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The latest pioneering work of Didier Thunus

He went through the whole process of re-scoring the film "Nosferatu"
Latest News on March 8,2020: IMDB has listed Didier Thunus as a composer of "Nosferatu"
Nosferatu-Didier Thunus
Didier Thunus
In order that you can enjoy the music with the movie scenes, I have asked Didier to send me his video and audio. Here is the complete version of the movie "Nosferatu" was re-scored by Didier Thunus in 2019 and stored in our space
The 1922 silent movie "NOSFERATU" re-scored by Didier Thunus in 2019. 86'09" . If your mobile browser doesn't play, please watch it on your computer. You can also right-click here to download the video ( 441M, MP4 format In USA space) Or right click here to download the video (400M, FLV format in Chinese space)
You can also click here to directly enter Youtube to watch it. and welcome to leave message or comments
Above: Didier Thunus
In order to introduce in detail the issues related to the re-score of the film, At my request, Didier wrote a brief article for this purpose on February 3, the first half of which is as follows:

"Nosferatu" (1922) is one of the earliest movies based on Bram Stoker’s vampire novel "Dracula" (1897), even though the name of the characters and parts of the storyline and of the locations were changed because the adaptation was not authorized. Nevertheless Stoker’s family’s attempts to destroy all existing copies made it difficult for it to have a strong following in its early years. It is only when surviving prints were re-discovered by scholars that the film grew in fame, and became one of the most celebrated movies of the German expressionism in the 1920s.

The features of Count Orlok the vampire are not exactly the ones that have been popularized by folklore and by later adaptations of Stoker’s book. His physical appearance is wiry and inelegant, however beguiling. His powers are many: telekinesis (he can close by himself the coffin in which he lies immobile doors open and close on their own…), telepathy (when he connects from the distance to Ellen or to Knock), transparency, levitation, the faculty to cross closed doors, and he has the ability to spread the plague through the swarm of rats that accompany him. Maybe ubiquity is another attribute of his, at least in his first appearance where he seems to be both the coach driver disappearing in the distance, and the host inside the castle. He sleeps in a coffin during the day because daylight would disintegrate him into dust. It is never clear what he does to his victims: he bites them apparently they fall asleep and forget about what happened, and then wake up relatively unharmed afterwards. It is different for Ellen and for the ship crew, who eventually die. But still they don’t seem to come back as vampires, unlike in traditional legends.

German composer Hans Erdmann produced an original score for the premiere of the movie, but it didn’t remain attached to the film for later screenings, due to the decoupling between image and sound at the time. Many composers have in the meantime proposed new scores, most notably James Bernard, regular composer for the Hammer production company, for a DVD release in 1997. The other artists came up with varied approaches, from improvisation to experimentation, to sound design.

I recently specialized in writing film music or assimilated, but like many beginners in the field I am a film composer without a film. If I did find ways to associate my music to the world of the fiction, by re-recording together with the Solisti e Orchestre del Cinema Italiano the score to the television series “L’isola” (2018), composed by Ennio Morricone, or by creating music for imaginary movies for the album “Cronaca di un falsario – Italian genre cinema 1967-1977” (2019), my wish is of course to apply my own music to real movies. When I wrote the piece which is now called “Bird of Death”, I immediately felt that it belonged to the universe of black-and-white horror movies.
So I decided to check the effect of applying it to the opening credits of the most illustrious of such old movies, Murnau’s “Nosferatu”. I was stunned by how well it worked. I proceeded in applying more previously composed music to other scenes, and it confirmed that there was really some kind of kinship between the images and the music. Trying the same on other movies never resulted in such a satisfactory result. So it became my new project: writing a new score to “Nosferatu”. I adapted the existing pieces to perfectly fit the scenes, and created the missing ones. This resulted in the present album and in a new version of the movie which I uploaded on Youtube.

The specificity of silent movies is that every second of it has to be scored, resulting in very long soundtracks (82 minutes in the present case). On the other hand, film scoring in general allows and even pleads for reusing ideas throughout the composition. The challenge here was to do both: propose the same ideas in different forms while not sounding too repetitive in the long run. It had to be a compromise between a unified film score and a compilation of varied and contrasting themes. In the end, my score contains up to 17 different themes, 3 of which being reused several times: “Bird of Death”, “Count Orlok’s Theme” and “That Precious Blood”. The movie (but not the album) also contains a repetition of two other pieces in exactly the same form: “Flowers for Ellen” and “The Land of the Phantoms”.

A distinctive trait of this score is the obsessiveness of several tracks (“Count Orlok’s Theme”, “Bird of Death”, “March of the Dead”, “The Mad Fugitive”…), repeating endlessly simple melodic cells, as if to express the unescapable horror of the scenes they illustrate, like a nightmare from which the protagonists cannot wake up. Even if there are a few atonal moments, the score is essentially melodic and thematic.

I always compose the music regardless of the precise timing of a scene, in order to be totally freed from technical constraints, and to only be influenced by its overall atmosphere. Then only will I modify the piece in order to suit the scene like a glove. Note that on the album, I have put some pieces in their initial structure, as opposed to the adapted one used in the movie, just because I felt they sounded better that way (like “Morning in the Castle” or “March of the Dead”).

Even if some pieces are fully orchestral (“The Journey”, “The Rats”) or piano-based (“Ellen’s Tears”, “The Medallion”), I also allowed myself to be anachronistic in many places, in order for my music to be a complete departure from the orchestral scores of Erdmann and Bernard. Therefore, rock drums, electric guitars or electronic sounds appear several times, as in “Count Orlok’s Theme” or “The Mad Fugitive”. Some sound effects have been added as well, such as the flapping sound evoking the flight of a bat in the second version of “Bird of Death” and in all versions of “That Precious Blood” (talking to the listener’s subconscious because the link between the vampire and the bat is not present in that specific movie), or the dark claustrophobic atmosphere in two versions of “That Precious Blood”. Ethnic accents are also brought in, such as the cimbalom in “The Journey” or in “Homeward Bound”, evoking the Balkans, the frantic flutes and the tribal percussions in “Count Orlok’s Theme”, as an echo to the vampire’s animalism and barbarism, or the woman voice in “Homeward Bound ”, a kind of desperate call for help from Ellen to Hutter.

The influences of Ennio Morricone on my work are inevitable, maybe less in this project though, which is far from the Maestro’s universe. Had he been asked to score this movie, it is very likely that he would have come up with a more arthouse approach, probably orchestral but essentially experimental, trying to respond to the expressionistic and heavily suggestive nature of Murnau’s film. My approach was more that of traditional film scoring, in the 1960s and 1970s sense of the term rather than in the modern one, but still very personal: I can’t think of another soundtrack that would resemble mine. I would say it is somewhere between Bernard Herrmann and Goblin, however still far away from the respective styles of those authorities in horror film music. Nevertheless I’m sure that the fans will recognize Morricone’s influence in many places. I see it in “Count Orlok’s Theme” or in the upbeat segments of “That Precious Blood”, and in the creepy way the harpsichord is used.

(The following is the explanation of each piece of music, please refer to the following list)

A complete list of Didier's re-score soundtrack
(On this page of our forum, you can browse and listen more conveniently at the same time)
Title and audition
Length (start of film)
Didier's note
1:31 (00:00)

The opening credits announce the tragedy that is awaiting the small city of Wisborg. The theme is a blending of orchestral and modern music, ominous and upsetting. Its title comes from the name that is given to Count Orlok in the inserts: the “deathbird”.

2:56 (01:32)

Hutter picks up flowers in his garden to offer to his wife. The music is peaceful but melancholic, because it is already perceived in the attitudes of the lovers that they can sense some upcoming trouble.


Knock, a real estate agent and Hutter’s boss, discovers a letter from some Count Orlok wishing to buy a property in Wisborg. He asks Hutter to go and meet the potential buyer in his castle in Transylvania. The haunting theme of Count Orlok appears for the first time, not yet fully developed.


Upon hearing the news, Ellen is heartbroken. The music is now openly sad and ill-fated. (This piece was published by EverKent as “Giulia sulla barca” on its debut album “Bridge of Illusions”.)

4:19( 09:54)

The main theme returns as Hutter heads east and settles to spend the night in an inn. The bat flight sound effect appears to express that we are entering the vampire’s territory.


Hutter and his escort cross mountains and bridges until his companions refuse to go any further, knowing what is awaiting the travellers beyond this point. The music is lively and energetic, to reflect Hutter’s state of mind, still oblivious of the danger.

4:05(17:56 )

Hutter continues on his own, and is picked up by another stagecoach, driven by a weird individual. A feeling of fear now takes hold of him. He arrives at the castle and is welcomed by the shady silhouette of Count Orlok.

2:38( 21:31)

Inside the castle, Hutter is very much disturbed by the atmosphere of the place and the attitude of his host. When he inadvertently injures his finger, Count Orlok reaches for the precious blood that starts running. This experimental piece of music conveys a sense of oppression and unbearable tension.

4:30( 24:06)

Unaware of what has happened to him, Hutter wakes up alone in the castle. Traces of a bite in his neck are soon forgotten when he sees that a copious breakfast has been served for him. He later goes outside to write a letter to Ellen. The music is joyful and upbeat, reflecting Hutter’s regained confidence, and providing the audience with some relief after the increasing uneasiness provoked by the previous scenes.

3:18( 27:26)

However as soon as night falls, the evil thoughts come back, especially when Count Orlok shows unwholesome interest in a picture of Ellen on Hutter’s medallion. The piano is reminiscent of Ellen’s character, but this time the melody is uncertain and disheartened.


Hutter finds himself prisoner of Orlok, unable to escape the latter’s second assault. Miles away, Ellen feels the danger and alerts her caretakers. The Count’s theme now appears in its full redoubtable version.

2:54(34:57 T)

The morning after, Hutter discovers the coffin in which Orlok sleeps. He finds a way to escape, terrorised and injured, as the Count himself embarks on a journey: coffins, including his own, are loaded on a carriage and later on a raft. The music is frantic and confused, echoing Hutter’s distressed state of mind.

4:37(37:47 )

Hutter has been picked up and brought to a hospital where he recovers from his wounds. The music takes the form of an adagio accompanying the tormented man in his healing.

2:41( 41:42)

Knock’s attitude prompted the doctors to intern him. He got hysteric and out of control, announcing the venue of his “master”. The music is quirky and offbeat, to illustrate the strange conduct of the mad man.


Ellen spends her time desperately waiting for Hutter alone on the beach. Her friends try to cheer her up as she receives a letter from her beloved, bringing some new light into her life. The music appears less tormented in order to underscore Ellen’s renewed hope

3:27( 47:34)

Hutter has recovered and realized he has to hurry up in order to be back home before Orlok finds his wife. The latter has embarked on a boat, whereas the former starts a long journey on horseback. The first news reports about a plague epidemic are issued. The music conveys a sense of adventure doomed by inescapable danger and the imminence of a human tragedy.


After decimating the whole crew of the ship, Orlok has arrived in Wisborg and searches for his new house. He is accompanied by rats that will start spreading through the city. Hutter manages to reach his house the same evening. The music tries to convey the joy of the reunion as well as the rising menace.


Local authorities identify the risk of a plague epidemic and summon the citizens to lock themselves up inside their houses. The rhythmic and persisting music accompanies the investigations and then the announcements to the population.


However the victims start to appear. In spite of Hutter’s return, Ellen’s unease grows every day as she feels Count Orlok’s presence and the spell cast at her by him. The scene lets the “Bird of Death” theme develop in its entirety.

4:16( 1:12:44)

The city is in the grip of the disease as the body count rises. The music turns into a slow and ominous march as coffins are being transported through the streets.


The population is looking for a scapegoat and chases Knock as he runs through the city after escaping. The whole city has gone crazy and the wild music underlines this collective madness.

2:56(1:18:38 )

Ellen cannot hold it anymore and decides to offer herself to the vampire. She asks Hutter to fetch a doctor and sends a signal to Orlok. The “Precious Blood” theme returns as the Count sets to taste Ellen’s.


Dominated by his impulses, Orlok is too busy to realize that the sun is rising. He goes up in smoke.  Hutter and the doctor arrive too late: Ellen dies in her husband’s arms. The movie ends, revealing that these final events have put an end to the plague epidemic.

About Didier Thunus
Didier thunus is an old friend of ours. He is the webmaster of CHIMAI website in Belgium and the founder of "MAESTRO" special electronic magazine for Ennio Morricone theme. He is known and respected by Morricone fans in the world. Anyone who has paid close attention to our website for a long time should be familiar with him. As a deep-rooted western fan of Morricone, he has been following Morricone since he was young. He has unique research and profound foundation for Morricone's works, and can even be called the Encyclopedia of Morricone's knowledge. As early as 2007, in order to study the origin and development of the music "Chi Mai", I got his warm help and established friendly relations with him. In the following ten years, we have been in constant contact. In 2013, he and Patrick Buster of France resolutely took over MSV paper magazine, which was announced to be closed, and changed it to MAESTRO electronic magazine, which is free for all members. It has been eight years since then, and their dedication has to be admired by all fans. Please refer to another webpage about these past. Not much here
At the beginning of 2020, in the process of our mutual exchange about "2020 Morricone Resources Library", he told me a message in his email: he has a new creation (See the email's screenshot below)
In the email, he mentioned his first album, which reminds me that it was his first CD--"Bridge of Illusions" CO produced and officially released by him as EverKent in 2016
There are 12 pieces of music on this CD, all played by virtual instruments. It's beautiful and the mood is ethereal. Listen quietly, it can really take you into the land of fantasy. From it, you can also appreciate its music skills, which is extraordinary
I'm really interested in his new work. I read his email carefully. It's a great pleasure to know his new creationand and hope, It's very happy for me to be able to help my old friends a little. I read the screenshot and website he sent me. At first, I didn't understand the title "Nosferatu". It seemed to be a personal name, maybe a special term. Recently, the Internet is very bad. The links abroad very difficult to open. It took an hour or two to slowly see the YT webpage
I tried to play the video, it turned on very slowly, and after a few minutes It couldn't move any more. I have to look at the following instructions carefully, and gradually understand that this "Nosferatu" is a silent film with a total length of 86'09 , directed by Murnau, a famous German director in 1922. Now Didier has composed new music for it again. There are 28 tracks in total, which are named according to the time sequence of movie playing. The post was released less than one month on December 30, 2019. There is also a link to the original of the movie. After opening, you can see that it's very active. Since it was released in December 2015, the number of views has reached 173206, and there are 177 comments below. The poster made a note that:HD remastered blu-ray edition of Nosferatu from 1922. Nosferatu, eine Symphonie des Grauens (translated as Nosferatu: A Symphony of Horror; or simply Nosferatu) is a 1922 German Expressionist horror film, directed by F. W. Murnau, starring Max Schreck as the vampire Count Orlok. The film, shot in 1921 and released in 1922, was an unauthorized adaptation of Bram Stoker's Dracula, with names and other details changed because the studio could not obtain the rights to the novel (for instance, "vampire" became "Nosferatu" and "Count Dracula" became "Count Orlok"). Stoker's heirs sued over the adaptation, and a court ruling ordered that all copies of the film be destroyed. However, a few prints of Nosferatu survived, and the film came to be regarded as an influential masterpiece of cinema. As of 2015, it is Rotten Tomatoes' second best-reviewed horror film of all time.
According to my habit, I first went to IMDB to have a look. When I searched "Nosferatu", 107 results came out at once. It make me feel that seems a heat wave. This one 1922 movie was at the front.
Then I opened the webpage of the 1922 movie directed by Murnau and saw the film. Its plot is extremely concise: Vampire Count Orlok expresses interest in a new residence and real estate agent Hutter's wife. There are 410 commenters shown below, which shows that it is a popular movie
Nosferatu (1922)
Then I opened the cast and found that there were as many as 16 composers for the movie from 1969 to 2006. I don't know if this is a popular way for composers to show their talents in the West?
Nusic by
I was impressed by the IMDB. This movie seems to be very famous in the west, especially for composers and people who like silent films and horror films. But I am with very limited knowledge , so what about its situation in China? I search for this Nosferatu in Baidu with the mood of exploration. To my surprise, this movie is also introduced on many websites. Its Chinese name is "诺斯费拉图". For example: 0102 03040506 ......
Douban website's introduction is as follows: Hutter , an employee of a real estate company in Bremen, was appointed by the company to trade houses with Count Orlok in an ancient castle, but when he lodging in a hotel near the castle, people learned that his destination was very responsive Strange. When he arrived at the castle, he saw the haggard and eccentric Earl of northferratu. He also learned that he had a habit of staying up in the daytime and at night. Hutter was suspicious of his identity and finally found out that he was the legendary vampire. Hutter escaped from the castle, and the count rushed all the way to the house he had bought in Bremen. When Hutter returned home, he learned that the count of vampires had arrived, and it was he who made the town plagued. He and his wife Ellen, began to try to eliminate the count of vampires
The title of "Time" website is "NOSFERTU: the originator of vampire film, classic insurmountable". It has a high evaluation on this film: "the first vampire film in the history directed by the legendary director, master Murnau, has caused a sensation. Since then, this terrorist species, which only exists in literary description and human legends, has entered the image era and started to ferocious him Our face sucks human blood in front of us. Murnau's classic position is unshakable, which has a very far-reaching impact on later vampire films and horror suspense films. It is also not too much to call it the ancestor of vampires.
Then, I went to the video area to search for this "Nosferatu". The result was even more amazing, with nearly 100 related videos appearing. What's more, I was overjoyed to find a movie profile with Chinese dubbing and Chinese subtitles provided by Netease video with a duration of about 7 minutes. It's so good! If you are interested, you can go to this original web page to watch it
The most important inspiration from Didier's latest works is the innovative spirit that prevails among people in these developed countries. As early as in 2013, when he was invited to write a special article for us to publish "Morricone enthusiast's Handbook", he had already revealed this idea of "innovation". He (Ennio Morricone) said in the article: ".... it is not simply for humility’s sake that he disregards his own gift: he simply doesn’t seem to realize. He smiles at our fondness for Jill’s theme from C’era una volta il West. It’s just a series of 4 consecutive manipulations of 6 notes, he says. Is it really? Maybe I should try to write one myself.... (See the PDF file)
Ennio Morricone Fans Handbook
At that time, I didn't fully understand his thinking. It's only when he launched his new creations in succession that I realized his valuable innovation spirit. This is the real driving force for the development of a nation and a country. It is worth our serious thinking and learning
If you have carefully read this explanatory article of Didier, and then carefully watch and listen to those music languages without borders, you will surely have some insights and inspiration. At least we can understand Didier's words: "this proves that there is a certain kinship between images and music. Just like there are more than 5000 languages in the world, a "hello" can be expressed in thousands of voices. Although the most popular ones are commonly used by people, the ones that are used less may be wonderful. Didier's music has at least three characteristics for me: 1. It arouses my curiosity: can such a friend of mine write music? What kind of music does he write? I have to listen to it myself! 2. It makes me admire: Oh, he really realized his dream and wrote his own music. What's more, it sounds decent. This man is awesome! 3. The most important thing is: it makes me feel close. We can see his explanation of music (even every song), and we have the opportunity to talk with him (with the support of Didier, our forum has opened a column of "dialogue with Didier", where you can freely express your opinions, ask questions and participate in the dialogue).
The Analects of Confucius, which appeared more than 2000 years ago, recorded the teachings of Confucius: "those who are born to know, first; those who learn to know, second; those who are poor but to learn and to know, third; those who are poor and still not learn, worst." there are still many things to learn for everyone. Try hard, friend, can you (including me) try to do more?
I wish friend Didier a new chapter! May all friends fly!
The last important discovery
After a busy few days, the webpage seems to have finished. But I always have a little intuitive feeling, as if there's still something that's been overlooked.
The man was old, really a little dull, thought for a long time, finally pulled out that unfinished cue: I remember at the end of the request didier to check the web page, there is a word at his replied on February 5 in an e-mail : ““ I forgot to tell you: actually EverKent is simply me and my computer. It's not a separate person or group.”
I didn't think about it at the time because of the haste, but i changed that "Created by Didier and Everkent" to "Created by Didier as Everkent". When all the dust settled and i was ready to publish this page, I suddenly remembered the phrase" As Everkent" ??? This is not a simple question of a word, as I originally understood: Everkent was a performer. So, doesn't that mean the music is played (or directed) entirely by Didier? Does he have so many skills???
Think it over and over again , although To postpone the release of the webpage, I still would like to ask Didier, because this is a very important, very curious question. On February 6th I emailed him again (the day before, I was happy to tell him that the webpage was about to be published and that he - and of course I - could relax)
On February 8, he sent a reply

Hello Han,

Here are my answers to your questions:

1. Do you all the work in your PC (including forming symphony, embedding video, etc.) by yourself ?

Yes, I'm on my own. Hopefully some day I'll be able to collaborate with experts, who knows!

2. How much time did these three events (re-score, virtual performance and synchronous embedding etc.) take each ?

The re-score took me about 5 months (not counting the previously existing pieces and some last minute rework I did months later). It could have been shorter but I only do this in my spare time.
I do not write down the score, I directly compose it on the computer, so the performance happens as part of the process, not as the last event. The editing of the music inside the movie was also done gradually during those 5 months.

3. Which software is mainly used for these (e.g. where the sound of the bat comes from)?

I use essentially StudioOne for creating the music, and sometimes Band-in-a-Box when I look for inspiration for chord sequences and background accompaniment. For the movie, I simply used Windows Movie Maker.

Have a great weekend,


Well, all the problems are clear: one person, 5 months in his spare time, with 3 software. I don't know what do you think , maybe I have too little knowledge, but my feeling is still want to tell you: Great! Composer, Symphony Orchestra, Full Sound Department. He did it all by himself! Well, have you thought about it?
"Numbers" change the world, it's not just the world of scientists, it's really a world of ordinary people, but for us, a small circle of Morricone Fans, Didier is an ordinary "civil servant" (he's introduced himself in the LinkedIn is "Project Manager chez European Commission”), an amateur fans , did such an not-so-simple thing , at least to my surprise and admiration . It also inspires me: live to the old, learn old! The world is so big, scientific things are so much, don't waste God to give you time, work hard! Thank you, Didier Thunus!
Supplement on February 9, 2020 ( 2019-ncov diagnosis 37251 in China)
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