How Hans Zimmer’s Score Hints at the Interconnectedness of ‘Dune’

Let's talk about those bagpipes y'all.
Dune Worm

Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video essay about Hans Zimmer’s score for Dune.


In addition to setting a film’s tone and conveying a sense of realism, a film’s score and sound design are a big part of what makes a movie feel theatrical. Which is to say: immense in scale, overflowing with texture, and engrossing in the proper sense of the word.

Dune, the most recent cinematic adaptation of Frank Herbert’s novel of the same name, is arguably one of the most theatrical-feeling films in recent memory. And a big part of why that is (in addition to director Denis Villeneuve‘s characteristic grasp on unwieldy narratives), is Hans Zimmer‘s score. If you had the luxury of seeing Dune in IMAX, I’m preaching the choir. It’s the kind of score that rattles your bones in the best way possible; a bombastic wall of sound that is truly mesmerizing.

Also relevant — I have seen a number of folks critique Zimmer’s score as being orientalist, which it absolutely is. If you’d like to read more about the Islamic influences of Herbert’s text and how the film navigates them, I recommend this Washington Post article by Haris A. Durrani.

The video essay below does a great job at breaking down Zimmer’s score, which is more abstract and impressionistic than melodic, and therefore much harder to parse. And yet, by being less tied to restrictive musical motifs, Zimmer is able to make narrative connections that hint at Herbert’s bigger picture: an interconnected world, where everyone’s fingers are in everyone else’s proverbial pies.

Watch “Why is Dune’s Score Like That?”:


Who made this?

This video essay on Hans Zimmer’s Dune score is by Virginia-based filmmaker and video editor Thomas Flight. He runs a YouTube channel under the same name. You can follow Thomas Flight and check out his back catalog of video essays on YouTube here. You can follow him on Twitter here.

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    Meg Shields: Meg Shields is the humble farm boy of your dreams and a senior contributor at Film School Rejects. She currently runs three columns at FSR: The Queue, How'd They Do That?, and Horrorscope. She is also a curator for One Perfect Shot and a freelance writer for hire. Meg can be found screaming about John Boorman's 'Excalibur' on Twitter here: @TheWorstNun. (She/Her).