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Hans Zimmer's DUNKIRK

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18 hours ago, Blumenkohl said:

 

Can you run 26 miles today, without any warning? On top of that, let me beat your whole body up with 4-6 Gs (if you weigh 140 pounds, try feel like 560-840 pounds) of force during WWII dogfights, then we'll see how far you can run on nice comfortable land, let alone water. 

 

The people who make those swims train and train, they have a good night's rest, they eat a good meal, mentally prepare, and then dive in. 

 

 

He's certainly come far since the blips and blops of Crimson Tide! 

I can't do 100 push ups today without warning but anyone who has gone through basic training can.  Same with marching miles with 100 pound gear.  Now if someone held a gun to my head then I might be able to do these things without prep or training and that was effectively the situation we are talking about.

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On 7/10/2017 at 7:19 PM, Muad'Dib said:

 

Yeah, Williams uses a lot of pedal so I don't see the problem with this.

Yes but the genius of Williams is what he does around that pedal point, right? Like classical composers before him. It's great to have the bass instruments plugging away on one note while the rest of the orchestra goes in and out of harmony with that, but in an orchestral interesting way that challenges the listener and players alike. Pedal Notes are an awesome tool, but not when there's nothing else to juxtapose against it. That's the difference that I see here.

 

Anyway for info on some of the score, a friend of mine, Roberto Sorentino, was one of the Cellists on the recording (he's 4th chair in the RPO). He used some insane amount of cell and Basses to record the samples of the repeated notes. I want to say 26/27 or so of each, but I will check. They had scoring sessions with them to record the samples and then they used the samples in the studio to do the score. I do love what that other composer on the CD did with Elgar's "Nimrod" from his Enigma Variations. Very effective there.

 

As for me being a dick, I didn't mean to be, just giving my opinion. Maybe it's hard to judge how someone is saying something when it's typed out. But I'll accept the dick comment.  I mean, I love dicks anyway, lol

On 7/11/2017 at 8:02 AM, SafeUnderHill said:

Where is the evidence that they used library loops in this piece?

The drums are sampled library loops, there are extensive libraries out there with a shit ton of loops you can use and add on to. The strings were samples that were specifically recorded for the film and which they can then use for other projects of course.

On 7/11/2017 at 2:53 PM, Quintus said:

 

You should drink more often. 

Shouldn't we all....

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Fake isn’t the word I’d use.  It’s a joke.

 

Ehrlich’s one of my favorite critics to read.  He also cohosts a movie podcast I quite enjoy called “Fighting in the War Room.”  He can be a bit pretentious at times but then, how many film critics aren’t?

 

Side note, I really can’t wait to see Lady Bird!

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On 01/12/2017 at 9:43 AM, MedigoScan said:

No wonder the ticking was downplayed from the IMAX preview piece (then again, the IMAX preview was just scenes spliced together)

Speaking of the IMAX preview...how realistic do you all think it would be to try recreate the score from that using the OST and film sound mix elements?

 

Wanna do an HD recreation of the prologue using the Blu-ray, like I did with the Interstellar IMAX preview.

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2 hours ago, TheGreyPilgrim said:

 

He's pathetic.

 

While I am not a big fan of the score, and I agree with some of his critique of Zimmer's approach, the only thing that really think he got right is that this is a film that doesn't need a score at all. I fundamentally disagree with him that the music doesn't work in the film. It works totally fine in the movie. 

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10 minutes ago, Mephariel said:

 

While I am not a big fan of the score, and I agree with some of his critique of Zimmer's approach, the only thing that really think he got right is that this is a film that doesn't need a score at all. I fundamentally disagree with him that the music doesn't work in the film. It works totally fine in the movie. 

I agree too, I felt the music was often a distraction - the film isn't improved with the score. Not Zimmer's fault...

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11 minutes ago, BloodBoal said:

The music is often a distraction, but it's not the composer's fault?

 

OK...

It's Nolan's, you fool!  He should've just said: "Ya know what, Hans, I think it's time we stopped seeing each other. It's not you, it's me."

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CC has overreacted on occasion, and has a very blatant bias towards traditional orchestral music.

 

But I do think he's one of few score reviewers not talking pretentious shit about Zimmer. I listened to some of Dunkirk earlier. A few bits of were fairly functional underscore, but if it were composed by anyone else, we wouldn't be talking about it.

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7 hours ago, Stefancos said:

Such a letdown after the splendid Interstellar. Maybe the Zimmer/Nolan chemistry stopped working?

Yet Interstellar demanded a different score to the one for Dunkirk; wonder, atmosphere and that building anticipation don't fit with Dunkirk.

 

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22 hours ago, Richard Penna said:

CC has overreacted on occasion, and has a very blatant bias towards traditional orchestral music.

 

That's not bias. That's called good taste.

 

Spoiler

I kid!

 

14 hours ago, Denise Bryson said:

CC has been dishing out undeserved five star ratings to Danny Elfman scores since Alice in Wonderland. Does he just do that because Elfman is a politically active (and aggressive) Democrat, and CC feels the need to reward him?

 

The ratings for Alice were deserved. It is a fantastic score for a terrible film.

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10 minutes ago, TheUlyssesian said:

 

That's not bias. That's called good taste.

 

  Reveal hidden contents

The ratings for Alice were deserved. It is a fantastic score for a terrible film.

 

Yeah but for the second one too? And Reel Steel? Something's off there.

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On 12/24/2017 at 11:58 AM, Richard Penna said:

CC has overreacted on occasion, and has a very blatant bias towards traditional orchestral music.

 

But I do think he's one of few score reviewers not talking pretentious shit about Zimmer. I listened to some of Dunkirk earlier. A few bits of were fairly functional underscore, but if it were composed by anyone else, we wouldn't be talking about it.

Not talking pretentious shit? The dude slanders him in almost every single sentence possible. He isn’t reviewing the score, he’s trashing the composer. And why the need for the obligatory “ghost writers” comment, as it has no bearing on the quality of the music? They aren’t ghost writers if you can name them and they’re credited on the score. Words thrown around like “conglomerate,” “slurred,” and his asinine insistence that period films can only be scored using instruments of the time all point to a deep seeded hatred that has no bearing on the music itself. Guy’s a nut job. 

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4 hours ago, TheUlyssesian said:

 

That's not bias. That's called good taste.

 

  Reveal hidden contents

 

 

The ratings for Alice were deserved. It is a fantastic score for a terrible film.

 

You are the reason why I love the fact that scores like Dunkirk and Arrival are getting critical acclaim and awards nominations. Not because those scores deserves so much attention, but it is a way of giving traditionalist like you and CC a huge middle finger. I love John Williams and James Horner, etc. But not every good score needs to be orchestrated. Or bombastic.

 

 

4 hours ago, Denise Bryson said:

 

Yeah but for the second one too? And Reel Steel? Something's off there.

 

I think Real Steel deserve its score. But Alice didn't. Basically Elfman gets 5 stars for writing the same generic stuff he been doing in that genre. 

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Hans Zimmer on how Chris Nolan originally wanted the score for "Dunkirk" to be written as a single, 100-minute piece of music.

 

Quote

Hans Zimmer and Christopher Nolan have been collaborating since “Batman Begins” in 2005, carving out a name for themselves as one of the best director-composer partnerships in Hollywood. Zimmer earned an Oscar nomination for the duo’s last effort, “Dunkirk,” and spoke to the Motion Picture Association of America at TIFF about Nolan’s ambitious initial plan for the original score.

 

“Chris came to me with this idea, basically, ‘Dunkirk’ exists in a [single] piece of music,” Zimmer said. “The whole movie was originally written as one 100-minute piece of music, which seemed like a really good idea at the time, and nobody had done it before, and then we suffered for our ambition when it came to how are we actually going to make this work.”

 

Zimmer and Nolan ultimately settled on a more traditional film score comprised of several different tracks, but you can still hear the consistency of the work as a whole due to the unifying theme of a ticking clock. The idea for a 100-minute film score is an unconventional one, but Zimmer said that is often how he approaches his film scores with Nolan.

 

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1 hour ago, The Illustrious Jerry said:

Whoah. That definitely feels like something Zimmer and Nolan would try, in a good way. 

It does. Then on the other hand, some Nolan movies are quite overscored, so I wonder whether that idea is an idea that would ever work.

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