Hans Zimmer’s score for Dune: Part Two will not be in contention at the Oscars due to failing to meet eligibility requirements

Hans Zimmer has been the sound of modern-day blockbusters, most notably his work on epic sci-fi and action movies. Many may know him from his work with Christopher Nolan, although Nolan has opted to work with Ludwig Göransson in his last two outings. Zimmer’s collaboration with Nolan on Inception even notably ushered in the trend of the “BWAAAM” musical sting that can be found in most trailers to help intensify and punctuate a dramatic turn.

Zimmer’s notes would be attached to Denis Villeneuve‘s Dune: Part Two this year. And his score would showcase some of his usual intensity along with some melodic, dramatic sounds, which feature the franchise’s signature female vocals. Unfortunately, Zimmer’s score for the film have not met the eligibility requirements to be nominated for an Academy Award, according to Variety. This is because the music surpasses the Academy’s limit on pre-existing music. This would mean that it cannot be nominated in the best original score category.

According to The Academy, the rule states, “In cases such as sequels and franchises from any media, the score must not use more than 20% of pre-existing themes and music borrowed from previous scores in the franchise.” And the score for Dune: Part Two would naturally contain many motifs and themes repeated from the first movie’s soundtrack. Unfortunately, there would not be enough newer material in the ratio that would make make this outing original enough for the nomination.

However, Zimmer’s score for Dune: Part Two is not disqualified from other film awards, which include the Critics Choice Awards, Golden Globes, BAFTA, and even the Grammys. The Academy’s disqualification of the Dune score would not effect the composer too much. Zimmer would tell Variety, “In the world of storytelling, our purpose is to serve the narrative and connect with the audience. With Dune: Part Two, we continue the journey we began in the first half of the book at the exact moment we left off. 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.”