The use of Edith Piaf's song “Non, je ne Regrette Rien” in the film is pivotal (and somewhat ironic, considering that the film features Marion Cotillard, who had, of course, won an Academy Award for portraying the French singer). "You don't want be to be tied to the mechanics of things, and you don't want your imagination to be tied down either." "I tried to write music that was, in a funny way, reassuring to the audience.The music was like a river and you're on this little boat, and sometimes it gets a bit bumpy, but you're on a journey and you're going to get to the end." Zimmer recalled that his work on the mind-bending Inception began with a holiday he took with writer/director Christopher Nolan and their families: "We're sitting on the beach watching our kids and he's going, 'I've got this idea for a movie,' and I realized as he's telling me the idea, this might be intellectually somewhat tricky for an audience to follow." This initial reaction carried over to the way Zimmer approached the music. "They were literally in my room.Ridley smoking cigars, going, 'He's going to ruin her voice,' Lisa with a microphone and the picture up, just trying things." Inception He also discussed an early conversation he had with Scott and editor Pietro Scalia regarding the tone of the film, which, being set in the world of Ancient Roman gladiators, had, in Zimmer's words, "No female soul in it." After listening to a CD of the "singular" vocalist Lisa Gerard, which Scalia happened to have on his desk, Zimmer decided to incorporate her voice into the score. Zimmer said that, as a composer, not having a formal background in music helped him because, "I'm never going to fall prey to using words that are incomprehensible to a director, like 'allegro'.It's about the story, and you know, how do we tell the story." When Pearson remarked that this must have been great for Zimmer, because this sort of situation isn't always the case, Zimmer responded, "That's how it's supposed to work. "Every time the cut changed," he said, "Pietro would very kindly cut in four bar chunks, so I could go and figure it out." The film was cut in Zimmer's studio, "which made it very collaborative," particularly when working with the film's editor, Pietro Scalia. Video is no longer available: Zimmer's work on Ridley Scott's Gladiator marked their second collaboration, the first being Crimson Tide, though as Tommy Pearson pointed out, in the five years between the two films, technology in Hollywood had greatly advanced. "It was antiquated.the whole idea that you had to write it on paper, give it to the orchestra, then the first time the director would hear it would be with the full orchestra and he'd go, 'I don't really like this' and everyone would go crazy because you'd sent the orchestra home.Everything was a compromise and, at the same time, a heart attack." Gladiator He also revealed his surprise at the state of scoring in Hollywood, compared to Europe, where he had previously been working in commercials. Zimmer had a very collaborative relationship with Levinson, and, regarding the scene above, said that "it's not so much that it's cut to the music, but obviously the scene shaped the music and the music shaped the scene." ĭuring the course of Hans Zimmer's career, the German-born composer has worked with directors from Christopher Nolan to Terrence Malick, and composed scores in every conceivable genre, from animated films ( The Lion King , for which he won an Oscar for Best Original Score) to action movies ( Crimson Tide) and blockbusters like The Dark Knight trilogy.Įarlier this month, during a talk presented by BAFTA at the Royal Albert Hall in London, Zimmer sat down with Tommy Pearson to look at clips from some of his most famous films and share some insights from his four decades in film. Hans Zimmer, the legendary Academy-Award winning composer of over 150 films, breaks down his most famous work.
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