One of the most anticipated musical scores of the year will not compete for an Academy Award. The score for Dune: Part Two, directed by Denis Villeneuve and composed by Hans Zimmer, has garnered critical acclaim since its release in March. While audiences praised the film for its stunning visuals and compelling storytelling, it will not be considered for the Oscar for Best Original Score due to the Academy’s restrictions on pre-existing music.
The Academy of Motion Picture Arts and Sciences has established rules stating that scores for sequels and franchises must use no more than 20% of pre-existing themes from previous works in the franchise. Since Zimmer’s score for Dune: Part Two includes significant elements from his original score for 2021’s Dune, it unfortunately falls outside of the eligibility criteria.
In light of this ruling, Zimmer’s score will not be nominated for the Academy Award, despite its powerful and evocative nature. The composer, however, is still eligible for recognition from various other awards organizations, including the Critics Choice Awards, Golden Globes, and BAFTA, as well as the Grammys.
Zimmer’s upcoming score for Steve McQueen’s World War II drama Blitz also remains in contention for Academy recognition. The pair previously collaborated on the acclaimed films Widows and 12 Years a Slave, both of which earned critical acclaim.
In an exclusive interview with Variety, Zimmer expressed that his primary motivation is not the pursuit of awards but rather the artistic journey itself. “In the world of storytelling, our purpose is to serve the narrative and connect with the audience,” he said. He further elaborated on the creative process for Dune: Part Two, stating, “The score was always written to expand and evolve its themes and take them, like the book, to a natural ending, planned from the first word to the last note.”
This situation adds Dune: Part Two to a list of remarkable film scores that have been deemed ineligible for Oscar consideration by the Academy’s Music Branch. Other notable examples include Jóhann Jóhannsson’s score for Arrival (2016), Cliff Martinez’s work in Drive (2011), and Clint Mansell’s music in Black Swan (2010). Jonny Greenwood’s scores for There Will Be Blood (2007) and The Master (2012) were also disqualified from Oscar contention.
Interestingly, renowned composer John Williams has received multiple nominations for his work on sequels and franchise films, including six Star Wars films, two Harry Potter entries, and four Indiana Jones films. This disparity raises questions about the Academy’s criteria and the fairness of the selection process.
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Despite the setback regarding Oscar eligibility, Zimmer continues to express pride in the collaborative efforts behind Dune: Part Two. “I’m immensely proud of what we’ve collaboratively crafted with visionaries like Denis Villeneuve. This is our contribution to a larger cinematic experience,” he said, emphasizing the significance of the film and its music.
Zimmer’s illustrious career spans several decades, during which he has left an indelible mark on modern cinema. He has received 12 Oscar nominations and won twice, for The Lion King (1994) and Dune (2021). In addition to his Oscars, Zimmer has won four Grammy Awards, received six Emmy nominations, and even garnered a Tony nomination, solidifying his legacy as one of the most accomplished and influential composers in the entertainment industry.
While the score for Dune: Part Two may not compete for the Academy’s highest honors, Zimmer’s impact on film and music resonates beyond the awards race. His work continues to shape the auditory landscape of contemporary cinema.
Dune: Part Two follows Paul Atreides, played by Timothée Chalamet, as he navigates a treacherous universe filled with new allies and enemies. The film features an impressive cast, including Zendaya, Rebecca Ferguson, Austin Butler, Florence Pugh, Javier Bardem, and Christopher Walken. Dune: Part Two is currently streaming on HBO Max, allowing audiences to experience the epic tale alongside Zimmer’s acclaimed score.
