Dune 2: Hans Zimmer Can Make The Score Even Better (By Not Being Hans Zimmer)
Hans Zimmer’s Dune score helped create an effective atmosphere for the first installment of Denis Villeneuve’s sci-fi film series, but he can make Dune 2 even better by deviating from his signature style. Zimmer was interested in working on the project due to an affinity for the Frank Herbert novel which it is an adaptation of, notably declining the opportunity to work on frequent collaborator Christopher Nolan’s most recent release, Tenet. The Dune sequel has been officially announced for 2023 release with Zimmer confirmed to be scoring it.
Zimmer’s score for Dune is especially influential in dramatizing the film and separating it from the 1984 film of the same name by David Lynch, which is mystical and peculiar compared to Villeneuve’s more measured adaptation. Herbert’s world comes to life with Zimmer’s score: capturing the landscapes of Caladan and Arrakis, and the dispositions of House Atreides and House Harkonnen. The audio of Dune is evocative as bagpipes intersect new instruments created specifically for conjuring an otherworldly atmosphere, and Loire Cotler’s vocals roar over ethereal notes.
Despite the impressive nature of Zimmer’s score, he can improve it by providing an even more immersive experience in Dune 2. Zimmer should seek to abandon the elements of his signature that occasionally linger in a score that is otherwise very experimental. The sequel presents an opportunity for Zimmer to resolve the transitions between the defining sounds of the score, which will surely be a feature of Villeneuve’s second installment. Therein, Zimmer can create a score that is entirely unlike his previous work; one that not only builds the ambiance of Herbert’s fantasy world but holds the viewer within it.
The score is seamless for durations, but the action climax of House Harkonnen attacking House Atreides is a particular auditory lapse. The respective audio is “Armada” on Dune (Original Motion Picture Soundtrack), and it does well to capture the essence of the scene: combining the whispered sounds associated with the Bene Gesserit, with the contrasting sounds of the conflicting houses. The transitions connecting these varied themes are, however, representative of only Zimmer himself. Zimmer’s signature style is also evident in tracks such as “Sanctuary” and “Holy War,” which bear a likeness to the scores for The Dark Knight trilogy and Inception in particular.
These details do have the propensity to resonate with fans of Zimmer, and even impress viewers unfamiliar with his work – it will be novel and without distraction for them, and Zimmer is, after all, a remarkable composer. The future of Villeneuve’s Dune, however, would benefit from a score that only builds upon the composition of Arrakis, and does not distract from it. There is evidence that Zimmer is capable of such adaptation: his recent work on No Time To Die uses the titular track for On Her Majesty’s Secret Service, adjusting it to suit the somber style of Daniel Craig’s Bond era. His work subtly combines the defining nostalgia of the franchise with the grit associated with Craig's interpretation of the iconic character.
Zimmer’s signature is effective for some projects, especially in his collaborations with Nolan whose filmography has a consistent interest in the concept of time. For Dune, however, the project is fantasy-based and Zimmer’s signature can serve as a rather abrasive reminder that the audio has been consciously produced for cinema. Reducing deviation from the experimental aspects of the score could improve its authenticity and result in a project for Dune 2 that feels entirely a product of Arrakis, rather than Zimmer himself.