Hans Zimmer
Composer
David Fleming
Additional Music
Steve Mazzaro
Additional Music
Andrew Kawczynski
Additional Music
Steven Doar
Additional Music
Omer Benyamin
Additional Music
Ryan Rubin
Music Editor
Jake Boring
Additional Music Programmer
Steven Kofsky
Music Production Services
Cynthia Park
Assistant to Hans ZIMMER
Jessica Gibson
Studio Manager
Pedro Eustache
Musician
Tina Guo
Musician
Juan Garcia-Herreros (Snow Owl)
Musician
Lisa Gerrard
Vocals
Edie Lehmann Boddicker
Vocals
Chuck Choi
Technical Score Engineer
Alan Meyerson
Music Scoring Mixer
Jacob Johnston
Assistant Score Mixer
Stephen Lipson
Technical Staff
Alejandro Moros
Technical Music Assistant
Oscar Senen
Orchestrator
Joan Martorell
Additional Orchestrator
Eva Reistad
Additional Engineering
Nolan Bacardi
Additional Engineering
Soya Soo
Additional Engineering
Mark Wherry
Digital Instrument Design
Kevin Schroeder
Synth Programmer
Howard Scarr
Synth Programmer
Taurees Habib
Technical Staff
Raul Vega
Technical Staff
Colby Donaldson
Additional Engineering
FILM CREDITS
Music by Hans ZimmerMusic Supervisors: Peter Afterman & Alison Litton
Music Coordinator: Jane Berry
Music Legal Services: Christine Bergren
Score Produced by Hans Zimmer
Supervising Music Editors: Clint Bennett & Ryan Rubin
Music Editor: Joe E. Rand
Additional Music by David Fleming, Steve Mazzaro, Omer Benyamin, Steven Doar & Andrew Kawczynski
Additional Programming: Jake Boring
Music Production Services: Steven Kofsky
World Winds, Duduks, Contrabass Flute: Pedro Eustache
Electric Guitar: Guthrie Govan
Electric & Double Bass: Juan Garcia-Herreros "Snow Owl"
Electric Cello: Tina Guo & Mariko Muranaka
Violin, Electric Violin, Viola: Molly Rogers
Exotic Instruments: Chas Smith
Bagpipes: Pipes Of The Scottish Session Orchestra
Percussion: Holly Madge, Aicha Djidjelli, Aleksandra Suklar & Buzz Allan
Featured Vocalist: Loire Cotler
Vocalists: Lisa Gerrard, Edie Lehmann Boddicker, Judith Sephuma, Stephanie Olmanni, Suzanne Waters, Steven Doar, Michael Geiger & David Fleming
Technical Score Engineer: Chuck Choi
Technical Assistants: Alejandro Moros & Matt Wood
Synth Design: Kevin Schroeder & Howard Scarr
Synth Programming: Hans Zimmer
Lead Orchestrator: Oscar Senen
Orchestrator: Joan Martorell
Assistant Orchestrator: Nacho Cantalejo
Choir Conductor: Ben Parry
Percussion Session Producer: Stephen Lipson
Score Mixed by Alan Meyerson
Score Mix Assistants: Walter Kang & Jacob Johnston
Additional Engineering: Eva Reistad, Colby Donaldson, Nolan Bacardi, Isabel Gracefield, Soya Soo & Kostadin Kamcey
Instrument Design: Edmund Eagan, Guillaume Bonneau & Christophe Duquesne
Digital Instrument Design: Mark Wherry
Digital Instrument Preparation: Taurees Habib, Raul Vega, Christian Henson & Calum Minuti-Goold
Digital Instrument Preparation Assistants: Evyn Deboer & Jeremy Katz
Manager for Remote Control Productions: Jessica Gibson
Assistant to Hans Zimmer: Cynthia Park
For Our Dear Friend: Chas Smith
"House Atreides"
Written by Hans Zimmer
"Harkonnen Spa Music"
Written by Hans Zimmer & Omer Benyamin
"Gurney Song"
Lyrics by Josh Brolin
Written by Hans Zimmer & Steve Mazzaro
Music by Hans Zimmer
Supervising Music Editors: Clint Bennett & Ryan Rubin
Music Editor: Joe E. Rand
Additional Music by David Fleming, Steve Mazzaro, Omer Benyamin, Steven Doar & Andrew Kawczynski
Additional Programming: Jake Boring
Music Production Services: Steven Kofsky
Soloists
World Winds, Duduks, Contrabass Flute: Pedro Eustache
Electric Guitar: Guthrie Govan
Electric & Double Bass: Juan Garcia-Herreros "Snow Owl"
Electric Cello: Tina Guo & Mariko Muranaka
Violin, Electric Violin, Viola: Molly Rogers
Exotic Instruments: Chas Smith
Bagpipes: Pipes Of The Scottish Session Orchestra
Percussion: Holly Madge, Aicha Djidjelli, Aleksandra Suklar & Buzz Allan
Music Supervisors: Peter Afterman & Alison Litton
Music Coordinator: Jane Berry
Music Legal Services: Christine Bergren
Score Produced by Hans Zimmer
Featured Vocalist: Loire Cotler
Vocalists: Lisa Gerrard, Judith Sephuma, Suzanne Waters, Michael Geiger, Molly Rogers, Edie Lehmann Boddicker, Stephanie Olmanni, Steven Doar & David Fleming
Technical Score Engineer: Chuck Choi
Technical Assistants: Alejandro Moros & Matt Wood
Synth Design: Kevin Schroeder & Howard Scarr
Synth Programming: Hans Zimmer
Eagan Matrix: Edmund Eagan
Osmose: Guillaume Bonneau
La Voix du Luthier Resonators: Christophe Duquesne
Lead Orchestrator: Oscar Senen
Orchestrator: Joan Martorell
Assistant Orchestrator: Nacho Cantalejo
Choir Conductor: Ben Parry
Percussion Session Producer: Stephen Lipson
Score Mixed by Alan Meyerson
Additional Mixing by Eva Reistad
Score Mix Assistants: Walter Kang & Jacob Johnston
Additional Engineering: Eva Reistad, Colby Donaldson, Nolan Bacardi, Isabel Gracefield, Soya Soo & Kostadin Kamcey
Digital Instrument Design: Mark Wherry
Digital Instrument Preparation: Taurees Habib, Raul Vega, Christian Henson & Calum Minuti-Goold
Digital Instrument Preparation Assistants: Evyn Deboer & Jeremy Katz
Manager for Remote Control Productions: Jessica Gibson
Assistant to Hans Zimmer: Cynthia Park
Soundtrack Album Produced by Hans Zimmer
Executives in Charge of Music for Legendary Pictures: Peter Afterman & Alison Litton
Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek
Executive in Charge of WaterTower Music: Jason Linn
Art Direction & Production for WatertTower Music: Sandeep Sriram
Executive Album Production for WaterTower Music: Genevieve Morris
Music Business Affairs Executive: Ari Taitz
Album Mastered by Gavin Lurssen & Reuben Cohen at Lurssen Mastering
Hans Zimmer would like to thank:
Mary Parent, Denis Villeneuve, Tanya Lapointe, John Spaihts, Greg Fraser, Joe Walker, Cale Boyter, Joshua Grode, Peter Afterman, Hubert W. Gains, Thomas Tull, Brian Herbert, Byron Merritt, Kim Herbert, Richard P. Rubinstein, Brice Parker, Jessica Derhammer, Josh Goldstine, Valère Flueger Veras, Paul Broucek, Marlene Marks, Jason Linn, Francine Maisler, Sandeep Sriram, Ron Bartlett, Doug Hephill, Richard King, Urs Heckmann, Richard Hoffman, Dr. Bernard Bochner, Dr. David Kipper, Candace Carlo, Tom Addison, Jazmine Orlovsky, Bebe Lerner Baron & the ID Team, Ryan Ouchida, Julian Pastorelli, Zoë Zimmer, Jake Zimmer, Max Zimmer, Annabel Zimmer & The Duchess of Duke Street
Thanks to: Peter Axelrad, Maria Belli, Rocco Carrozza, Vincenzo De La Rosa, Katie Lambert & Amanda Stimac
02 – Eclipse (5:13)
03 – The Sietch (2:34)
04 – Water Of Life (3:06)
05 – A Time Of Quiet Between The Storms (3:40)
06 – Harvester Attack (2:19)
07 – Worm Ride (2:19)
08 – Ornithopter Attack (2:10)
09 – Each Man Is A Little War (1:21)
10 – Harkonnen Arena (5:22)
11 – Spice (0:37)
12 – Seduction (2:02)
13 – Never Lose Me (1:16)
14 – Travel South (1:10)
15 – Paul Drinks (1:47)
16 – Resurrection (2:16)
17 – Arrival (1:40)
18 – Southern Messiah (5:22)
19 – The Emperor (1:38)
20 – Worm Army (3:33)
21 – Gurney Battle (2:25)
22 – You Fought Well (1:42)
23 – Kiss The Ring (3:12)
24 – Only I Will Remain (6:44)
25 – Lisan Al Gaib (6:36)
The Dune 2 soundtrack still gives me goosebumps! What a masterpiece! I love it!
The Dune 2 soundtrack still gives me goosebumps! What a masterpiece! I love it!
Do we have official credits on this score? The site kinda piddled out before they got added, if they were ever known. lol.
There is a comment about credits by Knight in this thread.
Also, Stéphane & co don’t get enough credit for everything they’ve done for this website over the years but if I may ask is there a potential future for this website or is it confirmed to be dead?
I think this is not only a great archive for scores & the buzz around them but could also become a cornerstone for Zimmer’s legacy (akin to JWfan network). It’s one of the better places on the internet!
Agreed, massive thanks to Stephane and everyone else for all the work on this site and the insider info over the years! Much love to you all. I actually was looking up if there’d be a score album and saw Stephane posting about F1 over on JWFan, of all places. Maybe we just have to let them win and go over there lol.
I hope the site isn’t totally dead. The stuff on the Pirates and Batman pages are treasure troves of information and composer credits.
“Maybe we just have to let them win and go over there” Never lol. Even though John Williams is one of my all time favorite composers, I cant stand the false perception/limited thinking of symphonic scores being by definition better than modern scores when both approaches to scoring are creative and nuanced in their own right.
I don’t like the elitism either, but they’re treating F1 pretty well, actually.
Hey can you all explain the elitism and where it comes from cause like for me I just love scores so would love a breakdown of the elitism
Jerry, I think you answered the question already. You love film scores and so do I. And Hans Zimmer is a film composer through and through. But a lot of folks grew up loving symphonic music or classical music, and to them that should be the foundation of all film scores. To be fair, if you are older, you probably grew up listening to golden age composers or John Williams, Jerry Goldsmith, and John Barry. So It makes sense where the perspective comes from. To me, Zimmer can write orchestral music as good as anybody, but he is predominately from a rock n roll background, and his scores reflect that. He is not a classical composer. He doesn’t write in that manner mostly, and isn’t as technical as some composer who are classically trained like Desplat for example. That is where the elitism comes from.
With that said, I love John Williams and I venture into the JWforums a lot and appreciates the conversations there. I honestly think over time, the group over there learned to like Zimmer’s music a lot more than before.
IMDB says that Hans Zimmer is composing “Chief Of War”
Slight correction; it’s being scored by James Everingham, not Kara Talve.
All points remain the same.