Hans Zimmer
Director Christopher Nolan keeps throwing wild challenges to the composer Hans Zimmer.First, it was reinventing the sound of a tormented hero for "Batman Begins", then creating an atmosphere unsettling for the Joker in "The Dark Knight."For "Inception this year," Zimmer, deal with a complicated history involving the infiltration of dream and tragedy-marked marriage of a troubled protagonist. Nolan wanted music of Zimmer of "bringing the audience so emotional, visceral, through these different things," says the composer.
Although Zimmer had read the script, Nolan denied the composer to see any footage during editing. " He wanted my imagination to run riot, "Zimmer says, adding that Nolan asked to" write independent movie score. "
So Zimmer created a long electronic "demo" containing all key themes, music and orchestral development ideas that later they would have taken shape as a final score, complete with real musicians--including guitar player Johnny Marr from Modest Mouse and Smiths fame.
"There is nothing more frightening of rock guitar and Orchestra," says Zimmer with a laugh. Yet the composer felt like he was "channeling Johnny Marr" and ran the idea of the past Nolan and his wife producer Emma Thomas, that turned out to be Smiths fans and said yes guitarist.
"Fender Stratocaster is one of the greatest inventions of mankind", says Zimmer."Anyone can buy one, play and will perform as who they are. There are many notes to play--these notes were written, there was no improvisation--so it was really about her fingers on the strings that guitar and noise that he does. "
Get the touring Marr in London for recording sessions between the Icelandic volcano eruptions this past spring had enough trouble. But the soundscape for "Inception" that Zimmer had in mind was a complicated process involving live musicians, electronic manipulation and then re-recording sounds manipulated in another acoustic environment--"dreams in dreams," as the plot of the film.
Zimmer was in London last December for the premiere of "Sherlock Holmes" when a conversation with Nolan has requested a session organised in hurry for 22 players brass to George Martin AIR Studios. Twelve six French horns, trombones, four Tube "and nothing written," quipped Zimmer.
"We explained to them the sounds that we wanted them to do," says the composer. "Any note randomly, in a given range.Dissonance, played beautifully, is incredibly charming. "Sympathetic resonance from the strings of a piano open also proved useful.
Zimmer says "we really did try to create a world of sonic" specifications "Inception."In addition to Zimmer purely electronic starting point, the guitar work of Marr and brass clusters, there were several sessions in London for 32 strings and brass players 20 more."Not only did we get the Orchestra in certain locations to imitate sounds electronic, other points we would take electronic sounds and ri-mic," he says, including experiments with speakers in stairs to AIR.
Zimmer estimates that the score was approximately 60% of electronic, but much of the music was manipulated that real numbers can be a matter of interpretation.
The song of Edith Piaf classic "Non, je ne regrette rien" plays a key role in history, and it was up to Zimmer to interpolate it in design of complex sound film. I went to the French national archives to get the master 1960 and then used sophisticated audio techniques to isolate her voice for use throughout the film.
Not all ideas of Zimmer worked: "you should have heard my PhD thesis on how slow the spectre within a sound instead of slowing down the whole sound," says. "Science enough didn't exist. we should go to Geneva in order to use this large Hadron Collider (the particle accelerator high-energy, some theorize that could facilitate the journey through time) Warners just not. spring for this one. "More articles from eye on the Oscars: music preview
Photos revisit composers | Scoring docs a difficult balancing act | Hans Zimmer | Trent Reznor | A.R. Rahman | John Powell | Elliot GoldenthalContact Newsroom varieties at news@variety.com
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