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Ladies and gentlemen, Hans Zimmer!
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There's a word
I don't use very often, which is "genius."
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Hans Zimmer is one of them.
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He has the incredible capacity
to reinvent himself
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without losing his identity.
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He's a storyteller.
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He tells stories with music.
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{\an8}It's not a job. It's like a calling.
It's like a crazy thing.
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I can't imagine not writing music.
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Hans Zimmer
is the world's most sought-after
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and prolific movie composer.
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{\an8}He's written music
for blockbusters, romcoms, animations,
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and even iconic nature documentaries.
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This is a dangerous place.
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He's fascinated just by sound itself.
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He has all kinds of technical ideas
and tricks going on at any one time.
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Throughout his career,
he's broken all the rules
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{\an8}about how you compose music for films.
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I don't think
anybody's ever won an Oscar for a score
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that blatantly is bagpipes,
heavy metal guitars,
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and a woman screaming at you.
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This is great!
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He doesn't want to read a script.
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He wants me to tell him,
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"What is the movie
you think you're making?"
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It's like being psychoanalysed.
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Even if you're not hearing
what you want to hear always,
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the project gets better every time
it gets under Hans's microscope.
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He remains a child, in a way.
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You have to have that quality
in order to, sort of,
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be a successful musician
for all that time.
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I've been doing this
for, what, 40 years?
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Somebody the other day said,
"When are you gonna slow down?"
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"What do you mean, 'slow down'?
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"I'm just getting going.
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"I'm just getting started".
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Hans is experimenting
with some ideas
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for the soundtrack
of a new BBC natural history documentary.
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I'm just trying to get you something
that sounds remotely frozen.
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I'm using a bit of noise,
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make it a bit more tundra-like.
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You know, I mean,
I like the idea that there's a wind
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rattling across everything.
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I'm literally making it
as we're talking about things.
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Er, let's say...
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Let's go and use this tool.
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It's relatively chilly,
but we can make it chillier.
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Bit of frozenness.
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The problem is that
the wind across a tundra
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and bacon frying are very similar.
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This is a stronghold
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for one of Antarctica's
most remarkable inhabitants.
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The seriousness and the depth
that we bring to this project
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comes a lot from me being a kid.
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One of my main memories is,
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just shortly before my father's death,
where he took me to the Rhine,
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which was completely covered in foam.
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And he was explaining to me,
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"You know, look,
we're destroying the world.
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"We now need to go
and do something about that".
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And I think it hugely influenced me
in our work with Sir David Attenborough.
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Hans was born
in Frankfurt, Germany, in 1957,
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into a Jewish family.
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I knew
what the Nazis had done to the Jews.
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It would be brought up quite a lot.
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The fear was that, you know,
"What if you tell the neighbours?"
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Your best friend can turn on you
within one moment.
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00:05:09,599 --> 00:05:10,919
While still a child,
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Hans's family was torn apart
by a bolt from the blue.
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The week
before my sixth birthday...
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My birthday was on a Sunday,
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my dad died
on either the Friday or the Saturday.
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And on Monday,
my mother, who was totally overwhelmed,
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basically dropped me off
for my first day at school.
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It was like...
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You know, all these kids,
terrible teachers of an older generation.
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Then came the moment where she said,
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"You know,
I think you should have piano lessons.
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"Do you want piano lessons?"
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And as a 6-year-old, 7-year-old,
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you think
that stuff you hear in your head,
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a magical man is going to come
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and tell you
how to put it under your fingers.
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Of course, that's not at all what happens.
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Some horrible German comes,
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00:06:07,280 --> 00:06:11,080
who raps you across the knuckles
if you don't play your scales right,
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and if you're not,
"Read, read, read, read, read!"
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And to this day,
if you put music in front of me,
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it just starts getting wobbly and swimmy,
and defocuses.
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Despite having
only two weeks of formal lessons,
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Hans found his home in music.
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I play the piano
because it put a smile on my mum's face.
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It's the only reason.
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It's not the only reason.
It put a smile on my face too.
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Hans kicked against the rules,
not just in learning music,
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but in everything.
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He was thrown out
of eight schools in Germany
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for not conforming
to the strict discipline demanded.
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The music teacher threw his chair at me.
Erm, I remember that.
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He always told stories of his childhood,
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and all the shenanigans he got into,
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{\an8}crazy thing in boarding school
that got you kicked out, you know.
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{\an8}He got kicked out of boarding school
quite a few times.
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I know my mum
was really worried about me.
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I think everybody
was really worried about me.
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Hans's rebellious streak
led to his mother moving them to England.
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There they found a progressive school
where he could concentrate on his music.
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On graduating, he followed his dream
and joined a band called Krakatoa,
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mainly playing working men's clubs.
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♪ Don't apologise
It's not your style... ♪
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We were the entertainment
nobody listened to.
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00:08:07,440 --> 00:08:10,719
We were so bad, up north,
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we would be
the support act to the strippers.
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♪ Treat your mama good ♪
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And it was interesting,
because it was the '80s,
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and it was Margaret Thatcher,
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and it was coal miners' strike.
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Whoa, it was rough up north.
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People were so frustrated.
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You know, you left London
and you entered another world,
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you entered another country.
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And this country
was a country that was desperate,
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and it was poor, and it was everything
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that you could only imagine
of the left-behind and left-for-forgotten.
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And to this day,
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I have this person I write my music for.
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And she's fictitious.
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She's called Doris,
and she lives in Bradford.
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She has a grey coat,
and, you know, is of uncertain age.
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She's got two terrible boys.
I mean, they're so ill-behaved.
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And her hair-dye job
isn't very good, you know?
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00:09:17,280 --> 00:09:20,280
And she works really hard
throughout the week.
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And come the weekend, she has a choice.
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She has a choice of going to the pub,
having a drink,
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or she has a choice
of coming and seeing one of our movies.
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And she's a hero to me
because she works hard.
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And so when she comes
and sees one of our movies,
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I want to make sure
that she gets her money's worth, and...
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I promise you. I mean, every movie,
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I sit there and I go,
"What would Doris think?"
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It's so easy to think about the past
in a nostalgic way.
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Yeah, I loved it. I loved it.
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My friend Warren Cann,
drummer from Ultravox,
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we decided to do an album together,
which, absolutely, we couldn't give away.
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To this day, we couldn't give it away.
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Oh, and then we had this crazy idea.
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We did a concert
at the London Planetarium.
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You know, basically,
people looking up at the stars
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and us playing weird, cosmic music to them
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and scaring the children
in the process of it.
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00:10:29,560 --> 00:10:34,520
The 1980s saw a revolution
in music, video, and film production.
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Computers and synthesisers were changing
how music was made and recorded.
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Hans saw the potential
in all this new technology
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and made himself the master of it.
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I was seriously
into synthesisers,
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and I was a lot skinnier then as well.
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But I still have this, of course,
and I still make music with it.
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And you know that sound
that basically pins you
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into your seat when you watch
The Dark Knight?
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That's that beast.
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It was a time where you suddenly
could have access to computers,
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so the whole idea
about doing things on stage
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was far less exciting than the idea of
"How far could I push this technology?"
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It was in this unassuming yard
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that Hans began to hone
his writing and production skills.
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Together with his friend and mentor,
composer Stanley Myers,
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he set up his first recording studio.
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I mean, you can tell
from the glamorous nature of this door,
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that this is the door that leads directly
to Hollywood, fame, and Oscars.
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This used to be my studio.
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Actually, it wasn't my studio,
it was Stanley Myers's and my studio.
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Absolutely extraordinary composer.
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I mean, everybody owes a lot of things
to everybody in life.
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My film language, for instance,
I very much learned from Stanley.
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It's really simple.
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If you don't have a tune,
you've got nothing to hang on to.
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So, this sort of
somewhat decrepit building
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actually turned out to be a haven for us.
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I don't think
many people had this sort of idea
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that you could go and do film scores
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with a little keyboard
and not an orchestra, but you could.
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{\an8}I want to be manager of this place.
I think I can do it. Please let me.
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Of course,
My Beautiful Laundrette,
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I think, was pretty much
the first thing we did here.
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Stanley Myers was doing
the music for My Beautiful Laundrette,
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{\an8}and Hans was always in the other room.
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{\an8}So, for some reason,
that was where you ended up.
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00:13:06,400 --> 00:13:09,760
Stanley was always in the front room
reading the racing news,
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and there was clearly
a rather clever chap in the back
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doing all the work.
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{\an8}A skinny, lanky guy who was German,
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{\an8}with a little computer thing,
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and everyone thought,
"What the hell's that?" basically,
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and ja...
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Because I guess it was electronic,
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so Hans was doing it
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because he knew
how to work all those machines.
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00:13:34,520 --> 00:13:37,120
And he knew
how to make the eccentric sounds.
199
00:13:38,920 --> 00:13:43,079
Between them, they thought up
what the film should sound like.
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And it was pretty obvious
when it was a Stanley piece,
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because it was elegant and beautiful,
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00:13:48,760 --> 00:13:51,760
and when it was a Hans piece,
which was a bit like lead boots.
203
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And then it was all rewrites for me.
204
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And Stanley would very gently
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steer me in the right direction.
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00:14:06,719 --> 00:14:09,240
He's an incredibly charming man.
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00:14:09,240 --> 00:14:11,000
And he was just absolutely brilliant,
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because he had this new form of,
in a funny way, '80s music,
209
00:14:14,839 --> 00:14:17,640
but he also had the wit
and the ability to charm
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00:14:17,640 --> 00:14:20,400
and to be the whole package, as it were.
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00:14:20,400 --> 00:14:23,280
Without that character,
he'd still be a great composer,
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00:14:23,280 --> 00:14:25,959
but he wouldn't have been
the successful composer he is. No way.
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00:14:26,719 --> 00:14:28,280
It was this weird thing,
214
00:14:28,280 --> 00:14:30,360
because, in England,
you were always an equal.
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00:14:30,360 --> 00:14:32,680
You were totally involved
in the storytelling,
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00:14:32,680 --> 00:14:35,439
and that was the thing
that I thought was really exciting,
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00:14:35,439 --> 00:14:38,280
these conversations
you are having with film directors,
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00:14:38,280 --> 00:14:41,959
which were far more up my street
than just playing in a band.
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00:14:43,880 --> 00:14:47,439
I know that he's the most
successful composer in the world,
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00:14:47,439 --> 00:14:50,479
but to me,
he's the boy in the back room.
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Makes me laugh.
222
00:14:54,880 --> 00:14:58,680
By the late 1980s,
Hans was gaining a reputation
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00:14:58,680 --> 00:15:02,880
{\an8}as a film composer
of British films and TV.
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{\an8}He is developing fast.
225
00:15:07,319 --> 00:15:08,479
{\an8}Yes.
226
00:15:09,439 --> 00:15:12,439
A knock on the door
at Lillie Yard, late one night,
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00:15:12,439 --> 00:15:15,079
was going to change his life forever.
228
00:15:16,240 --> 00:15:20,120
11:00 at night, musicians' hours,
of course we were working.
229
00:15:20,120 --> 00:15:21,959
I open the door and there's a guy there,
230
00:15:21,959 --> 00:15:25,719
and he's going,
"Hi. My name's Barry Levinson".
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00:15:25,719 --> 00:15:26,959
Pause.
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00:15:26,959 --> 00:15:28,760
"I'm a Hollywood director".
233
00:15:30,160 --> 00:15:35,079
From the first time I met him,
I thought that he was extremely talented.
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00:15:36,920 --> 00:15:39,880
{\an8}And that's before
he had worked on any of the music.
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{\an8}I just got... Sometimes you get a feeling
with people that you connect.
236
00:15:44,319 --> 00:15:47,880
And he came in, and I mean, basically,
the bottom line of the story is,
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00:15:47,880 --> 00:15:51,599
he went, "Do you want to do this film,
Rain Man, that I'm working on?"
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00:15:52,439 --> 00:15:54,640
And I said, "Yes".
239
00:15:59,640 --> 00:16:02,400
Hans's ideas for Rain Man were unusual
240
00:16:02,400 --> 00:16:04,839
for a traditional American road movie.
241
00:16:05,599 --> 00:16:08,760
There's a tendency to use,
sort of, guitar music,
242
00:16:08,760 --> 00:16:11,680
that type of, you know,
travelling across country.
243
00:16:12,400 --> 00:16:15,000
And I didn't think
it was appropriate for the piece.
244
00:16:15,959 --> 00:16:17,439
And he came up with that sound,
245
00:16:18,839 --> 00:16:22,880
which was very unique
and very distinctive...
246
00:16:25,599 --> 00:16:28,560
...and very different
than a normal travelling movie.
247
00:16:33,479 --> 00:16:35,880
You know,
I'm sure the studio wasn't thrilled,
248
00:16:35,880 --> 00:16:38,599
because it's like,
"Oh, I got somebody, Hans Zimmer,"
249
00:16:38,599 --> 00:16:39,880
and they're going, "Who?
250
00:16:39,880 --> 00:16:43,839
"For this film?
We got Tom Cruise and Dustin Hoffman.
251
00:16:43,839 --> 00:16:45,280
"And who is this composer?"
252
00:17:01,400 --> 00:17:06,079
For his first Hollywood movie,
Hans received an Oscar nomination.
253
00:17:07,200 --> 00:17:10,800
I went for that lunch
that they have, the Oscar lunch,
254
00:17:11,879 --> 00:17:15,359
and I picked up,
I don't know, five, six, seven...
255
00:17:15,359 --> 00:17:18,359
I mean, I didn't stand up and say,
"Anybody got a movie?"
256
00:17:18,359 --> 00:17:22,240
I just sat there
and people would come up to me and say,
257
00:17:22,240 --> 00:17:23,720
"Hey, do you wanna do my movie?"
258
00:17:31,480 --> 00:17:34,120
The following year,
he composed the music
259
00:17:34,120 --> 00:17:36,080
for yet another Oscar-winning film,
260
00:17:37,639 --> 00:17:39,280
Driving Miss Daisy.
261
00:17:42,280 --> 00:17:45,080
And then, in 1994...
262
00:17:50,440 --> 00:17:54,040
{\an8}The first notes that you hear, you're in.
263
00:17:55,360 --> 00:17:56,600
{\an8}And it's magic.
264
00:18:00,399 --> 00:18:02,960
And the vocal that you hear with it...
265
00:18:05,000 --> 00:18:06,080
...poetry.
266
00:18:07,159 --> 00:18:08,480
Musical poetry.
267
00:18:12,520 --> 00:18:16,360
The studio had given Hans
a strict brief about the opening.
268
00:18:18,639 --> 00:18:21,520
It was supposed to be
20 seconds of Elton's song,
269
00:18:22,399 --> 00:18:24,440
and then it was going to be
a dialogue scene,
270
00:18:24,440 --> 00:18:25,800
and dah, dah, dah, right?
271
00:18:25,800 --> 00:18:27,720
And I forgot about the 20 seconds.
272
00:18:27,720 --> 00:18:31,240
I just got excited
about doing the chant with Lebo.
273
00:18:33,200 --> 00:18:35,960
Then I did an arrangement of Elton's tune.
274
00:18:36,800 --> 00:18:39,679
And so I played it to them,
and as I'm playing it to them,
275
00:18:39,679 --> 00:18:44,040
I'm going, "Oh, God, I forgot.
It's supposed to be 20 seconds long,
276
00:18:44,040 --> 00:18:47,080
"and then it's supposed to become
a dialogue piece".
277
00:18:47,080 --> 00:18:50,200
And they sort of shuffled off
into a corner,
278
00:18:50,200 --> 00:18:52,879
and they're talking,
and I know what they're talking about.
279
00:18:52,879 --> 00:18:55,960
They're talking about
who are they gonna get to replace me.
280
00:18:55,960 --> 00:18:58,760
I'm going over there,
and I'm saying, "I'm really sorry.
281
00:18:58,760 --> 00:19:00,480
"I can do this thing in 20 seconds."
282
00:19:00,480 --> 00:19:02,800
They're going,
"No, that's not what we're talking about.
283
00:19:02,800 --> 00:19:05,760
"We're thinking we're gonna go
and reanimate the whole opening.
284
00:19:05,760 --> 00:19:08,000
"Take all that dialogue out,
and dah, dah, dah".
285
00:19:10,679 --> 00:19:11,879
It was an experiment,
286
00:19:12,720 --> 00:19:14,960
and what's in the movie
is my original demo.
287
00:19:18,360 --> 00:19:20,679
The African sounds...
288
00:19:22,600 --> 00:19:25,800
...the unique instruments...
289
00:19:27,480 --> 00:19:29,560
it's beyond profound.
290
00:19:29,560 --> 00:19:34,000
♪ The circle of life ♪
291
00:19:34,000 --> 00:19:36,919
And the Oscar goes to Hans Zimmer
for The Lion King!
292
00:19:40,200 --> 00:19:44,560
So full of life and wonder and beauty.
293
00:19:48,480 --> 00:19:51,480
I wrote a speech, but I realised
it's so boring, so I'm not gonna do it.
294
00:19:51,480 --> 00:19:53,960
I'd like to thank my wife
because she's my best friend.
295
00:19:53,960 --> 00:19:56,360
I'd like to thank my daughter
because she thinks I'm cool
296
00:19:56,360 --> 00:19:58,320
because I did The Lion King.
297
00:20:00,159 --> 00:20:03,760
I'm incredibly nervous. Tell you what,
writing a score is much easier than this.
298
00:20:03,760 --> 00:20:06,200
Thank you. Just let me go, okay?
299
00:20:06,200 --> 00:20:08,800
♪ In the circle... ♪
300
00:20:08,800 --> 00:20:15,840
Listen to how many
songs of how many scores end on...
301
00:20:17,200 --> 00:20:19,280
...exclamation point that is...
302
00:20:21,320 --> 00:20:23,840
amazing, and a signature of his.
303
00:20:23,840 --> 00:20:26,760
The directors and the producers
were coming in
304
00:20:26,760 --> 00:20:28,600
and I hadn't finished it,
305
00:20:28,600 --> 00:20:32,520
so that's why that big drum,
the "boing!" is there...
306
00:20:33,879 --> 00:20:36,960
...to distract them from the fact
that I hadn't finished the track.
307
00:20:42,440 --> 00:20:46,919
Hans used his mastery of
digital technology, especially sampling,
308
00:20:46,919 --> 00:20:51,000
to change the way movie directors
collaborated with their composers.
309
00:20:52,679 --> 00:20:56,000
The standard way
of working with a director, before Hans,
310
00:20:56,000 --> 00:20:59,200
is that there was no way
to present the music
311
00:20:59,200 --> 00:21:01,440
other than to play it on the piano,
"Here's your theme,
312
00:21:01,440 --> 00:21:04,840
{\an8}"the brass comes in down here,
and the strings are playing this".
313
00:21:06,760 --> 00:21:09,159
You know,
I wasn't as good a piano player.
314
00:21:10,760 --> 00:21:13,879
But one of the things
I figured out really, really quickly,
315
00:21:13,879 --> 00:21:18,600
that the best way
to communicate with a filmmaker
316
00:21:18,600 --> 00:21:22,000
was to play them, like,
a fake version of the score,
317
00:21:22,000 --> 00:21:23,879
a synthesised version of the score.
318
00:21:26,080 --> 00:21:27,679
So basically what you have is,
319
00:21:27,679 --> 00:21:32,360
you have all the different instruments,
the horns, you know, and trumpets.
320
00:21:37,840 --> 00:21:41,639
{\an8}In those days, nobody did it like this
other than Hans, nobody demoed things.
321
00:21:41,639 --> 00:21:46,080
{\an8}Nobody, you know, mocked everything up
so you could hear it beforehand.
322
00:21:46,080 --> 00:21:49,320
Hans was quite unique that way,
and I liked that method.
323
00:21:49,320 --> 00:21:52,320
I love technology.
I loved his way of doing it.
324
00:21:52,320 --> 00:21:54,879
And that's why
things changed in film music,
325
00:21:54,879 --> 00:21:56,800
you know, when he came on the scene.
326
00:21:57,439 --> 00:22:00,360
Part of it was the technique he was using,
to do it with these "demos".
327
00:22:02,919 --> 00:22:07,040
Hans didn't just change
the way composers use technology,
328
00:22:07,919 --> 00:22:09,760
he developed a sound that influenced
329
00:22:09,760 --> 00:22:13,760
a whole generation
of movie composers and directors.
330
00:22:19,800 --> 00:22:22,399
{\an8}I'm fascinated by the idea of time.
331
00:22:23,919 --> 00:22:26,280
The ticking happens a lot in my stuff.
332
00:22:27,600 --> 00:22:30,120
Rather than going for a groovy rhythm,
333
00:22:31,080 --> 00:22:33,439
it's ticking without accents.
334
00:22:35,439 --> 00:22:37,120
It doesn't give the game away,
335
00:22:37,120 --> 00:22:39,520
where the next pass
or where the next cut is.
336
00:22:40,639 --> 00:22:42,840
It's just like a river flowing.
337
00:22:44,000 --> 00:22:45,919
And it sort of takes you on a journey.
338
00:22:48,600 --> 00:22:51,560
In his score for the film
The Thin Red Line,
339
00:22:51,560 --> 00:22:54,960
he developed a technique
of building an incredible tension
340
00:22:54,960 --> 00:22:56,320
over very long scenes.
341
00:22:58,200 --> 00:23:02,800
What it got was this incredible feeling
of fate and dread.
342
00:23:04,120 --> 00:23:05,840
It really was unique at the time.
343
00:23:05,840 --> 00:23:08,360
There's not really anything
that quite does that.
344
00:23:10,320 --> 00:23:11,760
He's very influential.
345
00:23:11,760 --> 00:23:14,679
It's part of
the language of filmmaking now.
346
00:23:16,360 --> 00:23:19,800
I completely ripped him off on that.
I've ripped him off on other times.
347
00:23:19,800 --> 00:23:20,960
And then other times,
348
00:23:20,960 --> 00:23:24,000
there's probably a few little moments
where he's ripped me off back.
349
00:23:26,280 --> 00:23:29,600
It was everything
that music school tells you you can't do.
350
00:23:29,600 --> 00:23:31,280
So there was the...
351
00:23:32,360 --> 00:23:35,040
You're not supposed to do parallel things.
352
00:23:35,040 --> 00:23:36,919
And they're all minors.
353
00:23:36,919 --> 00:23:39,080
And it's asymmetrical.
354
00:23:43,960 --> 00:23:46,040
You know, music school will teach you
355
00:23:46,040 --> 00:23:49,280
you're not supposed to do things
in these sort of parallels.
356
00:23:50,040 --> 00:23:51,480
They're not chords.
357
00:23:51,480 --> 00:23:54,879
A chord needs three notes.
This is two notes, always.
358
00:23:56,520 --> 00:23:59,720
And it just sort of meanders in this...
359
00:24:00,360 --> 00:24:04,280
And while this note always stays...
360
00:24:08,040 --> 00:24:11,679
So you get these
really interesting clashes.
361
00:24:14,399 --> 00:24:17,840
And became a sort of,
a new language in film.
362
00:24:46,159 --> 00:24:47,679
By the 2000s,
363
00:24:47,679 --> 00:24:51,480
Hans had established himself
as one of the top composers in Hollywood.
364
00:24:53,760 --> 00:24:56,919
He was always looking
for a new way of doing things.
365
00:24:58,800 --> 00:25:01,520
Along with his business partner,
Steve Kofsky,
366
00:25:01,520 --> 00:25:04,320
he built a studio complex in Santa Monica,
367
00:25:04,320 --> 00:25:06,879
expanding it over several decades,
368
00:25:06,879 --> 00:25:09,679
where teams of composers
and sound technicians
369
00:25:09,679 --> 00:25:13,159
{\an8}work on movies,
TV shows, and documentaries.
370
00:25:13,159 --> 00:25:14,639
Hello, boys.
Hi.
371
00:25:14,639 --> 00:25:16,320
What you guys working on at the moment?
372
00:25:16,320 --> 00:25:19,960
Erm, His Dark Materials, Wheel of Time.
373
00:25:19,960 --> 00:25:22,800
People here
get the opportunity to rub shoulders
374
00:25:22,800 --> 00:25:24,600
with the right kind of directors.
375
00:25:24,600 --> 00:25:27,000
I mean, guys actually sit in meetings.
Hans brings in...
376
00:25:27,000 --> 00:25:30,679
Whoever's working on the project with Hans
will be in a meeting.
377
00:25:30,679 --> 00:25:32,679
This was your big idea,
378
00:25:32,679 --> 00:25:35,600
so I just want to make sure
I don't destroy it.
379
00:25:35,600 --> 00:25:38,000
The beauty of the old show
was it was full...
380
00:25:38,000 --> 00:25:41,399
He wasn't afraid
to bring in his team into a meeting.
381
00:25:41,399 --> 00:25:42,360
Don't break it.
382
00:25:42,360 --> 00:25:44,800
There's always been
ghostwriters in films,
383
00:25:44,800 --> 00:25:48,240
but Hans opened up the door
to all of his assistants...
384
00:25:48,240 --> 00:25:51,960
...who were able to experience the meeting
385
00:25:51,960 --> 00:25:55,159
and take that for their own careers,
moving forward.
386
00:25:57,960 --> 00:26:01,159
At the centre of the complex
lies Hans's studio,
387
00:26:02,520 --> 00:26:05,120
an extension of his own personality.
388
00:26:06,360 --> 00:26:09,600
I, as a European working in America,
389
00:26:09,600 --> 00:26:12,720
I miss a Europe
that doesn't actually exist any more.
390
00:26:15,399 --> 00:26:18,919
And I myself had these doubts
about staying here, you know,
391
00:26:18,919 --> 00:26:21,520
and I wanted to go back to Europe.
392
00:26:21,520 --> 00:26:23,639
And I thought,
"Hang on. This is Hollywood.
393
00:26:23,639 --> 00:26:26,439
"You can be and build
whatever you want to do".
394
00:26:27,760 --> 00:26:32,240
So I was very precise
about my thinking about this room,
395
00:26:33,840 --> 00:26:38,560
even though it just looks like
some crazed German tossed it together,
396
00:26:39,760 --> 00:26:44,879
because I knew I was going to spend 90%,
probably, of my life in this room.
397
00:26:46,919 --> 00:26:49,280
I thought
I might as well have some fun with it,
398
00:26:50,080 --> 00:26:54,720
and do something which lets people
speak their mind, you know?
399
00:26:54,720 --> 00:26:56,199
A room that is safe.
400
00:26:57,800 --> 00:27:01,760
{\an8}Hans works in a space
that removes you from the world.
401
00:27:01,760 --> 00:27:03,600
{\an8}You've never been in a space like it.
402
00:27:04,520 --> 00:27:06,560
It's always been fun to hang out there,
403
00:27:06,560 --> 00:27:08,360
sometimes watch him suffer,
404
00:27:08,360 --> 00:27:10,919
have a glass of wine while he suffers.
405
00:27:11,480 --> 00:27:16,399
{\an8}The environment inside his studio
406
00:27:16,399 --> 00:27:22,199
{\an8}is so alive with exploration and discovery
that it's a blast.
407
00:27:23,439 --> 00:27:26,760
A sort of samurai thing,
and it's really kind of, you know...
408
00:27:26,760 --> 00:27:30,720
{\an8}This room is like an old Buddhist temple
or something like that.
409
00:27:30,720 --> 00:27:33,320
{\an8}What else going on there
with the keyboard and whatnot?
410
00:27:33,320 --> 00:27:36,480
And you just sit on a nice couch
and you just feel it,
411
00:27:36,480 --> 00:27:39,960
you talk about it, you feel it,
you talk about it, feel it, talk about it.
412
00:27:39,960 --> 00:27:42,000
And he's on the keys, he's feeling it.
413
00:27:42,000 --> 00:27:45,159
He's having the conversation with the keys
as you talk about it.
414
00:27:45,159 --> 00:27:48,120
And then you find, "What's that?
What's that? What's that note?
415
00:27:48,120 --> 00:27:49,960
"Do that again. Is this written down?
416
00:27:49,960 --> 00:27:53,040
"Okay, it's being recorded.
Okay, it's being recorded. Okay".
417
00:27:53,560 --> 00:27:56,639
{\an8}He doesn't want to read a script, so he...
418
00:27:57,320 --> 00:28:00,280
{\an8}You know, it's like being psychoanalysed.
419
00:28:00,280 --> 00:28:01,639
He wants to, you know...
420
00:28:01,639 --> 00:28:04,840
He wants me to tell him the story.
421
00:28:04,840 --> 00:28:07,080
- Right.
- Because we talked about that...
422
00:28:07,080 --> 00:28:11,320
Not only tell him the story
but, like, "Why must I tell the story?"
423
00:28:13,199 --> 00:28:15,240
It's about
getting the big picture.
424
00:28:15,240 --> 00:28:18,159
It's about figuring out
what moves somebody,
425
00:28:18,159 --> 00:28:19,480
what doesn't move somebody.
426
00:28:19,480 --> 00:28:21,080
It's about playfulness.
427
00:28:21,080 --> 00:28:22,000
Right.
428
00:28:22,000 --> 00:28:24,840
That's why I don't take notes.
429
00:28:24,840 --> 00:28:26,560
Why take notes?
430
00:28:26,560 --> 00:28:29,480
We'll just record it.
We'll just listen to it afterwards.
431
00:28:29,480 --> 00:28:31,800
Okay, this part of our meeting...
432
00:28:32,520 --> 00:28:37,720
There's nothing that stops playfulness
more than seeing somebody taking notes.
433
00:28:37,720 --> 00:28:38,760
You know.
434
00:28:38,760 --> 00:28:40,840
Suddenly, it's a job.
435
00:28:40,840 --> 00:28:42,480
And he asks all kinds of questions.
436
00:28:42,480 --> 00:28:44,159
I think he's searching for an angle.
437
00:28:44,159 --> 00:28:45,879
And then he'll be like, "That's it."
438
00:28:45,879 --> 00:28:47,040
Womp, womp, womp.
439
00:28:47,040 --> 00:28:50,159
Instead of...
440
00:28:50,959 --> 00:28:54,879
In the case of Pirates,
he was technically unavailable,
441
00:28:54,879 --> 00:28:58,639
but I really think he just thought
it was a failed endeavour from the outset.
442
00:28:58,639 --> 00:29:00,760
Just the genre, a pirate movie,
443
00:29:00,760 --> 00:29:03,560
was like, "What are you doing?"
Like, "Pass!"
444
00:29:03,560 --> 00:29:05,120
You know, but in a "nice" way.
445
00:29:05,120 --> 00:29:08,560
Like, "I'm doing Mission: Impossible.
I can't do your pirate movie".
446
00:29:08,560 --> 00:29:12,560
Erm, so when we were done editing,
I brought it to him and played it to him,
447
00:29:12,560 --> 00:29:15,080
and I think he sort of shifted,
448
00:29:15,080 --> 00:29:19,000
and he started playing at that little...
449
00:29:23,320 --> 00:29:25,399
They had fired
the original composer.
450
00:29:25,959 --> 00:29:27,639
{\an8}That's very interesting.
451
00:29:27,639 --> 00:29:29,879
{\an8}And we had three weeks
to finish the score.
452
00:29:30,760 --> 00:29:35,800
{\an8}So, Hans went home and started writing.
453
00:29:37,600 --> 00:29:39,560
And he wrote all the themes overnight.
454
00:29:46,080 --> 00:29:48,480
And then we talked,
you know, at length about,
455
00:29:49,639 --> 00:29:51,040
like, the drunken waltz.
456
00:29:51,040 --> 00:29:54,040
Like, why is Jack like that
with his sea legs?
457
00:29:54,040 --> 00:29:55,399
What is that?
458
00:29:55,399 --> 00:29:57,840
It's not just a waltz,
it's a kind of slurred waltz.
459
00:30:01,240 --> 00:30:02,600
Keep a sharp eye.
460
00:30:06,080 --> 00:30:11,159
So, the character of Jack Sparrow is...
461
00:30:14,320 --> 00:30:16,879
The notes go up, positive.
462
00:30:19,639 --> 00:30:21,919
Sort of, you know, the innocence.
463
00:30:21,919 --> 00:30:24,199
There's like an innocence, hope, in there.
464
00:30:24,199 --> 00:30:27,240
You know, it's like,
"Oh, I can go and do anything, right?"
465
00:30:28,520 --> 00:30:29,520
Now...
466
00:30:31,320 --> 00:30:32,679
this bit...
467
00:30:35,679 --> 00:30:37,560
It's a bit naughty, right?
468
00:30:40,760 --> 00:30:42,159
That's the wrong chord.
469
00:30:42,159 --> 00:30:45,720
So, you go from naughty to,
you know, he's doing something.
470
00:30:45,720 --> 00:30:49,840
It's still benign,
but it's definitely the wrong chord.
471
00:30:52,800 --> 00:30:53,879
Here we are.
472
00:30:53,879 --> 00:30:58,120
We're back on the safety
of the optimism, but...
473
00:30:59,720 --> 00:31:01,040
The devil's fifth
474
00:31:02,560 --> 00:31:03,439
to a minor chord.
475
00:31:04,199 --> 00:31:08,199
So, that's part of his character.
He is definitely naughty.
476
00:31:09,280 --> 00:31:12,720
And then he does something unexpected.
477
00:31:14,240 --> 00:31:16,800
He changes key
right in the middle of the phrase,
478
00:31:16,800 --> 00:31:18,000
but only for one second.
479
00:31:21,760 --> 00:31:24,360
And it resolves
in a sort of classical way,
480
00:31:24,360 --> 00:31:26,240
which is really a lie,
481
00:31:28,360 --> 00:31:30,840
because he goes to something
even naughtier,
482
00:31:30,840 --> 00:31:32,080
et cetera, et cetera.
483
00:31:32,080 --> 00:31:35,480
So each phrase is part of his...
484
00:31:35,480 --> 00:31:37,280
I'm describing his character.
485
00:31:46,000 --> 00:31:48,600
It kind of rolls
like you're on the deck of a boat.
486
00:31:50,320 --> 00:31:53,840
Boat and rum
make for unsteady rhythms.
487
00:31:56,919 --> 00:31:58,639
It's not clever. It's just fun.
488
00:32:01,760 --> 00:32:07,159
I think Hans has an approach,
which I wouldn't call unifying,
489
00:32:07,159 --> 00:32:09,719
but I do recognise it over and over again.
490
00:32:11,919 --> 00:32:16,120
It's this great ability to build a theme.
491
00:32:18,679 --> 00:32:20,040
In The Da Vinci Code,
492
00:32:20,040 --> 00:32:24,159
{\an8}Hans refined the technique
he pioneered in The Thin Red Line,
493
00:32:24,159 --> 00:32:29,520
of using a small number of notes
to create complex, driving themes.
494
00:32:31,439 --> 00:32:33,240
I mean, this is so simple.
495
00:32:33,240 --> 00:32:34,840
The simpler these things are,
496
00:32:34,840 --> 00:32:37,560
the more I fear
I'm going to get found out.
497
00:32:37,560 --> 00:32:42,159
I mean, look, I can't think of any artist
who doesn't think,
498
00:32:42,159 --> 00:32:44,959
"They're gonna catch me at it.
They're gonna find out".
499
00:32:48,399 --> 00:32:50,280
You get some very simple notes
500
00:32:50,280 --> 00:32:53,800
that inspire other simple notes
that go with it,
501
00:32:53,800 --> 00:32:57,080
and you can go and play with these rounds.
502
00:33:00,639 --> 00:33:05,399
It's not easy,
but it's incredibly powerful and stirring.
503
00:33:07,320 --> 00:33:09,879
That's one of his patterns
that you will see,
504
00:33:09,879 --> 00:33:13,159
and with different kinds of themes,
different sorts of tunes.
505
00:33:13,159 --> 00:33:15,159
Some of them are just one or two notes.
506
00:33:15,159 --> 00:33:17,399
Some are very melodic, like this one.
507
00:33:18,919 --> 00:33:22,240
But getting that music,
through repetition,
508
00:33:23,719 --> 00:33:25,760
to sort of evolve into something,
509
00:33:26,800 --> 00:33:29,120
go from one place to another,
510
00:33:29,120 --> 00:33:31,840
well, that's what every movie wants to be,
is a journey.
511
00:33:32,719 --> 00:33:35,520
And, you know, his cues often convey that.
512
00:33:40,439 --> 00:33:42,520
It's a journey.
It takes you on a journey,
513
00:33:42,520 --> 00:33:45,000
and you add experiences every time round.
514
00:33:45,000 --> 00:33:46,760
I mean, you've heard it,
515
00:33:46,760 --> 00:33:51,560
so now you need to add
another layer of experience,
516
00:33:51,560 --> 00:33:54,120
a layer of time, layer of something to it.
517
00:34:10,239 --> 00:34:14,360
This technique of creating
longer themes that build and build,
518
00:34:14,360 --> 00:34:16,199
found their ultimate expression
519
00:34:16,199 --> 00:34:19,400
in the films
of one of Hans's key collaborators.
520
00:34:21,880 --> 00:34:25,360
I've never liked music
that feels layered onto the movie,
521
00:34:25,360 --> 00:34:27,440
like sauce going onto a piece of meat.
522
00:34:27,440 --> 00:34:29,199
{\an8}You know, to me,
523
00:34:29,199 --> 00:34:34,319
{\an8}good film music really should be baked
into the DNA of what the actual film is,
524
00:34:34,319 --> 00:34:37,400
and woven
into the fabric of the film itself.
525
00:34:37,400 --> 00:34:40,159
And Hans was very on board
with that process.
526
00:34:41,120 --> 00:34:44,400
There's certain things
which I know they're good ideas,
527
00:34:44,400 --> 00:34:46,560
but I'm not good enough to do them yet,
528
00:34:46,560 --> 00:34:52,120
so I use the next movie to actually
go and get a little bit better at them.
529
00:34:55,040 --> 00:34:56,600
Hans's work with Nolan
530
00:34:56,600 --> 00:34:59,160
would result in
some of his most memorable scores,
531
00:34:59,160 --> 00:35:02,120
{\an8}involving war movies,
532
00:35:02,720 --> 00:35:03,960
{\an8}dream stealers,
533
00:35:04,839 --> 00:35:06,680
and superheroes.
534
00:35:07,279 --> 00:35:09,040
It's not who I am underneath,
535
00:35:10,440 --> 00:35:14,160
but what I do that defines me.
536
00:35:15,279 --> 00:35:17,160
What he was doing
on Batman Begins is,
537
00:35:17,160 --> 00:35:20,360
he was distilling
the essence of this great icon,
538
00:35:21,440 --> 00:35:23,200
not into a complex melody,
539
00:35:23,200 --> 00:35:27,920
into an idea of almost the sound effects
approach of these bat flaps,
540
00:35:29,799 --> 00:35:31,799
these kind of big whooshes of noise.
541
00:35:38,080 --> 00:35:39,720
Literally two notes,
542
00:35:39,720 --> 00:35:42,960
but the recording process
that went into that,
543
00:35:42,960 --> 00:35:44,240
the layering process,
544
00:35:44,240 --> 00:35:50,240
the hundreds and hundreds of tracks
of sound that is supporting that
545
00:35:50,240 --> 00:35:52,560
musically and harmonically,
and all the rest,
546
00:35:52,560 --> 00:35:56,200
and the different combinations
that allowed from us is extraordinary.
547
00:36:04,600 --> 00:36:08,200
At times, the music is very, very minimal,
548
00:36:08,200 --> 00:36:12,680
but the production methodology
is always extremely expansive
549
00:36:12,680 --> 00:36:16,520
and full of design ideas and imagination.
550
00:36:21,120 --> 00:36:23,160
I mean, that's nothing, right?
551
00:36:23,160 --> 00:36:25,240
And then the theme is...
552
00:36:29,680 --> 00:36:31,520
It's two notes, right?
553
00:36:32,480 --> 00:36:33,600
That's it.
554
00:36:34,200 --> 00:36:37,440
And only at the end does it break,
and it goes...
555
00:36:37,440 --> 00:36:39,440
Still the same two notes.
556
00:36:42,040 --> 00:36:44,440
And it becomes triumphant for one moment...
557
00:36:46,720 --> 00:36:49,480
before it recedes back into darkness.
558
00:36:49,480 --> 00:36:52,160
You know,
just for one moment, you can see...
559
00:36:52,160 --> 00:36:53,880
You know, quite monoptical.
560
00:36:56,160 --> 00:36:59,080
He's fascinated just by sound itself,
561
00:37:00,240 --> 00:37:02,240
beyond the emotional qualities of music.
562
00:37:03,319 --> 00:37:07,200
He has the best samples, for example,
of anyone in the world,
563
00:37:08,440 --> 00:37:10,600
but he continually strives
to improve them.
564
00:37:16,759 --> 00:37:18,920
When it came to "The Joker Suite,"
565
00:37:18,920 --> 00:37:22,480
{\an8}he was like, "I'm convinced that
the Joker should be a piece of music
566
00:37:22,480 --> 00:37:24,200
{\an8}"constructed from one note."
567
00:37:24,200 --> 00:37:25,759
{\an8}I was like, "Oh, God, here we go."
568
00:37:25,759 --> 00:37:27,799
{\an8}But if anyone could do it, it would be...
569
00:37:27,799 --> 00:37:30,319
That's more the thought of an inventor,
you know?
570
00:37:30,319 --> 00:37:32,880
Come on, come on. I want you to do it.
571
00:37:32,880 --> 00:37:34,640
Come on, hit me. Come on, hit me!
572
00:37:34,640 --> 00:37:37,240
There's something anarchic
about the Joker.
573
00:37:37,240 --> 00:37:38,520
Hit me!
574
00:37:39,480 --> 00:37:41,200
I bumped into him, he was like,
575
00:37:41,200 --> 00:37:43,440
"I think I have to concede.
It has to be two notes."
576
00:37:44,640 --> 00:37:46,000
So he spent ages on this,
577
00:37:46,000 --> 00:37:48,440
and it became
the iconic, distorted violin thing
578
00:37:48,440 --> 00:37:50,920
that's just the two notes going...
579
00:37:51,839 --> 00:37:55,720
I thought the Joker was the most
interesting character in that movie.
580
00:37:56,480 --> 00:37:59,040
He was always in control of the situation,
581
00:37:59,040 --> 00:38:02,560
and was the only one
who always spoke the truth.
582
00:38:02,560 --> 00:38:05,720
And then this idea of these endless rises
583
00:38:05,720 --> 00:38:08,480
that start in one pitch
and just climb and climb and climb.
584
00:38:15,120 --> 00:38:18,080
Come on!
585
00:38:18,080 --> 00:38:22,040
This idea of just one note
586
00:38:22,040 --> 00:38:26,240
metamorphosising
in this absolute, incredible...
587
00:38:26,240 --> 00:38:28,240
And very quietly as well.
588
00:38:28,240 --> 00:38:31,359
I wanted you to lean in a little bit,
you know.
589
00:38:32,400 --> 00:38:34,880
I wanted you to lean into the darkness.
590
00:38:34,880 --> 00:38:36,520
Could you please just give me a minute?
591
00:38:36,520 --> 00:38:39,560
That, to me,
is something no one had really ever done.
592
00:38:39,560 --> 00:38:43,560
You had people who wrote
extremely note-y symphonic music,
593
00:38:43,560 --> 00:38:47,400
and you had, like, rock guys
who just about crossed over enough
594
00:38:47,400 --> 00:38:49,839
to be able to scramble together
a film score.
595
00:38:49,839 --> 00:38:53,600
But to have someone
sort of right in the middle
596
00:38:53,600 --> 00:38:58,040
who could steal
the underlying structural techniques
597
00:38:58,040 --> 00:38:59,759
of modern, popular music,
598
00:39:00,440 --> 00:39:03,160
and then understand
enough of all the vocabulary
599
00:39:03,160 --> 00:39:06,279
of all sorts of different kinds of,
and often, symphonic music,
600
00:39:06,279 --> 00:39:07,759
and sort of put that together.
601
00:39:10,000 --> 00:39:12,880
People don't need to
think about this when watching a movie,
602
00:39:12,880 --> 00:39:15,759
but it's one of the reasons
that he's able to deliver
603
00:39:15,759 --> 00:39:18,160
so much of the feeling
you need in the storytelling
604
00:39:18,160 --> 00:39:21,640
without being invasive
and fussy and pompous.
605
00:39:24,799 --> 00:39:27,279
The more I worked with Hans,
the more I realised
606
00:39:27,279 --> 00:39:29,720
the value of his creative contributions
607
00:39:29,720 --> 00:39:32,960
to the conceptual underpinnings
of what the films could be.
608
00:39:35,200 --> 00:39:36,799
With prompting from Nolan,
609
00:39:36,799 --> 00:39:40,319
{\an8}Hans developed radical new ways
of scoring a movie.
610
00:39:42,000 --> 00:39:46,759
With Interstellar,
I actually got him to do his first demo
611
00:39:46,759 --> 00:39:49,520
on the basis
of a short letter that I wrote him,
612
00:39:49,520 --> 00:39:51,560
explaining the feelings,
613
00:39:51,560 --> 00:39:54,560
the sort of fable at the heart
of what the film was going to be,
614
00:39:54,560 --> 00:39:56,319
without even telling him the genre.
615
00:39:56,319 --> 00:39:58,440
And I did that
while I was writing the script.
616
00:40:01,720 --> 00:40:04,640
I gave him one day
to give me his first impression
617
00:40:04,640 --> 00:40:06,680
of the emotions I was talking about.
618
00:40:06,680 --> 00:40:10,440
And what he did for me in that one day
became the basis of the entire score.
619
00:40:14,240 --> 00:40:17,720
Chris made me write
this whole score away from picture.
620
00:40:19,080 --> 00:40:20,720
It was a good experiment.
621
00:40:22,200 --> 00:40:23,680
I was writing freely.
622
00:40:24,520 --> 00:40:27,920
I wasn't a slave to the edit, as it were.
623
00:40:29,480 --> 00:40:31,680
He stopped writing
pieces of music
624
00:40:31,680 --> 00:40:34,000
that are integral
to the structure of the film,
625
00:40:34,000 --> 00:40:37,799
and he started just writing music
and not watching the picture.
626
00:40:37,799 --> 00:40:42,279
So he would create a 35-minute piece
that he would try against picture,
627
00:40:42,279 --> 00:40:44,240
and it would inform then the process.
628
00:40:46,759 --> 00:40:49,120
By writing
these big, long pieces of music,
629
00:40:49,120 --> 00:40:52,279
it gives you more of a sense
of what the picture is
630
00:40:52,279 --> 00:40:53,880
and how the music can help it.
631
00:40:58,960 --> 00:41:02,560
Some months ago,
I was rewatching the movie with friends,
632
00:41:02,560 --> 00:41:04,359
and we're all sobbing.
633
00:41:06,400 --> 00:41:10,440
{\an8}And I realised that the way that
my friends were experiencing the movie
634
00:41:10,440 --> 00:41:12,319
{\an8}was completely different from how I was,
635
00:41:12,319 --> 00:41:17,680
because I was able to hear
how my father loves,
636
00:41:17,680 --> 00:41:21,080
you know, because that movie
is about a father and a daughter.
637
00:41:21,080 --> 00:41:24,000
And to be able to hear how my father loves
638
00:41:24,000 --> 00:41:25,520
and how he sees his children,
639
00:41:25,520 --> 00:41:28,359
I think, is probably
the greatest privilege of my life.
640
00:41:29,480 --> 00:41:31,920
He worked really, really hard.
641
00:41:31,920 --> 00:41:35,000
You'd catch him in the mornings,
catch him at night.
642
00:41:35,000 --> 00:41:39,000
But throughout the day,
every single day, he was working.
643
00:41:42,000 --> 00:41:44,720
{\an8}Yeah, I'm glad that
he takes more breaks now,
644
00:41:44,720 --> 00:41:48,560
{\an8}not just for us
to be able to spend time with him,
645
00:41:48,560 --> 00:41:49,839
but also for himself.
646
00:41:52,040 --> 00:41:58,279
{\an8}Because he hasn't been around in my life
and the life of his children all too much,
647
00:41:58,279 --> 00:42:00,240
he's tried to really make up for it.
648
00:42:01,759 --> 00:42:04,120
I think every parent comes with flaws,
649
00:42:05,279 --> 00:42:09,839
but he's really tried to show us
how he can love.
650
00:42:10,680 --> 00:42:15,160
He doesn't always say it,
but he shows us with his gestures.
651
00:42:15,160 --> 00:42:17,720
He tells you with his eyes, "I understand.
652
00:42:18,960 --> 00:42:20,400
"I'm here.
653
00:42:20,400 --> 00:42:23,279
"I'm sorry I wasn't earlier,
but I'm here now".
654
00:42:32,160 --> 00:42:36,279
Having conquered the world
of superheroes and science-fiction epics,
655
00:42:36,279 --> 00:42:40,480
Hans was on the lookout
for new collaborators and new projects.
656
00:42:41,640 --> 00:42:43,440
He sought one out.
657
00:42:43,440 --> 00:42:46,240
It was a world away
from Hollywood blockbusters.
658
00:42:47,400 --> 00:42:49,520
I made a film called Shame.
659
00:42:49,520 --> 00:42:52,880
There was a lot of temp music
we were using from Hans Zimmer.
660
00:42:54,200 --> 00:42:56,319
{\an8}It was close to him, but not exactly.
661
00:42:56,319 --> 00:42:59,040
{\an8}So we were just playing with it.
I thought it was okay.
662
00:42:59,040 --> 00:43:01,120
It's not that piece of music, obviously,
663
00:43:01,120 --> 00:43:03,839
but yeah, it is obviously
hugely inspired by it.
664
00:43:04,440 --> 00:43:07,640
So I was in New Orleans, in a hotel room,
665
00:43:07,640 --> 00:43:11,319
and I get this call early in the morning,
and it's Hans Zimmer.
666
00:43:11,319 --> 00:43:14,279
And I said, "Oh, shit, this geezer's
gonna sue me. What's going on?"
667
00:43:14,279 --> 00:43:15,480
Maybe he thought...
668
00:43:15,480 --> 00:43:17,759
He goes, "No, no, no, no, no, no.
669
00:43:17,759 --> 00:43:20,960
"But why didn't you ask me
to work with you?"
670
00:43:20,960 --> 00:43:23,080
I thought, "I never thought I could."
671
00:43:23,080 --> 00:43:24,880
He was like, "You should ask me.
672
00:43:24,880 --> 00:43:27,640
"I'm interested in working
with great filmmakers like yourself."
673
00:43:27,640 --> 00:43:31,040
I said, "I'm working on this film,
12 Years a Slave. Are you interested?"
674
00:43:31,040 --> 00:43:32,359
He goes, "Yeah, of course!"
675
00:43:32,359 --> 00:43:33,720
"But you're expensive."
676
00:43:33,720 --> 00:43:36,080
"Don't worry about that.
I would love to work with you."
677
00:43:36,080 --> 00:43:38,040
That was the start of our relationship.
678
00:43:40,359 --> 00:43:43,440
Hans is lavish with what he brings you.
679
00:43:43,440 --> 00:43:46,040
{\an8}12 Years a Slave
is the really good example.
680
00:43:46,040 --> 00:43:47,960
{\an8}We were there with empty pockets,
681
00:43:47,960 --> 00:43:52,120
{\an8}and he was getting people on planes,
and first-class musicians,
682
00:43:52,120 --> 00:43:56,759
{\an8}to come over from Germany
and start working with us and developing...
683
00:43:56,759 --> 00:43:59,040
We wanted a kind of slightly homemade feel
684
00:43:59,040 --> 00:44:01,400
{\an8}about some of the score
in 12 Years a Slave,
685
00:44:01,400 --> 00:44:05,120
{\an8}particularly in that area
where he's trying to write using juice.
686
00:44:08,240 --> 00:44:12,480
I loved working on this so much.
I thought it was important.
687
00:44:13,839 --> 00:44:15,440
Nobody believed in it.
688
00:44:16,879 --> 00:44:18,359
We had no budget.
689
00:44:20,240 --> 00:44:22,040
It's very few of us,
690
00:44:22,040 --> 00:44:24,839
but I remember Steve being in the room,
and it's like,
691
00:44:25,879 --> 00:44:28,080
the intimacy was vital.
692
00:44:32,440 --> 00:44:34,960
It was a very low budget film,
693
00:44:34,960 --> 00:44:40,560
and it was really Hans's generosity
at bringing the right ingredient over
694
00:44:40,560 --> 00:44:42,319
and getting him to work with us.
695
00:44:43,960 --> 00:44:45,759
I'm a short-order cook.
696
00:44:45,759 --> 00:44:47,759
You know, I go out, I find...
697
00:44:47,759 --> 00:44:49,279
I go shopping.
698
00:44:49,279 --> 00:44:51,520
"Oh, good ingredients, you know,
699
00:44:51,520 --> 00:44:53,560
"fresh tomatoes, special...
700
00:44:53,560 --> 00:44:56,520
"Oh, look at those carrots!
They look really good," you know?
701
00:44:56,520 --> 00:44:59,400
And then I spend forever
peeling and chopping, et cetera.
702
00:44:59,400 --> 00:45:03,440
And because the ingredients are fresh
and the ingredients are delicious,
703
00:45:05,080 --> 00:45:07,279
I'm hoping it's gonna be okay.
704
00:45:12,400 --> 00:45:14,600
He's a kid
who doesn't want to do homework,
705
00:45:14,600 --> 00:45:16,600
and he's like, "What the fuck?"
706
00:45:16,600 --> 00:45:18,920
But at the same time, he's working.
707
00:45:18,920 --> 00:45:20,960
It's working, he's working.
708
00:45:20,960 --> 00:45:23,560
Shit takes time.
You know, anything takes time. You know?
709
00:45:27,920 --> 00:45:29,879
This desire
never to be pigeonholed
710
00:45:29,879 --> 00:45:32,680
even led him to score
natural history films.
711
00:45:38,040 --> 00:45:41,640
Hans brought all his
feature-film experience to these projects.
712
00:45:57,200 --> 00:45:59,240
The iguana and the snake scene.
713
00:46:00,200 --> 00:46:03,000
The best car chase nobody ever filmed.
714
00:46:05,839 --> 00:46:09,520
I know every director
is just immensely envious of it.
715
00:46:21,000 --> 00:46:23,359
He's always changed.
He changes and changes.
716
00:46:23,359 --> 00:46:26,560
Yeah, he uses a sound for a while
717
00:46:27,680 --> 00:46:29,000
as he kind of perfects it,
718
00:46:29,000 --> 00:46:32,120
and then there's this era of that sound
on films,
719
00:46:32,120 --> 00:46:34,879
and then he'll change again.
He gets bored with his own sound.
720
00:46:38,640 --> 00:46:42,960
Hans's most recent work
not only earned him his second Oscar,
721
00:46:42,960 --> 00:46:46,440
but it might be the most radical
reinvention of his sound ever.
722
00:46:47,560 --> 00:46:51,160
His brief was to create what the director,
Denis Villeneuve,
723
00:46:51,160 --> 00:46:53,960
described as an "alien score."
724
00:46:58,440 --> 00:47:00,839
The idea for Dune
that it should be a score
725
00:47:00,839 --> 00:47:04,240
that will use unknown instruments...
726
00:47:06,560 --> 00:47:10,520
{\an8}that the sound will be something
that would come from another time,
727
00:47:12,160 --> 00:47:13,400
from another place.
728
00:47:21,279 --> 00:47:23,520
It was also very important
that the score would have
729
00:47:23,520 --> 00:47:25,640
some kind of spiritual quality.
730
00:47:31,799 --> 00:47:37,240
It's one of the main themes of Dune,
that exploration of religion,
731
00:47:37,240 --> 00:47:40,160
and the danger of mixing
religion and politics together.
732
00:47:45,920 --> 00:47:50,480
It was really important for me
to find a great female voice...
733
00:47:52,600 --> 00:47:54,160
...and then frame her
734
00:47:56,000 --> 00:48:00,160
with all these instruments which we built,
which we synthesised,
735
00:48:00,160 --> 00:48:05,040
{\an8}which we drove people crazy
that write software, you know.
736
00:48:05,040 --> 00:48:09,600
{\an8}"Can you build me a resonator
that will turn Tina Guo's cello
737
00:48:09,600 --> 00:48:11,640
"into a Tibetan war horn?"
738
00:48:11,640 --> 00:48:13,879
"What does a Tibetan war horn sound like?"
739
00:48:13,879 --> 00:48:15,040
"I have no idea."
740
00:48:21,759 --> 00:48:25,240
As much as he has designed
all those alien instruments,
741
00:48:25,240 --> 00:48:28,200
he decided that
the instrument that will have survived
742
00:48:28,200 --> 00:48:31,040
10,000 years in the future
will be the bagpipes.
743
00:48:34,160 --> 00:48:36,120
He started to compose with the bagpipes,
744
00:48:36,120 --> 00:48:41,600
which was very fresh,
surprising, and interesting.
745
00:48:43,080 --> 00:48:45,839
{\an8}And the Oscar goes to Hans Zimmer, Dune.
746
00:48:47,799 --> 00:48:50,520
I don't think
anybody's ever won an Oscar for a score
747
00:48:50,520 --> 00:48:53,839
that blatantly is bagpipes,
heavy metal guitars,
748
00:48:53,839 --> 00:48:55,160
and a woman screaming at you.
749
00:49:01,920 --> 00:49:03,640
"What's going on here?
750
00:49:03,640 --> 00:49:04,920
"Where are the strings?
751
00:49:05,520 --> 00:49:06,920
"Where are the nice things?"
752
00:49:09,160 --> 00:49:10,720
It was just a provocative thing.
753
00:49:23,040 --> 00:49:28,279
Hans began his musical career
in a band touring working men's clubs.
754
00:49:29,920 --> 00:49:34,160
His life has turned full circle
as he takes his scores on the road.
755
00:49:35,720 --> 00:49:38,400
{\an8}But these days, the venues have changed.
756
00:49:39,879 --> 00:49:42,359
{\an8}His enthusiasm has increased.
757
00:49:42,359 --> 00:49:45,920
I think it's going out on tour
that's responsible for that.
758
00:49:51,240 --> 00:49:54,440
He loves the people
he works with. He loves touring.
759
00:49:54,440 --> 00:49:56,560
It feeds him. It nurtures him.
760
00:49:57,560 --> 00:49:58,799
When he's on a stage,
761
00:49:58,799 --> 00:50:01,600
there's nobody who quite has
that relationship with the audience.
762
00:50:02,680 --> 00:50:04,520
They come in to see a maestro
763
00:50:04,520 --> 00:50:07,319
and they end up seeing somebody
who feels like a friend by the end.
764
00:50:11,440 --> 00:50:13,680
I used to be so afraid
of being on stage,
765
00:50:14,759 --> 00:50:18,200
but nowadays, it's just like
a dinner party with 12,000 people,
766
00:50:19,480 --> 00:50:20,799
just having a chat.
767
00:50:21,759 --> 00:50:23,720
He's had a midlife crisis,
and become a rock star.
768
00:50:33,359 --> 00:50:35,319
I'm still learning something.
769
00:50:35,319 --> 00:50:37,319
I just want to use
all those things I've learned.
770
00:50:37,319 --> 00:50:39,480
I want to go and play
with these synthesisers,
771
00:50:39,480 --> 00:50:41,240
and I want to go tell all these stories,
772
00:50:41,240 --> 00:50:43,680
and I want to go
and work with all these directors.
773
00:50:45,080 --> 00:50:47,759
He is not the norm,
that's why he has the career he does.
774
00:50:47,759 --> 00:50:50,879
He doesn't want to do things
the way other people have done it,
775
00:50:50,879 --> 00:50:53,600
and he thrives on it, he loves it.
776
00:50:57,640 --> 00:50:59,200
Things moved really fast.
777
00:51:00,600 --> 00:51:03,480
Life isn't as long as you think it is.
778
00:51:04,279 --> 00:51:07,440
You have a choice.
You can go and try to live a playful life,
779
00:51:07,440 --> 00:51:11,640
or you can go and live a life
which excludes playfulness.
780
00:51:12,319 --> 00:51:13,759
And it doesn't get you anywhere.
781
00:51:13,759 --> 00:51:15,680
Playfulness gets you somewhere.
782
00:51:17,799 --> 00:51:22,080
It's fun, it's inspiring,
just making a racket,
783
00:51:22,080 --> 00:51:24,279
and hopefully, have a bit of a laugh.
784
00:51:25,640 --> 00:51:26,640
It's wonderful.
66803
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