How did you get it??ChristMAX wrote:you're welcome...
Dunkirk's Soundtrack
I had an offline copy (because I knew it would be taken down) that I reuploadedokungnyo wrote:How did you get it??
What else do you have? 
What I liked about Dunkirk's score is that it fits the film perfectly. It might not be the greatest standalone material, but that's not necessarily what a score should be unless it is for a musical. That was the problem with Ocean's Thirteen.
I think starting at 30:42 in the first interview video here:
http://www.nolanfans.com/forums/viewtop ... d#p1156877
I just had the thought, and this may be debunked by information I'm aware of, but the first full trailer features a more orchestral score or what you may expect from a war movie. Then afterwards all marketing following had a completely different style of music and the IMAX prologue had a very basic, incomplete ticking rhythm. I wonder if the first trailer's music was based on Zimmer's work on the scrapped soundtrack or if it came from the score or his "sketchbook" directly.
New 90-minute long podcast interview with Hans:
https://www.hollywoodreporter.com/race/ ... rk-1077634
https://www.hollywoodreporter.com/race/ ... rk-1077634
Haven't listened to that podcast yet, but is this from interview from that?:
https://www.hollywoodreporter.com/news/ ... re-1080058
Oh, and I like how gracefully he sidestepped the Blade Runner 2049 question; he knew that if he said that he was disappointed, clickbait sites would take his words out of context.
https://www.hollywoodreporter.com/news/ ... re-1080058
I want to hear the scrapped orchestral score.[...]
You recorded a symphonic score early on for Dunkirk, which you called a huge mistake. Did any cues or ideas survive from those recording sessions?
It was devastating to go to London to record an orchestral score and put it up against picture only to realize that it's not working. By then, we were running out of time. The mechanics of time were excruciating. The lack of sleep in particular. Dunkirk was one of those movies where I'd be in the studio all day writing, I'd go home, fall asleep and dream about it. It never left me. Sometimes it takes me a while to recognize my mistakes. Once I do, well, there's a huge garbage bin here in the studio, and they just get thrown in, never to appear again.
[...]
As you wrote the score, you stated you argued with Nolan like only brothers could. How so?
This is where Dunkirk was very different from any film that I've worked on and I think any movie that Chris has ever worked on: The score was done as a 90-minute piece of music. So if you shift or change something early on, it will affect everything downstream. Really, it wasn't ever about style or objectivity; it was strictly that sometimes I ran out of answers. How do you build tension for 90 minutes? There were times that I would nearly give up, and Chris wouldn't let me. He'd say: "Hans, you wanted to do this. See it through."
[...]
Oh, and I like how gracefully he sidestepped the Blade Runner 2049 question; he knew that if he said that he was disappointed, clickbait sites would take his words out of context.
Awww. I would be extremely sad if my original creation which I had worked extremely hard on turned out to be unusable too. Hope he can implement scraps and pieces of it in his future work, at least.
