The organ, it’s a piece of 17th century technology, which is part of why I wanted to use it. Hans Zimmer: Well, we wanted to make it an experience, y’know? And it’s real! It’s not synthesized. Maybe we should put like a health warning or something.Īnne Marie: Well before my car stalled, I was thinking that it had been a while since I heard an organ in a film soundtrack. Hans Zimmer: Okay, we-I know we actually blew up an IMAX theater.Īnne Marie: You blew up an IMAX theater too?
And I had a moment where I was like, “I don’t remember this happening in the movie.” And then I realized my car wasn’t moving! So your score actually stalled my car. Hans Zimmer: It’ll do that to cars!Īnne Marie: I was driving down the 405, I got to the big swell-Īnne Marie: I got to the big crescendo, and just everything went dead. I have to admit, my car stalled on the way here while I was listening to the Interstellar soundtrack! Y’know? And this is, this is, this is, every day he has to go to this horrible room! So, Richie doesn’t actually know this, but it was really partially because I thought, “Poor Richie, in this horrible environment! I’m going to do my own!”Īnne Marie: Well from such an environment, I can see where something dramatic like Interstellar came from. Hans Zimmer: Right? It’s horrible! And the walls, which have this y’know horrible hospital color, and I’m thinking, “This great man is trying to create art!” and y’know the bad linoleum floor. I’m sitting on the couch in his cutting room, I’m sort of leaning back, and I’m looking at the-what do you call those, y’know the ceiling with the sort of… they look like cottage cheese. I was sitting with this wonderful editor, Richie Marks, y’know worked on Apocalypse Now, and all the Jim Brooks movies, Penny Marshall, The Godfather too. Hans Zimmer: And that was, that was partly why I did it. Hans Zimmer: And you know what, sometimes we just move the furniture out of this way and let the musicians come in, and we just start playing, and wow! Music!Īnne Marie: Oh my goodness! Talk about a great creative space. There’s a pragmatic reason: If you had to spend 98% of your life in one room, you might as well have some fun with it. This is quite possibly the coolest room I have ever been in. Zimmer speaks animatedly of his decorating philosophy, decades-long partnership with Chris Nolan, the trouble with organs, and why he loves the Academy.Īnne Marie: This is an amazing room. When I meet Hans Zimmer, he is deservedly proud of his workspace, and immediately launches into conversation. I'd been listening to Zimmer's Oscar-nominated score for Interstellar in the car, which had somehow led to my car stalling on the highway. When I'm led into the room for an interview, I'm still recovering from car trouble. Clashing with this rustic scene are the walls of musical instruments, blinking sound equipment, and Zimmer's high tech work station. Overstuffed couches and chairs sit on a raised platform. Light filters through stained glass-covered hanging lamps.
The walls are deep red, and lined with dark wood bookshelves bursting with books, albums, candles, and knick knacks. The ten-time Academy Award nominated composer has furnished his studio in a manner that fits the man who wrote the dramatic scores to Inception, Gladiator, and the Dark Knight trilogy. I hope that you will see my criticism as an incentive, because it is really well meant.Anne Marie here with an observation: Hans Zimmer's studio is incredible. I think you used a lot of dynamic tools in your master channel? This balance, this very good balance of all frequencies in the original track can only be achieved if you mix as I have just described and if you have an optimal monitoring system and mixing-room. Hans' mix is so very clear and balanced because this technology was used and because there was a first-class monitoring system when mixing. You can hear that very well in bass management. All subgroups have individually set dynamic tools, and side chaining is also on board. My ears recognized that there are many subgroups at work in the original mix. I think, if you post such a comparison here, then you are certainly ready to receive well-intentioned criticism.
What you did here is very cool! Your using of zebra, finding/programming the sounds ist very great!
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