Hans Zimmer
Hans Zimmer
Hans Florian Zimmeris a German composer and record producer. Since the 1980s, he has composed music for over 150 films. His works include The Lion King, for which he won Academy Award for Best Original Score in 1994, the Pirates of the Caribbean series, The Thin Red Line, Gladiator, The Last Samurai, The Dark Knight Trilogy, Inception, and Interstellar...
NationalityGerman
ProfessionComposer
Date of Birth12 September 1957
CityFrankfurt, Germany
CountryGermany
A soundtrack can carry a visual along, be an unforgettable addition to the film and sometimes there is a small moment of something really great, which exists as beautiful music on its own merit.
when (producers) are going, 'This scene really doesn't work and we need some help here,' and you realize what they're saying is you can make or break this movie.
Wings of a Film: The Music of Hans Zimmer.
Trust me, if you're working on a $70 million movie and you're the last guy, you feel all that weight on your shoulders,
If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning.
You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.
I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something.
I don't drive, so one of my assistants drives me to my writing room, and I have a calendar on the wall telling me how much time I have left, and how far behind I am. I look at it and panic, and decide which scene to work on. And you sit there plonking notes until something makes sense, and you don't think about it any more. Good tunes come when you're not thinking about it.
Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.
If I play you a piece of music, that's when you can truly look inside me.
If you talk to any director, they'll say music is fifty percent of the movie.
The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
You have to remain flexible, and you must be your own critic at all times.
Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. Theres a whole movement truly driving music further and there is no other music innovating as much as film music