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antovolk

Hans Zimmer's DUNKIRK

790 posts in this topic

1 hour ago, TheGreyPilgrim said:

My opinion of the score is this:

 

As I mentioned elsewhere, since the Nolan/Zimmer collaboration has yielded some really special results over the years, a score like Dunkirk which serves the film to the utmost degree through almost pure atmosphere couldn't seem like anything but a step back. For the listener concerned with scores as presented on album, out of context, this will almost universally be that step back - even if, like myself, you enjoy the pure atmosphere, expertly crafted, which is on display here.  And if you don't like that type of music, then this is certainly not the thing for you.

 

Now with that said... the way that this score functions in the film is really, really something.  It's certainly one of the most ambitious approaches that I've ever heard, though not totally without precedent.  The "new way" of film music that I often refer to, wherein all concerns of standalone quality or anything similar are put aside for pure focus on what the music adds to the cinematic experience, is perhaps best exemplified here, more than in any other score I've yet encountered.  These "soundscapes" merge with the other sound design in an incredible way.  The lines are blurred here and the results are hugely immersive.  

 

The subtlety with which these soundscapes are put together is astonishing.  Fascinating and strange orchestrations, with electronic elements and manipulations, merge in and out of each other from moment to moment with kaleidoscopic results.  There's a lot of trippy shit in here, is what I'm trying to say.

 

Ultimately, I see this as a triumphant, and perhaps seminal, entry in the realm of pure cinematic music, which is nevertheless not without virtues on its own - with the right audience. Utterly singular and effective stuff.

 

AND - I will go on record, as an aficionado of the Elgar piece used, and say that I absolutely love what Wallfisch did with it.  It's quite similar to what Eno did with the Pachelbel on Discreet Music, stretching it out, refracting it.  I found it deeply moving, and it should be noted, so did the several Brits I was with.

 

FURTHER ADDENDUMS - I think this will inevitably be compared to Gravity, perhaps both film and score actually, but what we have here is far, far superior.  And for anyone curious, tracks 6, 8, 10, and 11 are credited to "Hans Plus" (Wallfisch and Balfe).  Most of the "additional music" functions on this score were to aid with picture conforms towards the end of production while Hans was touring.

 

So basically Zimmer should get an academy award nomination but in the sound editing and sound mixing categories instead of score. I always thought so too!

RPurton and James like this

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if Gravity can be nominated (and win) a score oscar

...

I'd like to see the FYC for this score

its gottta be like a 100minute file

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Listening to a few score snippets, it probably functions fine in the movie. Not a lot to listen to really. I've heard production music that's more interesting. Actually, they probably could have just scored this using production music and achieved largely the same effect.

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10 hours ago, TheUlyssesian said:

 

So basically Zimmer should get an academy award nomination but in the sound editing and sound mixing categories instead of score. I always thought so too!

 

No. 

 

4 hours ago, Richard Penna said:

Actually, they probably could have just scored this using production music and achieved largely the same effect.

 

No, this is hugely reductive.  I know a lot of people here don't want to give any weight to this type of music for some reason, whether or not they like it, but a close listening reveals that someone with actual skill is behind it.  To most, "production music" may sound the same on the surface, but inevitably there will be a greatly lessened quality of craft that would cheapen things. 

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A lot of production music is rather surface-level, yes. There's a lot that sounds pretty skillful to me though.

 

Big difference is that Zimmer is writing specifically for this film. Although I'm still not sure that really helps in this case.

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3 hours ago, Richard said:

I've just listened to it. Expect an Oscar nomination, in January.

 

That's literally a given at this point because being a best picture nominee infinitely inflates your chances of getting a score nomination - something that has both helped and hurt Williams throughout his career.

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It's nice to have a score being effusively praised on youtube and similar parts which actually deserves it, rather than the usual generic "epic" stuff.

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I just listened to the OST on Spotify.  I liked it!

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It is not bad, just very uninteresting. Few will listen to it more than once.

 

I will not lie that from the music of the trailers and the reviews that preceded the film's premiere I expected something as harshy as Inferno.

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You're right of course, but I don't know. Ideally, I'd like to see Williams get one more next year, but I've just got this feeling Zimmer is going walk away with the prize. He's long overdue. Admittedly I was almost certain he'd get it for Interstellar too, and look how that turned out. 

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Williams is never winning another Oscar.  Zimmer strikes me as someone who will get an honorary Oscar when he's 80.  Who knows.  It'll probably go to a prestige drama with 20 minutes of score.

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Zimmer will not win this year. I can see this getting nominated though.

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Morricone's taking home the statuette again with the next Tarantino flick, mark my words!

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Damn!  Missed em!  Well, crisis averted.  One less strongly worded letter the Academy has to read this week ;) 

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An Oscar nomination even with so many names with composition credit on the album? Zimmer and six additional composers? And the references to the Elgar theme? ;)

 

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I completely forgot about the Elgar in this case. If Johannsson could get snubbed last year for the Richter piece, then I better not be seeing Zimmer's name on the list of eligible scores!

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2 hours ago, Cerebral Cortex said:

You're right of course, but I don't know. Ideally, I'd like to see Williams get one more next year, but I've just got this feeling Zimmer is going walk away with the prize. He's long overdue. Admittedly I was almost certain he'd get it for Interstellar too, and look how that turned out. 

 

Huh? If you follow the Oscars, that had basically ZERO chance. It was between theory of everything and Budapest.

2 hours ago, Disco Stu said:

Williams is never winning another Oscar.  Zimmer strikes me as someone who will get an honorary Oscar when he's 80.  Who knows.  It'll probably go to a prestige drama with 20 minutes of score.

 

It would be catastrophic if zimmer gets an honorary oscar and Williams doesn't.

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8 minutes ago, TheUlyssesian said:

 

It would be catastrophic if zimmer gets an honorary oscar and Williams doesn't.

 

Huh?  Not always, but usually the honorary Oscar is for a industry legend who never won a competitive Oscar.  Williams has won 5.  He will never get another Oscar, competitive or honorary.

 

I might be wrong, but that's my prediction.

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4 minutes ago, Disco Stu said:

 

Huh?  Not always, but usually the honorary Oscar is for a industry legend who never won a competitive Oscar.  Williams has won 5.  He will never get another Oscar, competitive or honorary.

 

I would argue he deserves one of each. I think had the marketing gimmick of 'Morricone never won an Oscar' not been in play, Williams would have won in 15. And I think he must have lost for memoirs in 05 by not a lot. It was a tight race and infact most people predicted Williams would win. Rest of his nominations post Schindler, I don't really think he had a chance to win in any of the individual years. 05 and 15 were his two best shots.

16 minutes ago, James said:

An Oscar nomination even with so many names with composition credit on the album? Zimmer and six additional composers?

 

 

In the film proper only Zimmer is credited I believe. And the others will sign an affidavit saying zimmer composed 80-90% of the music. 

 

Zimmer and JNH were disqualified in 2008 because the academy deemed that atleast 30-40% of the score was not composed by them even though music editor Alex Gibson, ambient music designer Mel Wesson and composer Lorne Balfe signed an affidavit saying that Zimmer and JNH composed most of it. Batman Begins was disqualified too.

 

So I dunno how Zimmer qualifies for any score seeing he has co-writers on most things it seems.

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