Hurwitz would be my third choice behind Williams and Zimmer.

I would bet you Zimmer has already been making demos for him...

If anything I’d like to see Zimmer collaborate with other composers like he did with Wallfisch in Dunkirk to such majestic effect.

Zimmer's best stuff is with Nolan, imo. Everything else he does is kind of derivative and self-plagarizing of his other work. Gladiator and Pirates and Sherlock Holmes and Lone Ranger sort of all bleed into the same soundtrack. Nolan pushes him to work outside his comfort zone. Interstellar was a Zimmer we've never heard before.

Having said that, David Julyan isn't exactly innocent of the same issue either, lol. Neither are guys like Philip Glass, someone who would be an AWESOME Nolan collaborator.

I say get Clint Mansell.

If for whatever reason it isn’t Zimmer, which is doubtful, Giachinno could be cool.

I used to love Julyan’s Prestige score. Especially the stuff set to Angier exploring Tesla’s mountain compound in the fog.

If Zimmer for some weird reason can't be there, what about Max Richter? I love his music in "The Leftovers"!

I'd like to say I'm already bored with Nolan/Zimmer collab, but then I'd be lying. Zimmer remains among the best parts of Nolan movies for me; as people already said, it's like his other work is filler between Nolan joints.

Its always Zimmer. I just want something with a wider spectrum than Dunkirk, which was a bit monotonous.

BlairCo wrote: ↑

January 26th, 2019, 10:16 am

Why nobody mentioning Lorne Balfe?

Technically he's worked with Lorne before. Lorne contributed to a lot of Nolan films. It's what got him FALLOUT tbh. He'll likely contribute to this as well.

Remember that Zimmer himself said that Nolan guided his every move on Dunkirk. I'm sure Zimmer had his own ideas and interpretations of how to score the film, but at the end of the day - it's Nolan's film, not Zimmer's. After all, isn't Variation 15 named just that since it's the 15th variation of the ending piece? Just as Day One is exactly what Zimmer composed when Nolan initially approached him about the "upcoming project" that would later become Interstellar. I guess the point I'm trying to make is that regardless of the composer, Nolan will continue to meticulously shape and change whatever the composer composes initially until it's absolutely perfect.

Well, obviously. Zimmer said he actually composed a more traditional score for Dunkirk which got binned. Chris suggested the use of a recording of a watch he owns which Hans used as the basis of a long tempo map/track that probably consisted of heartbeat sounds, footsteps and ticking clocks. Chris also suggested the use of Nimrod which Hans took and sneaked it in various places all over the score/movie.

What I love about Dunkirk is that if you remove Elgar's theme, you'll end up with pure horror and suspense sounds and melodies created by Hans. Like that is what Nolan wanted. A score that is cold for the most part that tells the story objectively just like the film and in my opinion it works very well. Having this cold haunting score for most of the film really makes the heartwarming Nimrod/Variation 15 shine through.

By the way, the name "Variation 15" was chosen because there's only 14 Enigma variations so their version is the 15th variation (Not that Benjamin and Hans made 14 versions and the one that was used was the 15th - if that what is understood lol).

I'm pretty sure a suite or various suites and ideas already exist and Chris probably wrote or is still writing parts of the script listening to Hans' ideas.