as well. Just to give you an idea, I once use to exclusively listen to only orchestral music. Me several years ago would've probably hated this kind of score but instead of ignoring it and turning away I began to open myself to other styles. I stopped holding music to a certain set of expectations. Now I've discovered some very incredible and unique stuff out there, and not just in terms of music. Give it a chance, if the first listen doesn't grab you try a few more. Only then can you decided with a definitive stance. Worst case scenario, there's always the next Hans Zimmer score to enjoy.
  Pirates Of The Caribbean - Dead Men Tell No Tales2017-07-21 01:54:17
Callahan
Yes. PoTC 5 is not the best score of the franchise, but it sure is, until now, the best CD that RC / MV produced in the year.
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