I honestly don't know that. The number of people who are on the potential call lists for scoring sessions in any of the big cities is huge.
Knowing Hans' history with solo musicians though (Marr, Pharrell et al.), and that he has a history with the organ from his childhood, he may have brought in a big name.
thegreypilgrim wrote:I honestly don't know that. The number of people who are on the potential call lists for scoring sessions in any of the big cities is huge.
Knowing Hans' history with solo musicians though (Marr, Pharrell et al.), and that he has a history with the organ from his childhood, he may have brought in a big name.
Right. Thank you. I wish I knew it right now so I could search for pieces featuring that particular organist.
Zimmer came and spoke at my university today for THR's Hollywood Masters series. Such a nice guy, extremely humble, and elaborated quite a bit on his relationship with Chris (mentioning that his most noteworthy scores are with Chris because their relationship is so good).
He also spoke a bit about the soundtrack for Interstellar, and our school apparently requested a clip and the studio and Nolan wouldn't oblige. They played the trailer, however, and Hans had to explain that he wasn't behind the trailer music and wants to keep the audience in the dark for most of his scores, especially this one.
(slight soundtrack spoilers)
He also confirmed much of what we've heard so far regarding the score--mainly that it's a departure from stuff that he's done previously with Nolan, and he utilized instruments such as church bells.
He also spoke about the letter that Nolan gave him at the start of production--interestingly enough, before Nolan had even started writing the project, he gave Hans a letter containing a "fable" written about Hans' son (who is an aspiring scientist, apparently). While the fable has nothing to do with Interstellar's plot, the piece that Hans created for it was essentially, as he described it, an opus on fatherhood and what it means to be a parent. After showing his piece to Chris, apparently Chris said "well, now I'll have to make the film." Kind of a cool anecdote. Still reeling in shock from actually seeing the dude in real life.
aaron wrote:Zimmer came and spoke at my university today for THR's Hollywood Masters series. Such a nice guy, extremely humble, and elaborated quite a bit on his relationship with Chris (mentioning that his most noteworthy scores are with Chris because their relationship is so good).
He also spoke a bit about the soundtrack for Interstellar, and our school apparently requested a clip and the studio and Nolan wouldn't oblige. They played the trailer, however, and Hans had to explain that he wasn't behind the trailer music and wants to keep the audience in the dark for most of his scores, especially this one.
(slight soundtrack spoilers)
He also confirmed much of what we've heard so far regarding the score--mainly that it's a departure from stuff that he's done previously with Nolan, and he utilized instruments such as church bells.
He also spoke about the letter that Nolan gave him at the start of production--interestingly enough, before Nolan had even started writing the project, he gave Hans a letter containing a "fable" written about Hans' son (who is an aspiring scientist, apparently). While the fable has nothing to do with Interstellar's plot, the piece that Hans created for it was essentially, as he described it, an opus on fatherhood and what it means to be a parent. After showing his piece to Chris, apparently Chris said "well, now I'll have to make the film." Kind of a cool anecdote. Still reeling in shock from actually seeing the dude in real life.
aaron wrote:Zimmer came and spoke at my university today for THR's Hollywood Masters series. Such a nice guy, extremely humble, and elaborated quite a bit on his relationship with Chris (mentioning that his most noteworthy scores are with Chris because their relationship is so good).
He also spoke a bit about the soundtrack for Interstellar, and our school apparently requested a clip and the studio and Nolan wouldn't oblige. They played the trailer, however, and Hans had to explain that he wasn't behind the trailer music and wants to keep the audience in the dark for most of his scores, especially this one.
(slight soundtrack spoilers)
He also confirmed much of what we've heard so far regarding the score--mainly that it's a departure from stuff that he's done previously with Nolan, and he utilized instruments such as church bells.
He also spoke about the letter that Nolan gave him at the start of production--interestingly enough, before Nolan had even started writing the project, he gave Hans a letter containing a "fable" written about Hans' son (who is an aspiring scientist, apparently). While the fable has nothing to do with Interstellar's plot, the piece that Hans created for it was essentially, as he described it, an opus on fatherhood and what it means to be a parent. After showing his piece to Chris, apparently Chris said "well, now I'll have to make the film." Kind of a cool anecdote. Still reeling in shock from actually seeing the dude in real life.
I keep on forgetting that Hans Zimmer is a friendly and humble guy, shame on me.
If you haven't read his AMA, on reddit from 2013 and this year, do it now!
I've already seen and heard Interstellar, and that's what I told you about the soundtrack, if you're not afraid:
The entire score consists of three dominant tunes.
The first one is the music of the teaser and its various mixes and variations. It sounds at the beginning and throughout the film, in particularly dramatic moments.
The second one is the music of the exclusive IMAX-trailer (yes, it was Zimmer's score) and its mixes. It sounds most in the sci-fi moments, but less than the first one.
Finally, the third one is the original, which we have not yet heard. It is much more dark, gloomy and villainous than the first two. It sounds when angry Murph sends a message to Endurance that Cooper had betrayed her and left to die on Earth and in the climax of the fight between Cooper and Dr. Mann (Matt Damon).
Lord Shade wrote:I've already seen and heard Interstellar, and that's what I told you about the soundtrack, if you're not afraid:
The entire score consists of three dominant tunes.
The first one is the music of the teaser and its various mixes and variations. It sounds at the beginning and throughout the film, in particularly dramatic moments.
The second one is the music of the exclusive IMAX-trailer (yes, it was Zimmer's score) and its mixes. It sounds most in the sci-fi moments, but less than the first one.
Finally, the third one is the original, which we have not yet heard. It is much more dark, gloomy and villainous than the first two. It sounds when angry Murph sends a message to Endurance that Cooper had betrayed her and left to die on Earth and in the climax of the fight between Cooper and Dr. Mann (Matt Damon).
Lord Shade wrote:I've already seen and heard Interstellar, and that's what I told you about the soundtrack, if you're not afraid:
The entire score consists of three dominant tunes.
The first one is the music of the teaser and its various mixes and variations. It sounds at the beginning and throughout the film, in particularly dramatic moments.
The second one is the music of the exclusive IMAX-trailer (yes, it was Zimmer's score) and its mixes. It sounds most in the sci-fi moments, but less than the first one.
Finally, the third one is the original, which we have not yet heard. It is much more dark, gloomy and villainous than the first two. It sounds when angry Murph sends a message to Endurance that Cooper had betrayed her and left to die on Earth and in the climax of the fight between Cooper and Dr. Mann (Matt Damon).
What was your overall impression with the score?
It's less diverse than in Inception. But it's a masterpiece. When you hear this music in the cinema, goose bumps on the back, and the muscles are paralyzed. This is solemn music, very solemn. Very combined with a story and visual part of the movie. Three words: dramatic, epic, sci-fi. Special thanks for sound editing. That was something incredible! I already madly love Interstellar's score from Zimmer.
Lord Shade wrote:It's less diverse than in Inception. But it's a masterpiece. When you hear this music in the cinema, goose bumps on the back, and the muscles are paralyzed. This is solemn music, very solemn. Very combined with a story and visual part of the movie. Three words: dramatic, epic, sci-fi. Special thanks for sound editing. That was something incredible! I already madly love Interstellar's score from Zimmer.
In regards to the music, is Interstellar's final scene comparable to Inception? Does it also come up with a theme like "Time" from Inception?
Lord Shade wrote:It's less diverse than in Inception. But it's a masterpiece. When you hear this music in the cinema, goose bumps on the back, and the muscles are paralyzed. This is solemn music, very solemn. Very combined with a story and visual part of the movie. Three words: dramatic, epic, sci-fi. Special thanks for sound editing. That was something incredible! I already madly love Interstellar's score from Zimmer.
In regards to the music, is Interstellar's final scene comparable to Inception? Does it also come up with a theme like "Time" from Inception?
Oh... Of all the questions that people ask me about the new Nolan's movie, they mostly ask me to compare Interstellar to Inception and their parts to each other. It's very hard. But OK, I try...
Inception's final scene is truly masterpiece. This music, "Time", is truly masterpiece. And it perfectly directed and build up. And about Interstellar's final scene. Yes, it's dramatic
and tragic
very much. If we talk about how it's made - yes, it's great.
And the film ends just as abruptly. But if we compare this ending to another Nolan's endings... It's much more comparable to the ending of The Prestige than Inception's.
If you wanna know, Zimmer didn't write something special for Interstellar's ending.
The track of Interstellar's final scene is
"Our Destiny Lies Above Us" from the teaser or one of its variations.
They played the trailer, however, and Hans had to explain that he wasn't behind the trailer music and wants to keep the audience in the dark for most of his scores, especially this one.
