I mean I love Ludwig as much as the next guy but Hans Zimmer really is the perfect Chris Nolan composer. It's not difficult to see why. For starters, the way they approach their respective art is very similar & complimentary. Tom Shone described it best in "The Nolan Variations".
Fun fact, Nolan's favorite score ever is "The Thin Red Line" & it's scored by.. you guessed it! Nolan went as far as saying he'd pick "Journey To The Line" as the number 1 piece of music he'd take with him if he were to be trapped on an island (Desert Island Discs podcast). Heck, Zimmer worked with almost all of Nolan's favorite directors (Terrence Malick, Ridley Scott, Nicolas Roeg, even ghosted for Stanley Kubrick..) and Nolan was a fan of his back when he was just a teenager. Then he came in & pushed Zimmer's career further than ever before.. so it's easy to see why they compliment each other so perfectly.
I'm not too optimistic for a reunion simply because Hans has a tour next year followed by Dune #2.. & this throws me off because Denis would be the one with the best composer on his side instead of Chris... *sigh* oh well.. let's hope for the best!
If it's a more small, intimate project it will be Zimmer, with a simple approach like the Interstellar soundtrack. Simple and emotional. I don't think that Göransson has this kind of sensibility yet. He's more of a visionary, new sounds, new ideias, that work well in sci-fi movies, etc..
Have you heard his Mandalorian score? He moved people to tears.
No doubt either composer will absolutely deliver. Now, what do I wish for? Zimmer to be involved somehow and since he’s no stranger to collaborating with other composers, him and Ludwig could create a hell of soundtrack together. What I think will actually happen? I think the Nolan/Zimmer duo is over, and Nolan will collaborate with Goransson again.
Also, I think it’s naive to assume that Nolan will want an orchestral score (or that Zimmer is the preferred composer for that). With each film, Nolan gets more and more experimental with his composers. And we have no clue what the tone of the movie will be like.
If it's a more small, intimate project it will be Zimmer, with a simple approach like the Interstellar soundtrack. Simple and emotional. I don't think that Göransson has this kind of sensibility yet. He's more of a visionary, new sounds, new ideias, that work well in sci-fi movies, etc..
Have you heard his Mandalorian score? He moved people to tears.
No doubt either composer will absolutely deliver. Now, what do I wish for? Zimmer to be involved somehow and since he’s no stranger to collaborating with other composers, him and Ludwig could create a hell of soundtrack together. What I think will actually happen? I think the Nolan/Zimmer duo is over, and Nolan will collaborate with Goransson again.
Also, I think it’s naive to assume that Nolan will want an orchestral score (or that Zimmer is the preferred composer for that). With each film, Nolan gets more and more experimental with his composers. And we have no clue what the tone of the movie will be like.
Completely agree with that, Zimmer started the movement with Dunkirk but we know how much Nolan pushed him to his limits, and that was demanding for him (notably through the fact of merging the three narrative structures with the music etc...), and Nolan went even further with Ludwig, with a film of a different nature but also with a form of abstraction and an experimental narrative structure to work on musically.
I think that Nolan will find here a new angle of approach that will be surprising, to say the least, and that will require a form of musical experimentation, and that he will therefore call upon Göransson again.
Completely agree with that, Zimmer started the movement with Dunkirk but we know how much Nolan pushed him to his limits, and that was demanding for him (notably through the fact of merging the three narrative structures with the music etc...), and Nolan went even further with Ludwig, with a film of a different nature but also with a form of abstraction and an experimental narrative structure to work on musically.
I think that Nolan will find here a new angle of approach that will be surprising, to say the least, and that will require a form of musical experimentation, and that he will therefore call upon Göransson again.
Absolutely.
The score for Dunkirk was a huge technical challenge and Nolan pushed for trying something insane and new. The team delivered. To have the score play as a 100 minute cue - stopping only twice. Not only that, constant tempo changes and hitting marks, with a mathematical secret driving the whole project - pure insanity. Sound design heavy with lots and lots of ticking, thumping, heart beats and sirens. Also, the score and sound effects worked around each other.
Nolan himself admitted he pushed Zimmer and his team to achieve this and he was definitely proud of the result.
I think Nolan was easy on Goransson. Tenet must’ve been challenging but most of the cues were very straight forward. Actually, if you pay attention, Ludwig used the same trick Zimmer used for Dunkirk. Once at the end of the prologue (unreleased) and once in the movie (second half of “Fast Cars”.
I can’t wait for whatever craziness Nolan is planning music wise.
If it's a more small, intimate project it will be Zimmer, with a simple approach like the Interstellar soundtrack. Simple and emotional. I don't think that Göransson has this kind of sensibility yet. He's more of a visionary, new sounds, new ideias, that work well in sci-fi movies, etc..
Have you heard his Mandalorian score? He moved people to tears.
No doubt either composer will absolutely deliver. Now, what do I wish for? Zimmer to be involved somehow and since he’s no stranger to collaborating with other composers, him and Ludwig could create a hell of soundtrack together. What I think will actually happen? I think the Nolan/Zimmer duo is over, and Nolan will collaborate with Goransson again.
Also, I think it’s naive to assume that Nolan will want an orchestral score (or that Zimmer is the preferred composer for that). With each film, Nolan gets more and more experimental with his composers. And we have no clue what the tone of the movie will be like.
I agree. That's why I laid out both options. We just don't know anything, maybe none of them can do it, and it will be another guy, but I don't think so.
And yes, I've heard the Mandalorian score. There are some nice pieces, but still..... In all of Göranssons soundtracks, there's not one that touched me like the interstellar soundtrack.
But if it's Göransson I'll be happy anyway, because I know he will deliver and I know that Nolan will pick the right guy for the project.
Completely agree with that, Zimmer started the movement with Dunkirk but we know how much Nolan pushed him to his limits, and that was demanding for him (notably through the fact of merging the three narrative structures with the music etc...), and Nolan went even further with Ludwig, with a film of a different nature but also with a form of abstraction and an experimental narrative structure to work on musically.
I think that Nolan will find here a new angle of approach that will be surprising, to say the least, and that will require a form of musical experimentation, and that he will therefore call upon Göransson again.
Absolutely.
The score for Dunkirk was a huge technical challenge and Nolan pushed for trying something insane and new. The team delivered. To have the score play as a 100 minute cue - stopping only twice. Not only that, constant tempo changes and hitting marks, with a mathematical secret driving the whole project - pure insanity. Sound design heavy with lots and lots of ticking, thumping, heart beats and sirens. Also, the score and sound effects worked around each other.
Nolan himself admitted he pushed Zimmer and his team to achieve this and he was definitely proud of the result.
I think Nolan was easy on Goransson. Tenet must’ve been challenging but most of the cues were very straight forward. Actually, if you pay attention, Ludwig used the same trick Zimmer used for Dunkirk. Once at the end of the prologue (unreleased) and once in the movie (second half of “Fast Cars”.
I can’t wait for whatever craziness Nolan is planning music wise.
I hope and prefer Zimmer but I wouldn't be surprised if Goransson does again. If it is Goransson I'd be disappointed. I think Zimmer is much more able to create iconic, visionary scores that truly feel like an energetic extension of Nolan's consciousness, than Goransson. None of Goransson's scores have stood out to me as truly iconic. Tenet score, was really meh to me. Why in the hell did he choose to incorporate hip hop and rap sensibilities into it as well as straight-up electro music vibes?
Also his sound design isn't as distinct and unique Zimmer. Can you imagine Goransson creating something as singularly fitting and aurally complementing to The Dark Knight as the sonically iconic "whoosh" into dark big bass drum hit? I can't. That's just one of the countless examples of Zimmer's fully integrated-with-Nolan sonic iconography that he's created that I just don't see Goransson can do. Definitely didn't do it with Tenet. That's me though.
I hope and prefer Zimmer but I wouldn't be surprised if Goransson does again. If it is Goransson I'd be disappointed. I think Zimmer is much more able to create iconic, visionary scores that truly feel like an energetic extension of Nolan's consciousness, than Goransson. None of Goransson's scores have stood out to me as truly iconic. Tenet score, was really meh to me. Why in the hell did he choose to incorporate hip hop and rap sensibilities into it as well as straight-up electro music vibes?
Also his sound design isn't as distinct and unique Zimmer. Can you imagine Goransson creating something as singularly fitting and aurally complementing to The Dark Knight as the sonically iconic "whoosh" into dark big bass drum hit? I can't. That's just one of the countless examples of Zimmer's fully integrated-with-Nolan sonic iconography that he's created that I just don't see Goransson can do. Definitely didn't do it with Tenet. That's me though.
Why? Because that’s a huge part of Göransson’s musical identity, his work with Gambino is a huge part of him and no one had really brought that into film before he did, the 808s, downtuned guitars, and EDM synths are something no one else has really ever done before in this field, it’s totally innovative
Urgh idk about you guys but for me the guitar riff in Rainy Night In Tallinn is like the best/most innovative musical element in any of Nolan’s film music (coming from someone who likes Zimmer’s work). It’s not considered “iconic” simply because not enough people watched Tenet to know of it lol.
I also gotta disagree with people’s assessment that Göransson doesn’t have the sensibility to do “intimate” or “emotional” pieces. “Betrayal” and “The Protagonist” work perfectly well at setting the pensive and wistful mood in their respective scene.
