Tracklist of the deluxe version on iTunes (titles may contain spoilers!):
Interstellar's Soundtrack
Ugh, I should not have read that.
Comments on the score from the reviews
Aided by Hans Zimmer's energizing score — a far more colorful effort than the intentionally abrasive ones found in earlier Nolan collaborations—"Interstellar" is Nolan's most well-rounded movie to date.
John Williams, James Newton Howard, and most recently Steven Price have crafted some of the most memorable scores for sci-fi films of all-time. Academy Award winning composer Hans Zimmer will join the ranks of those with his musical interpretation of Nolan’s film. It’s one of the finest the composer has ever constructed and takes on a new life from moment one. Melodically present, Zimmer is an integral part to the film’s most emotional moments.
Hans Zimmer contributes one of his most richly imagined and inventive scores, which ranges from a gentle electronic keyboard melody to brassy, Strauss-ian crescendos.
It's exciting to hear just how out-of-his-comfort-zone Hans Zimmer is here, and it works to the movie's advantage. It feels like a score written from a very direct and emotional place, and it helps cement the yearning that underpins so much of what Nolan shows us in the film.
For oomph, drama and all-important awe, meanwhile, the director is falling back heavily on the gifts of a long-time collaborator, Hans Zimmer. The film alternates the actual total hush of dead space – take that, Gravity – with the vast sounds of a composer set loose on his grandest ever assignment. But it relies less on Straussian majesty à la 2001 than something rather more pointed: the hypnotic, metronomically surging, and oddly sacred homage Zimmer gives us to Koyaanisqatsi, by Philip Glass.
Hans Zimmer’s music, heavy on organs, has a sacral feel.
Augmented by Hans Zimmer’s exceptional and uncharacteristically measured score (some of which sounds like Philip Glass if he were sedated and launched into orbit), the scenes set in the final frontier are astounding.
Anyone who thinks they know what Nolan's other frequent collaborator Hans Zimmer is capable of should be pleased with what he brings to "Interstellar" which contributes to its unique sonic identity as well as drawing out the most emotion possible in the more dramatic moments. There are times when Zimmer uses an enormously bombastic pipe organ to drive the tension and emotions and other times, he uses a more subtle approach. Still, it's a fantastic score, easily one of Zimmer's best, and it helps to elevate Nolan's magnum opus well beyond where it might have been.
Hans Zimmer's overbearing score threatens to drown out the dialogue completely
Credit also to composer Hans Zimmer, who likewise goes very big in his scores -- especially for Nolan -- and whose trademark style on the Dark Knight films has been aped and parodied for the past few years. The score here is just as grandiose, but he employs as his main instrument the organ, which provides the perfect musical equivalent for the film’s tone and can embody both the finality of death and the infinite mysteries of the heavens at the same time. I loved his work here -- I’m a huge fan of the organ -- even if the music and some of the sound effects frankly drowned out large swaths of dialogue at the screening I attended (although I understand that this was most likely an issue with the theater itself -- the TCL Chinese in Hollywood -- than the film).
Other editing ploys emphasize the complete silence of outer space, which provide a sharp contrast to a soundtrack otherwise filled with lots of talk and Hans Zimmer's often soaring, sometimes domineering and unconventionally orchestrated wall-of-sound score.
The dialogue is often rudimentarily informational, while the music by Hans Zimmer, alternating between a pastiche of Philip Glass and titanic organ blasts, is overpowering.
The film’s score, by Hans Zimmer, is all bombast and blunders.
And the score. OH MY GOD!!!! The score. I often love Hans Zimmer. I find myself defending his scores when others complain. He has done some truly wonderful work. And this film felt like being hit over the head with every instrument in the orchestra until unconscious. I don’t ever recall a more relentless or agonizing aural experience in a film. There is not a moment of drama that does not, apparently, require underscoring that makes it seem like Atlanta is burning. HEY! THIS IS IMPORTANT. But everything is important in Interstellar. That’s what the film tells me endlessly.
I found this, don't know if it's original or not.
Posts: 42
Joined:
September 2014
Not original for sure. The strings sound very fake, and the music itself is very badly written and sounds terrible.Panapaok wrote:I found this, don't know if it's original or not.
Yup, and it stops at around 3:35 not 3:55 according to the tracklist.Juliui wrote:Not original for sure. The strings sound very fake, and the music itself is very badly written and sounds terrible.Panapaok wrote:I found this, don't know if it's original or not.
I just really want the full version of the piece we heard from the Teaser, hoping it's on there!
Posts: 3
Joined:
June 2014
HAHA that is definitely fake. A YouTube channel had used that music in one of their sketches months ago.
Nonetheless, I had a question -
Does the first teaser music my Hans Zimmer, that came out a year ago feature in the OST? Please can someone confirm this? I LOVED that music.
Thanks!
Nonetheless, I had a question -
Does the first teaser music my Hans Zimmer, that came out a year ago feature in the OST? Please can someone confirm this? I LOVED that music.
Thanks!
Posts: 1049
Joined:
May 2013