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1
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This programme contains
some strong language
2
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Ladies and gentlemen, Hans Zimmer!
APPLAUSE
3
00:00:08,040 --> 00:00:11,640
There's a word I don't use
very often, which is genius.
4
00:00:11,640 --> 00:00:13,640
Hans Zimmer is one of them.
5
00:00:14,880 --> 00:00:18,520
He has the incredible capacity
to reinvent himself
6
00:00:18,520 --> 00:00:21,160
without losing his identity.
7
00:00:21,160 --> 00:00:22,600
He's a storyteller.
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00:00:24,000 --> 00:00:26,680
He tells stories with music.
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00:00:28,080 --> 00:00:32,920
It's not a job. It's like a calling.
It's like a crazy thing.
10
00:00:32,920 --> 00:00:36,200
I can't imagine not writing music.
11
00:00:36,200 --> 00:00:38,840
Hans Zimmer is the world's
most sought after
12
00:00:38,840 --> 00:00:41,280
and prolific movie composer.
13
00:00:41,280 --> 00:00:46,160
He's written music for blockbusters,
romcoms, animations
14
00:00:46,160 --> 00:00:49,840
and even iconic
nature documentaries.
15
00:00:49,840 --> 00:00:53,640
DAVID ATTENBOROUGH: This is
a dangerous place.
16
00:00:53,640 --> 00:00:57,400
He's fascinated just by
sound itself.
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00:00:57,400 --> 00:01:02,600
He has all kinds of technical ideas
and tricks going on at any one time.
18
00:01:02,600 --> 00:01:05,440
Throughout his career,
he's broken all the rules
19
00:01:05,440 --> 00:01:08,080
about how you compose music
for films.
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00:01:09,600 --> 00:01:13,800
I don't think anybody's ever won
an Oscar for a score that blatantly
21
00:01:13,800 --> 00:01:17,680
is bagpipes, heavy metal guitars
and a woman screaming at you.
22
00:01:17,680 --> 00:01:19,480
This is great!
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00:01:19,480 --> 00:01:21,160
He doesn't want to read a script.
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00:01:21,160 --> 00:01:22,840
He wants me to tell him,
25
00:01:22,840 --> 00:01:25,760
"What is the movie
you think you're making?"
26
00:01:25,760 --> 00:01:28,040
It's like being psychoanalysed.
27
00:01:28,040 --> 00:01:30,680
Even if you're not hearing
what you want to hear always,
28
00:01:30,680 --> 00:01:35,400
the project gets better every time
it gets under Hans's microscope.
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00:01:37,960 --> 00:01:39,600
He remains a child, in a way.
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00:01:39,600 --> 00:01:42,640
And I think you have to have
that quality in order to sort of
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00:01:42,640 --> 00:01:45,400
be as successful a musician
for all that time.
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00:01:47,280 --> 00:01:50,160
I've been doing this for,
what, 40 years?
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00:01:50,160 --> 00:01:54,440
Somebody the other day said,
"When are you going to slow down?"
34
00:01:54,440 --> 00:01:57,040
"What do you mean "slow down"?
I'm just getting going!
35
00:01:57,040 --> 00:01:59,600
"I'm just getting started."
36
00:01:59,600 --> 00:02:02,160
CHEERING
37
00:02:23,720 --> 00:02:27,760
Hans is experimenting with some
ideas for the soundtrack of a new
38
00:02:27,760 --> 00:02:30,160
BBC natural history documentary.
39
00:02:37,760 --> 00:02:40,560
MUSIC PLAYS ON COMPUTER
40
00:02:45,000 --> 00:02:49,240
Just trying to get you something
that sounds remotely frozen.
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00:02:56,120 --> 00:02:58,600
I'm using a bit of noise,
42
00:02:58,600 --> 00:03:02,720
make it a bit more tundra-like.
43
00:03:02,720 --> 00:03:04,400
You know, I mean, it's just...
44
00:03:04,400 --> 00:03:11,360
I like the idea that there's like
a wind rattling across everything.
45
00:03:14,280 --> 00:03:18,280
LAUGHS: I'm literally making it
as we're talking about things!
46
00:03:18,280 --> 00:03:23,360
Er... Let's say...
Let's go and use this, too.
47
00:03:25,440 --> 00:03:29,960
It's relatively chilly,
but we can make it chillier.
48
00:03:35,560 --> 00:03:37,000
Bit of frozenness.
49
00:03:40,480 --> 00:03:44,520
The problem is that wind across
a tundra and bacon frying
50
00:03:44,520 --> 00:03:46,320
are very similar.
HE CHUCKLES
51
00:03:48,280 --> 00:03:51,760
ATTENBOROUGH: This is a stronghold
for one of Antarctica's
52
00:03:51,760 --> 00:03:53,880
most remarkable inhabitants.
53
00:03:55,280 --> 00:03:57,320
ANIMAL YAWNS
54
00:04:00,000 --> 00:04:04,920
The seriousness and the depth
that we bring to this project
55
00:04:04,920 --> 00:04:07,520
comes a lot from me being a kid.
56
00:04:11,640 --> 00:04:15,240
One of my main memories is just
shortly before my father's death,
57
00:04:15,240 --> 00:04:18,040
where he took me to the Rhine,
58
00:04:18,040 --> 00:04:20,680
which was completely covered
in foam.
59
00:04:22,760 --> 00:04:24,240
And he was explaining to me,
60
00:04:24,240 --> 00:04:26,360
"You know, look,
we're destroying the world.
61
00:04:26,360 --> 00:04:29,600
"We now need to go and do something
about that."
62
00:04:30,840 --> 00:04:34,440
And I think it hugely influenced me
in our work
63
00:04:34,440 --> 00:04:36,480
with Sir David Attenborough.
64
00:04:40,800 --> 00:04:46,200
Hans was born in Frankfurt, Germany,
in 1957 into a Jewish family.
65
00:04:48,000 --> 00:04:52,920
I knew what the Nazis had done
to the Jews.
66
00:04:52,920 --> 00:04:56,240
It would be brought up quite a lot.
67
00:04:56,240 --> 00:04:59,880
The fear was that, "You know what?
If you tell the neighbours,
68
00:04:59,880 --> 00:05:04,520
"your best friend can turn on you
within one moment."
69
00:05:06,800 --> 00:05:10,040
While still a child, Hans's family
was torn apart
70
00:05:10,040 --> 00:05:12,160
by a bolt from the blue.
71
00:05:13,040 --> 00:05:16,680
The week before my sixth birthday -
72
00:05:16,680 --> 00:05:18,600
my birthday was on a Sunday -
73
00:05:18,600 --> 00:05:22,120
my dad died on either the Friday
or the Saturday.
74
00:05:23,200 --> 00:05:26,120
And on Monday, my mother,
who was totally overwhelmed,
75
00:05:26,120 --> 00:05:29,120
basically dropped me off
for my first day at school.
76
00:05:29,120 --> 00:05:34,840
It was like, you know,
all these kids, terrible teachers
77
00:05:34,840 --> 00:05:36,600
of an older generation.
78
00:05:39,480 --> 00:05:41,880
Then came the moment where she said,
79
00:05:41,880 --> 00:05:43,920
"You know, I think you should
have piano lessons.
80
00:05:43,920 --> 00:05:46,000
"Do you want piano lessons?"
81
00:05:46,000 --> 00:05:50,400
And as a six-year-old,
seven-year-old,
82
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you think that stuff you hear
in your head,
83
00:05:53,800 --> 00:05:56,360
a magical man is going to come
84
00:05:56,360 --> 00:06:00,080
and tell you how to put it
under your fingers.
85
00:06:00,080 --> 00:06:02,040
And, of course, that's not at all
what happens.
86
00:06:02,040 --> 00:06:06,720
Some horrible German comes
who raps you across the knuckles
87
00:06:06,720 --> 00:06:08,560
if you don't play your scales right!
88
00:06:08,560 --> 00:06:10,880
You know, "Read, read,
read, read, read!"
89
00:06:10,880 --> 00:06:14,400
And to this day, if you put music
in front of me,
90
00:06:14,400 --> 00:06:19,280
it just starts getting wobbly
and swimmy and...
91
00:06:19,280 --> 00:06:21,080
..and defocused.
92
00:06:30,760 --> 00:06:34,080
Despite having only two weeks
of formal lessons,
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Hans found his home in music.
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00:06:39,400 --> 00:06:43,440
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.
97
00:06:55,840 --> 00:06:59,520
Hans kicked against the rules,
not just in learning music
98
00:06:59,520 --> 00:07:01,360
but in everything.
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00:07:01,360 --> 00:07:04,200
He was thrown out of eight schools
in Germany
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00:07:04,200 --> 00:07:07,600
for not conforming to
the strict discipline demanded.
101
00:07:09,080 --> 00:07:11,920
The music teacher
threw a chair at me.
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I remember that.
103
00:07:14,560 --> 00:07:17,560
He always told stories
of his childhood,
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00:07:17,560 --> 00:07:20,240
all the shenanigans he got into -
105
00:07:20,240 --> 00:07:24,880
crazy thing in boarding school
that got you kicked out.
106
00:07:24,880 --> 00:07:28,120
He got kicked out of boarding school
quite a few times.
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00:07:28,120 --> 00:07:31,000
I know my mum was really worried
about me.
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00:07:31,000 --> 00:07:33,200
I think everybody was really worried
about me.
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00:07:35,240 --> 00:07:38,320
In desperation, his mother
moved to England,
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00:07:38,320 --> 00:07:42,120
looking for a more progressive
education for him.
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00:07:42,120 --> 00:07:45,720
She approached a new school -
Hurtwood House.
112
00:07:47,960 --> 00:07:53,200
He'd had a very chequered experience
with all his previous schools.
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CHUCKLES: His mother writes, saying,
"You may have noticed that Hans
114
00:07:58,160 --> 00:08:02,800
"has a strong urge for freedom
and that he is very impetuous.
115
00:08:02,800 --> 00:08:06,760
"That is a reason why he has
come to blows with his educators
116
00:08:06,760 --> 00:08:09,600
"in the past who expected him
to conform."
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00:08:12,360 --> 00:08:15,280
There was that moment
after the first term,
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00:08:15,280 --> 00:08:18,280
where I'm sitting outside
the headmaster's office
119
00:08:18,280 --> 00:08:23,400
and she's having the
mother/headmaster conversation.
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00:08:23,400 --> 00:08:26,040
And she comes out and she's crying,
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00:08:26,040 --> 00:08:31,320
and I'm thinking, "Oh, OK.
Here we go again. Next school."
122
00:08:31,320 --> 00:08:33,360
And she walks towards me
and she's crying
123
00:08:33,360 --> 00:08:37,320
and she goes, "I don't believe it.
He likes you!"
124
00:08:38,640 --> 00:08:41,680
I like to think of Hans
as the genius
125
00:08:41,680 --> 00:08:46,560
that the traditional
educational system failed to crush.
126
00:08:46,560 --> 00:08:48,240
And if we played a small part
in that,
127
00:08:48,240 --> 00:08:50,480
then I'm very proud to have done so.
128
00:08:55,240 --> 00:08:56,600
After leaving school,
129
00:08:56,600 --> 00:08:59,720
Hans immediately joined a band
called Krakatoa,
130
00:08:59,720 --> 00:09:02,200
mainly playing working men's clubs.
131
00:09:02,200 --> 00:09:06,640
# Don't apologise
It's not your style... #
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00:09:07,680 --> 00:09:10,800
We were the entertainment
nobody listened to.
133
00:09:10,800 --> 00:09:15,080
We were so bad, up north,
134
00:09:15,080 --> 00:09:19,480
we would be the support act
to the strippers.
135
00:09:19,480 --> 00:09:22,960
# Treat your mama good... #
136
00:09:22,960 --> 00:09:25,960
And it was interesting
because it was the '80s
137
00:09:25,960 --> 00:09:31,040
and it was Margaret Thatcher
and it was...coal miners' strike.
138
00:09:33,440 --> 00:09:35,320
Whoa, it was rough up north.
139
00:09:37,480 --> 00:09:41,240
People were so frustrated.
140
00:09:41,240 --> 00:09:44,640
You know, you left London
and you entered another world,
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00:09:44,640 --> 00:09:45,960
you entered another country.
142
00:09:45,960 --> 00:09:49,400
And this country was a country
that was desperate and it was poor
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00:09:49,400 --> 00:09:53,160
and it was everything that you could
only imagine of the left behind
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and left for forgotten.
145
00:09:55,280 --> 00:09:56,480
And to this day...
146
00:09:58,480 --> 00:10:01,520
..I have this person I write
my music for.
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00:10:01,520 --> 00:10:02,960
And she's fictitious.
148
00:10:04,160 --> 00:10:07,880
She's called Doris
and she lives in Bradford.
149
00:10:07,880 --> 00:10:10,400
She has a grey coat and, you know...
150
00:10:11,520 --> 00:10:14,160
..is of uncertain age.
151
00:10:14,160 --> 00:10:17,360
She's got two terrible boys.
I mean, they're so ill-behaved.
152
00:10:17,360 --> 00:10:20,840
And her hair dye job
isn't very good, you know?
153
00:10:20,840 --> 00:10:24,120
And she works really hard
throughout the week.
154
00:10:25,080 --> 00:10:27,160
And come the weekend,
she has a choice.
155
00:10:27,160 --> 00:10:30,960
She has a choice of going to
the pub, having a drink,
156
00:10:30,960 --> 00:10:34,840
or she has a choice of coming
and seeing one of our movies.
157
00:10:34,840 --> 00:10:39,320
And she's a hero to me
because she works hard.
158
00:10:39,320 --> 00:10:42,760
And so when she comes and sees
one of my - our - movies,
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00:10:42,760 --> 00:10:48,960
I want to make sure that
she gets her money's worth and...
160
00:10:48,960 --> 00:10:51,680
I promise you. I mean, every movie,
I sit there and I go,
161
00:10:51,680 --> 00:10:53,320
"What would Doris think?"
162
00:10:57,600 --> 00:11:03,320
It's so easy to think about the past
in a nostalgic way.
163
00:11:03,320 --> 00:11:04,880
Yeah, I loved it. I loved it.
164
00:11:04,880 --> 00:11:07,360
My friend Warren Cann,
drummer from Ultravox,
165
00:11:07,360 --> 00:11:10,200
we decided to do an album together,
166
00:11:10,200 --> 00:11:13,400
which, absolutely,
we couldn't give away.
167
00:11:13,400 --> 00:11:15,840
To this day,
we couldn't give it away.
168
00:11:15,840 --> 00:11:18,000
Oh, and then we had this crazy idea.
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00:11:18,000 --> 00:11:21,600
We did a concert at
the London Planetarium -
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00:11:21,600 --> 00:11:24,560
you know, basically, people
looking up at the stars
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00:11:24,560 --> 00:11:27,400
and us playing weird, cosmic music
to them
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00:11:27,400 --> 00:11:29,680
and scaring the children
in the process of it.
173
00:11:33,000 --> 00:11:38,000
The 1980s saw a revolution in music,
video and film production.
174
00:11:38,000 --> 00:11:40,400
Computers and synthesisers
were changing
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00:11:40,400 --> 00:11:43,680
how music was made and recorded.
176
00:11:43,680 --> 00:11:46,680
Hans saw the potential
in all this new technology
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and made himself the master of it.
178
00:11:50,800 --> 00:11:53,440
I was seriously into synthesisers
179
00:11:53,440 --> 00:11:57,400
and I was a lot skinnier then
as well.
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00:11:57,400 --> 00:12:03,360
But I still have this, of course,
and I still make music with it.
181
00:12:03,360 --> 00:12:07,200
And, you know, that sound that
basically pins you into your seat
182
00:12:07,200 --> 00:12:09,280
when you watch Dark Knight?
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00:12:09,280 --> 00:12:11,280
MUSIC FROM: The Dark Knight
by Hans Zimmer
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00:12:13,920 --> 00:12:15,360
That's that beast.
185
00:12:18,040 --> 00:12:22,840
It was a time where you suddenly
could have access to computers,
186
00:12:22,840 --> 00:12:28,000
so the whole idea about doing things
on stage was far less exciting
187
00:12:28,000 --> 00:12:32,000
than the idea of "How far
could I push this technology?"
188
00:12:35,280 --> 00:12:38,080
Using his know-how of
studio technology,
189
00:12:38,080 --> 00:12:41,800
Hans started writing jingles
and TV theme tunes,
190
00:12:41,800 --> 00:12:44,720
the first steps on his road
to film composing.
191
00:12:44,720 --> 00:12:47,640
# Going for gold! #
192
00:12:47,640 --> 00:12:51,760
# Video killed the radio star... #
193
00:12:51,760 --> 00:12:55,080
He even found time to make
a fleeting guest appearance
194
00:12:55,080 --> 00:12:59,040
in the promo for hit song
Video Killed The Radio Star
195
00:12:59,040 --> 00:13:00,360
by Buggles.
196
00:13:02,320 --> 00:13:04,640
# Oh
Oh, oh... #
197
00:13:04,640 --> 00:13:06,760
EXPLOSION
198
00:13:09,800 --> 00:13:12,880
It was in this unassuming yard
in West London
199
00:13:12,880 --> 00:13:17,360
that Hans really began to hone
his writing skills.
200
00:13:17,360 --> 00:13:21,000
Together with his friend and mentor,
composer Stanley Myers,
201
00:13:21,000 --> 00:13:23,600
he set up his first
recording studio.
202
00:13:25,880 --> 00:13:30,520
I mean, you can tell from
the glamorous nature of this door
203
00:13:30,520 --> 00:13:33,360
that this is the door
that leads directly
204
00:13:33,360 --> 00:13:36,280
to Hollywood, fame and Oscars.
205
00:13:38,080 --> 00:13:39,280
This used to be my studio.
206
00:13:39,280 --> 00:13:42,720
Actually, it wasn't my studio.
It was Stanley Myers' and my studio.
207
00:13:42,720 --> 00:13:45,000
Absolutely extraordinary composer.
208
00:13:45,000 --> 00:13:49,240
I mean, everybody owes a lot
of things to everybody in life.
209
00:13:50,360 --> 00:13:54,600
My film language, for instance,
I very much learned from Stanley.
210
00:13:54,600 --> 00:13:55,800
It's really simple -
211
00:13:55,800 --> 00:14:00,520
if you don't have a tune,
you've got nothing to hang on to.
212
00:14:00,520 --> 00:14:04,280
So, this sort of
somewhat decrepit building
213
00:14:04,280 --> 00:14:07,280
actually turned out to be
a haven for us.
214
00:14:08,640 --> 00:14:11,320
I don't think many people
had the sort of idea
215
00:14:11,320 --> 00:14:14,240
that you could go and do film scores
216
00:14:14,240 --> 00:14:19,080
with a little keyboard and
not an orchestra, but you could.
217
00:14:22,080 --> 00:14:25,160
I want to be manager of this place.
I think I can do it.
218
00:14:25,160 --> 00:14:26,480
Please let me.
219
00:14:26,480 --> 00:14:29,080
Of course, My Beautiful Laundrette,
I think, was pretty much
220
00:14:29,080 --> 00:14:30,840
the first thing we did here.
221
00:14:32,920 --> 00:14:37,160
Stanley Myers was doing the music
for My Beautiful Laundrette,
222
00:14:37,160 --> 00:14:39,840
and Hans was always
in the other room.
223
00:14:39,840 --> 00:14:43,280
So for some reason,
that was where you ended up.
224
00:14:43,280 --> 00:14:46,840
Stanley was always in the front room
reading the racy news,
225
00:14:46,840 --> 00:14:50,400
and there was clearly
a rather clever chap in the back
226
00:14:50,400 --> 00:14:52,800
doing all the work.
227
00:14:52,800 --> 00:14:58,480
A skinny, lanky guy who was German
with a little computer thing,
228
00:14:58,480 --> 00:15:01,160
and everyone thought,
"What the hell's that?", basically.
229
00:15:01,160 --> 00:15:03,360
And...
INDISTINCT
230
00:15:03,360 --> 00:15:07,880
Because... I guess it was
electronic, so Hans was doing it
231
00:15:07,880 --> 00:15:11,280
because he knew how to work
all those machines
232
00:15:11,280 --> 00:15:13,920
and he knew how to make
the eccentric sounds.
233
00:15:15,760 --> 00:15:19,920
Between them, they thought up
what the film should sound like.
234
00:15:19,920 --> 00:15:23,480
And it was pretty obvious
when it was a Stanley piece -
235
00:15:23,480 --> 00:15:25,720
because it was elegant
and beautiful -
236
00:15:25,720 --> 00:15:29,000
and when it was a Hans piece,
which was a bit like lead boots.
237
00:15:33,080 --> 00:15:35,520
And it was all rewrites for me.
238
00:15:35,520 --> 00:15:41,480
And Stanley would very gently
steer me in the right direction.
239
00:15:43,720 --> 00:15:46,200
He's an incredibly charming man.
240
00:15:46,200 --> 00:15:47,840
And he was just absolutely brilliant
241
00:15:47,840 --> 00:15:51,720
cos he had this new form of,
in a funny way, '80s music,
242
00:15:51,720 --> 00:15:54,680
but he also had the wit
and the ability to charm
243
00:15:54,680 --> 00:15:57,200
and to be the whole package,
as it were.
244
00:15:57,200 --> 00:15:59,920
Without that character, you know,
he'd still be a great composer,
245
00:15:59,920 --> 00:16:02,240
but he wouldn't have been
the successful composer that he is.
246
00:16:02,240 --> 00:16:03,720
No way.
247
00:16:03,720 --> 00:16:06,000
It was just a weird thing,
because, here in England,
248
00:16:06,000 --> 00:16:07,240
you were always an equal.
249
00:16:07,240 --> 00:16:09,600
I mean, you were totally involved
in the storytelling,
250
00:16:09,600 --> 00:16:12,440
and that was the thing
that I thought was really exciting,
251
00:16:12,440 --> 00:16:15,280
these conversations you are having
with film directors,
252
00:16:15,280 --> 00:16:20,720
which were far more up my streets
than just playing in a band.
253
00:16:20,720 --> 00:16:24,680
I know that he's the most successful
composer in the world, but to me,
254
00:16:24,680 --> 00:16:27,240
he's the boy in the back room.
HE LAUGHS
255
00:16:27,240 --> 00:16:28,480
It makes me laugh.
256
00:16:31,760 --> 00:16:36,880
By the late 1980s, Hans was gaining
a reputation as a film composer
257
00:16:36,880 --> 00:16:39,960
of British films and TV.
258
00:16:42,080 --> 00:16:44,320
He is developing fast.
259
00:16:44,320 --> 00:16:46,360
Yes.
260
00:16:46,360 --> 00:16:49,040
A knock on the door at Lillie Yard
late one night
261
00:16:49,040 --> 00:16:52,840
was going to change
his life forever.
262
00:16:52,840 --> 00:16:54,280
You know, 11:00 at night -
263
00:16:54,280 --> 00:16:56,920
musicians' hours,
of course we were working.
264
00:16:56,920 --> 00:16:59,040
So I open the door
and there's a guy standing there
265
00:16:59,040 --> 00:17:03,840
and he's going, "Hi.
My name's Barry Levinson." Pause.
266
00:17:03,840 --> 00:17:05,640
"I'm a Hollywood director."
267
00:17:06,880 --> 00:17:08,280
From the first time I met him,
268
00:17:08,280 --> 00:17:11,840
I thought that he was
extremely talented,
269
00:17:13,760 --> 00:17:17,560
and that's before he had worked on
any of the music. I just got...
270
00:17:17,560 --> 00:17:21,000
Sometimes you get a feeling
with people that you connect.
271
00:17:21,000 --> 00:17:22,120
And he came in, and...
272
00:17:22,120 --> 00:17:24,560
I mean, basically,
the bottom line of the story is,
273
00:17:24,560 --> 00:17:29,200
he went, "Do you want to do this
film Rain Man that I'm working on?"
274
00:17:29,200 --> 00:17:31,600
And I said, "Yes."
275
00:17:31,600 --> 00:17:33,840
MUSIC FROM: Rain Man by Hans Zimmer
276
00:17:36,520 --> 00:17:39,040
Hans's ideas for Rain Man
were unusual
277
00:17:39,040 --> 00:17:42,320
for a traditional American
road movie.
278
00:17:42,320 --> 00:17:45,160
There's a tendency to use
sort of guitar music,
279
00:17:45,160 --> 00:17:49,120
that type of travelling
across country,
280
00:17:49,120 --> 00:17:52,920
and I didn't think it was
appropriate for the piece.
281
00:17:52,920 --> 00:17:55,600
And he came up with that sound
282
00:17:55,600 --> 00:17:59,400
which was very unique
and very distinctive...
283
00:18:02,160 --> 00:18:05,600
..and very different than
a normal travelling movie.
284
00:18:10,240 --> 00:18:13,520
You know, I'm sure the studio
wasn't thrilled because it's like,
285
00:18:13,520 --> 00:18:16,800
"All right, I got somebody, Hans
Zimmer," and they're going, "Who?!"
286
00:18:16,800 --> 00:18:20,360
"For this film, you know, we got
Tom Cruise and Dustin Hoffman.
287
00:18:20,360 --> 00:18:22,200
"And who is this composer?"
288
00:18:25,480 --> 00:18:30,160
Hans had to relocate to Los Angeles
to work on the film.
289
00:18:30,160 --> 00:18:33,000
In terms of the way composers worked
in Hollywood,
290
00:18:33,000 --> 00:18:35,960
Hans found it all
a bit old-fashioned.
291
00:18:35,960 --> 00:18:41,120
I expected Hollywood to be
technologically so advanced.
292
00:18:41,120 --> 00:18:45,800
And I got there and it was like
we were in the stone ages.
293
00:18:45,800 --> 00:18:49,640
You know, I brought all this
kit and caboodle and electronics
294
00:18:49,640 --> 00:18:52,200
and stuff with me, and I said,
"Where do I plug in?"
295
00:18:52,200 --> 00:18:54,120
And they said, "What do you mean,
plug in?"
296
00:18:54,120 --> 00:18:56,360
You know, "We still write on paper."
297
00:18:56,360 --> 00:18:58,640
"Oh, OK. That's interesting."
298
00:18:58,640 --> 00:19:01,800
And, I mean, I did Rain Man
in Barry Levinson's office...
299
00:19:03,240 --> 00:19:06,320
LAUGHS: ..because I didn't
know anybody.
300
00:19:06,320 --> 00:19:09,600
He was literally in the next room
working on stuff, and I'd wander in,
301
00:19:09,600 --> 00:19:14,760
and I hear some music and sometimes
it begins to feed one another.
302
00:19:14,760 --> 00:19:17,960
So, sometimes, he came up with
a piece of music for some section,
303
00:19:17,960 --> 00:19:21,120
and I said, "Gee, I wonder
if I could play it over here."
304
00:19:21,120 --> 00:19:24,360
It was sort of non-traditional,
in a way, to do it,
305
00:19:24,360 --> 00:19:26,480
but it seemed exciting that way.
306
00:19:35,160 --> 00:19:39,800
For his first Hollywood movie,
Hans received an Oscar nomination.
307
00:19:40,920 --> 00:19:45,280
I went for that lunch
that they have, the Oscar lunch,
308
00:19:45,280 --> 00:19:49,200
and I picked up, I don't know,
five, six, seven.
309
00:19:49,200 --> 00:19:52,280
I mean, I didn't stand up and say,
"Anybody got a movie?"
310
00:19:52,280 --> 00:19:56,080
I just sat there and people
would come up to me and say,
311
00:19:56,080 --> 00:19:59,120
"Hey, do you wanna do my movie?"
312
00:19:59,120 --> 00:20:01,360
MUSIC FROM: Driving Miss Daisy
by Hans Zimmer
313
00:20:05,200 --> 00:20:08,640
The following year, he composed
the music for yet another
314
00:20:08,640 --> 00:20:10,040
Oscar-winning film...
315
00:20:11,600 --> 00:20:13,120
..Driving Miss Daisy.
316
00:20:15,960 --> 00:20:18,680
And then in 1994...
317
00:20:18,680 --> 00:20:21,240
MUSIC: Circle of Life
318
00:20:24,120 --> 00:20:30,360
The first notes that you hear,
you're in and it's magic.
319
00:20:34,080 --> 00:20:36,480
And the vocal
that you hear with it...
320
00:20:38,720 --> 00:20:42,000
..poetry. Musical poetry.
321
00:20:46,240 --> 00:20:50,040
The studio had given Hans
a strict brief about the opening.
322
00:20:52,360 --> 00:20:55,840
It was supposed to be 20 seconds
of Elton's song
323
00:20:55,840 --> 00:20:57,880
and then there was going to be
a dialogue scene
324
00:20:57,880 --> 00:20:59,560
and...da-da-da-da, right?
325
00:20:59,560 --> 00:21:01,480
And I forgot about the 20 seconds.
326
00:21:01,480 --> 00:21:05,320
I just got excited about
doing the chant with Lebo.
327
00:21:07,000 --> 00:21:10,520
Then I did an arrangement
of Elton's tune.
328
00:21:10,520 --> 00:21:11,840
And so I played it to them,
329
00:21:11,840 --> 00:21:15,800
and as I'm playing it to them,
I'm going, "Oh, God, I forgot!
330
00:21:15,800 --> 00:21:17,760
"It's supposed to be
20 seconds long,
331
00:21:17,760 --> 00:21:21,000
"and then it's supposed to become
a dialogue piece."
332
00:21:21,000 --> 00:21:24,000
And they sort of shuffled off
into a corner,
333
00:21:24,000 --> 00:21:25,240
and they're talking.
334
00:21:25,240 --> 00:21:26,880
And I know what they're
talking about.
335
00:21:26,880 --> 00:21:29,720
They're talking about, "Who are
they going to get to replace me?"
336
00:21:29,720 --> 00:21:31,320
So I'm going over there,
and I'm saying,
337
00:21:31,320 --> 00:21:34,000
"Look, guys, I'm really sorry. I can
do this thing in 20 seconds."
338
00:21:34,000 --> 00:21:36,640
They're going. "No, no, no! That's
not what we're talking about at all.
339
00:21:36,640 --> 00:21:39,560
"We're thinking we're going to go
and reanimate the whole opening.
340
00:21:39,560 --> 00:21:42,640
"We're going to take all
that dialogue out and da-da-da-da."
341
00:21:44,320 --> 00:21:48,600
It was an experiment, and what's
in the movie is my original demo.
342
00:21:52,040 --> 00:21:56,600
The African sounds,
343
00:21:56,600 --> 00:21:59,040
the unique instruments...
344
00:22:00,960 --> 00:22:04,000
..it's beyond profound.
345
00:22:04,000 --> 00:22:07,480
# The circle of life... #
346
00:22:07,480 --> 00:22:10,080
And the Oscar goes to Hans Zimmer
for The Lion King!
347
00:22:10,080 --> 00:22:12,600
CHEERING AND APPLAUSE
348
00:22:13,800 --> 00:22:18,240
So full of life and wonder
and beauty.
349
00:22:22,240 --> 00:22:24,160
I wrote a speech, but I realised,
"It's so boring,"
350
00:22:24,160 --> 00:22:25,320
so I'm not going to do it.
351
00:22:25,320 --> 00:22:27,640
I'd like to thank my wife
because she's my best friend.
352
00:22:27,640 --> 00:22:30,120
I'd like to thank my daughter
because she now thinks I'm cool
353
00:22:30,120 --> 00:22:32,960
cos I did The Lion King!
LAUGHTER
354
00:22:34,120 --> 00:22:35,320
I'm incredibly nervous.
355
00:22:35,320 --> 00:22:37,560
I tell you what - writing a score
is much easier than this.
356
00:22:37,560 --> 00:22:39,560
Thank you. Just let me go, OK?
357
00:22:39,560 --> 00:22:41,280
APPLAUSE
358
00:22:42,640 --> 00:22:49,560
I've listened to how many songs
of how many scores, and on...
359
00:22:49,560 --> 00:22:50,920
EMPHATIC DRUMBEAT
360
00:22:50,920 --> 00:22:53,160
Exclamation point that is...
361
00:22:55,440 --> 00:22:57,680
..amazing and a signature of his.
362
00:22:57,680 --> 00:23:02,160
The directors and the producers were
coming in and I hadn't finished it,
363
00:23:02,160 --> 00:23:07,840
so that's why that big drum -
the "Boing!" - is there,
364
00:23:07,840 --> 00:23:10,960
to distract them from the fact
that I hadn't finished the track.
365
00:23:16,160 --> 00:23:20,640
Hans used his mastery of digital
technology, especially sampling,
366
00:23:20,640 --> 00:23:26,400
to change the way movie directors
collaborated with their composers.
367
00:23:26,400 --> 00:23:29,960
The standard way of working with
a director before Hans
368
00:23:29,960 --> 00:23:32,760
is that there was no way
to present the music
369
00:23:32,760 --> 00:23:34,360
other than to play it on the piano -
370
00:23:34,360 --> 00:23:37,280
"Here's your theme, and here's
where the brass comes in down here,
371
00:23:37,280 --> 00:23:40,520
"and the strings are playing this."
372
00:23:40,520 --> 00:23:44,520
You know, I wasn't as good
of a piano player,
373
00:23:44,520 --> 00:23:47,640
but one of the things I figured out
really, really quickly,
374
00:23:47,640 --> 00:23:54,160
that the best way to communicate
with a film-maker was to play them
375
00:23:54,160 --> 00:23:57,800
like a fake version of the score,
a synthesised version of the score.
376
00:24:00,160 --> 00:24:03,680
So basically what you have is you
have all the different instruments -
377
00:24:03,680 --> 00:24:06,040
horns, trumpets.
378
00:24:06,040 --> 00:24:08,320
HE PLAYS TRUMPET PART ON SYNTH
379
00:24:10,680 --> 00:24:15,560
Just seeing how Hans was able
to manipulate sounds to picture...
380
00:24:15,560 --> 00:24:16,800
Violins...
381
00:24:16,800 --> 00:24:19,840
..whether it would be a bagpipe
or a flute or a guitar,
382
00:24:19,840 --> 00:24:21,840
he kept playing this
from the keyboard.
383
00:24:22,800 --> 00:24:25,240
It just fired my imagination.
384
00:24:25,240 --> 00:24:28,520
And I think a lot of us
have just followed that lead.
385
00:24:28,520 --> 00:24:31,360
But I do recall him
saying to me, you know,
386
00:24:31,360 --> 00:24:34,120
"The way you're going to...get
a career here, Harry,
387
00:24:34,120 --> 00:24:38,440
"is your demos are going to sound
better than anybody else's."
388
00:24:38,440 --> 00:24:41,840
What else have we got?
Lots of percussion.
389
00:24:41,840 --> 00:24:45,280
PERCUSSIVE SOUNDS PLAY
390
00:24:45,280 --> 00:24:47,920
In those days, nobody did it
like this other than Hans, you know?
391
00:24:47,920 --> 00:24:49,200
Nobody demoed things.
392
00:24:49,200 --> 00:24:53,760
Nobody, you know, mocked everything
up so you could hear it beforehand.
393
00:24:53,760 --> 00:24:56,800
Hans was quite unique that way,
and I liked that method.
394
00:24:56,800 --> 00:24:59,720
I loved technology.
I loved his way of doing it.
395
00:24:59,720 --> 00:25:02,600
And that's why things changed
in film music,
396
00:25:02,600 --> 00:25:04,440
you know, when he came on the scene.
397
00:25:04,440 --> 00:25:08,840
Part of it was the technique he was
using, to do it with these demos.
398
00:25:10,320 --> 00:25:15,400
Hans didn't just change the way
composers use technology,
399
00:25:15,400 --> 00:25:18,560
he developed a sound that influenced
a whole generation
400
00:25:18,560 --> 00:25:21,200
of movie composers and directors.
401
00:25:27,360 --> 00:25:30,000
I'm fascinated by the idea of time.
402
00:25:31,440 --> 00:25:35,120
The ticking happens a lot
in my stuff.
403
00:25:35,120 --> 00:25:38,520
Rather than going for
a groovy rhythm,
404
00:25:38,520 --> 00:25:40,960
it's ticking without accents.
405
00:25:42,920 --> 00:25:48,080
It doesn't give the game away, where
the next part or the next cut is.
406
00:25:48,080 --> 00:25:53,800
It just is like a river flowing. And
it sort of takes you on a journey.
407
00:25:56,120 --> 00:25:59,080
In his score for the film
The Thin Red Line,
408
00:25:59,080 --> 00:26:02,480
he developed a technique of building
an incredible tension
409
00:26:02,480 --> 00:26:04,000
over very long scenes.
410
00:26:05,560 --> 00:26:11,600
What it got was this incredible
sort of feeling of fate and dread.
411
00:26:11,600 --> 00:26:13,280
It really was unique at the time.
412
00:26:13,280 --> 00:26:15,760
There's not really anything
that quite does that.
413
00:26:17,760 --> 00:26:19,240
He's very influential.
414
00:26:19,240 --> 00:26:22,400
It's part of the language
of film-making now.
415
00:26:23,520 --> 00:26:25,280
I completely ripped him off on that.
416
00:26:25,280 --> 00:26:28,520
I've ripped him off on other times,
and then other times...
417
00:26:28,520 --> 00:26:30,400
I mean, there's probably
a few little moments
418
00:26:30,400 --> 00:26:32,600
where he's ripped me off back.
419
00:26:33,960 --> 00:26:36,760
It was everything that music school
tells you you can't do.
420
00:26:36,760 --> 00:26:38,400
So there was the...
421
00:26:39,880 --> 00:26:42,360
You're not supposed to do
parallel things.
422
00:26:42,360 --> 00:26:46,360
And they're all minors.
And it's asymmetrical.
423
00:26:51,400 --> 00:26:53,680
You know, music school
will teach you
424
00:26:53,680 --> 00:26:57,480
you're not supposed to do things
in these sort of parallels.
425
00:26:57,480 --> 00:27:00,640
They're not chords.
A chord needs three notes.
426
00:27:00,640 --> 00:27:02,440
This is two notes, always.
427
00:27:03,880 --> 00:27:07,720
And it just sort of meanders
in this...
428
00:27:07,720 --> 00:27:11,760
..while this note always stays...
429
00:27:11,760 --> 00:27:14,000
HE PLAYS KEYBOARD
430
00:27:15,440 --> 00:27:19,080
So, you get these
really interesting clashes.
431
00:27:21,360 --> 00:27:26,400
And it became a sort of...
A new language in film.
432
00:27:26,400 --> 00:27:28,640
MUSIC FROM: The Thin Red Line
by Hans Zimmer
433
00:27:53,760 --> 00:27:56,560
By the 2000s, Hans had
established himself
434
00:27:56,560 --> 00:27:59,240
as one of the top composers
in Hollywood.
435
00:28:01,160 --> 00:28:04,800
He was always looking for a new way
of doing things.
436
00:28:06,240 --> 00:28:08,880
Along with his business partner
Steve Kofsky,
437
00:28:08,880 --> 00:28:11,760
he built a studio complex
in Santa Monica,
438
00:28:11,760 --> 00:28:13,960
expanding it over several decades,
439
00:28:13,960 --> 00:28:18,320
where teams of composers and
sound technicians work on movies,
440
00:28:18,320 --> 00:28:20,600
TV shows and documentaries.
441
00:28:21,840 --> 00:28:23,920
In these control rooms,
this is where we've mixed
442
00:28:23,920 --> 00:28:25,720
some of the biggest movies
you've heard.
443
00:28:25,720 --> 00:28:28,040
I mean, all the major motion
pictures that Hans has worked on
444
00:28:28,040 --> 00:28:29,560
have been mixed here.
445
00:28:29,560 --> 00:28:31,000
Hello, boys. Hi.
446
00:28:31,000 --> 00:28:32,800
What are you guys working on
at the moment?
447
00:28:32,800 --> 00:28:35,880
Erm... His Dark Materials,
Wheel Of Time.
448
00:28:37,280 --> 00:28:39,320
We did all the Pirates of
the Caribbean franchise.
449
00:28:39,320 --> 00:28:40,960
Yeah, we've done Spider-Man.
450
00:28:40,960 --> 00:28:43,720
We've done all the major tent pole
movies, as well as, obviously,
451
00:28:43,720 --> 00:28:45,840
some independent pictures
like 12 Years A Slave
452
00:28:45,840 --> 00:28:46,840
and things like that.
453
00:28:46,840 --> 00:28:48,080
Hello, Steven.
454
00:28:48,080 --> 00:28:50,480
People here get the opportunity
to rub shoulders
455
00:28:50,480 --> 00:28:52,040
with the right kind of directors.
456
00:28:52,040 --> 00:28:53,920
I mean, you know, guys actually sit
in meetings.
457
00:28:53,920 --> 00:28:55,080
You know, Hans brings...
458
00:28:55,080 --> 00:28:57,520
Whoever's working on the project
with Hans, for example,
459
00:28:57,520 --> 00:28:58,720
will be in a meeting.
460
00:28:58,720 --> 00:29:02,120
This was your big idea,
so I just want to make sure
461
00:29:02,120 --> 00:29:03,720
I don't destroy it.
462
00:29:03,720 --> 00:29:05,960
The beauty of the old show was
it was full...
463
00:29:05,960 --> 00:29:09,360
He wasn't afraid to bring in
his team into a meeting.
464
00:29:09,360 --> 00:29:10,480
Don't break it.
465
00:29:10,480 --> 00:29:13,000
There's always been ghost-writers
in films,
466
00:29:13,000 --> 00:29:15,840
but Hans opened up the door
to all of his assistants...
467
00:29:15,840 --> 00:29:17,720
INDISTINCT CONVERSATION
468
00:29:17,720 --> 00:29:20,000
..who were able to experience
the meeting
469
00:29:20,000 --> 00:29:23,440
and take that for their own careers
moving forward.
470
00:29:23,440 --> 00:29:26,480
I should know these terms by now,
but I'll never learn!
471
00:29:26,480 --> 00:29:30,520
Hans wanted his place to be a magnet
for young composing talent...
472
00:29:30,520 --> 00:29:32,520
Let's start with a slow one first.
OK.
473
00:29:32,520 --> 00:29:34,600
..a talent he was keen to promote.
474
00:29:34,600 --> 00:29:36,240
We're going to explore
a few options,
475
00:29:36,240 --> 00:29:38,720
but I just want you to do
your thing. OK.
476
00:29:38,720 --> 00:29:39,760
I'm ready!
477
00:29:41,480 --> 00:29:43,840
There's lots of things about
being a composer,
478
00:29:43,840 --> 00:29:45,440
but being in groups is not
one of them.
479
00:29:45,440 --> 00:29:47,800
I mean, they are
a very solitary lot.
480
00:29:47,800 --> 00:29:51,880
We sit alone and just ponder
our navels an awful lot and work,
481
00:29:51,880 --> 00:29:55,680
so being in a group of composers
was very interesting.
482
00:29:57,120 --> 00:30:00,400
This is where those people said
they don't have enough to do
483
00:30:00,400 --> 00:30:04,760
and they can... They can spend hours
eating and... Go and work!
484
00:30:04,760 --> 00:30:09,160
The number of people that were
spawned by his career is amazing.
485
00:30:09,160 --> 00:30:13,400
I wouldn't be sitting here if it
weren't for Hans. It's obvious.
486
00:30:13,400 --> 00:30:16,960
Are you wearing white socks yet?
No. Just checking!
487
00:30:16,960 --> 00:30:18,360
I think from his own experience,
488
00:30:18,360 --> 00:30:22,080
of him having worked up
from being assistants
489
00:30:22,080 --> 00:30:24,480
and making coffee
and things like that,
490
00:30:24,480 --> 00:30:27,160
I think he knows how important it is
to sort of make sure
491
00:30:27,160 --> 00:30:29,240
that everyone feels included.
492
00:30:29,240 --> 00:30:33,080
That's Alan. He's from Brooklyn.
I don't hold that against him.
493
00:30:33,080 --> 00:30:34,280
Go, Giants!
494
00:30:34,280 --> 00:30:37,960
You know, Hollywood is a hard place
and nobody gives you a chance.
495
00:30:37,960 --> 00:30:42,080
And I was given a chance by
Barry Levinson all these years ago.
496
00:30:42,080 --> 00:30:44,680
You know, he could have had
any composer he wanted for Rain Man
497
00:30:44,680 --> 00:30:46,520
and, you know, he gave
the job to me.
498
00:30:46,520 --> 00:30:49,880
And somehow I'm trying to
keep that idea going
499
00:30:49,880 --> 00:30:51,880
and have other people come in here
500
00:30:51,880 --> 00:30:53,840
and see if we can't give them
a chance.
501
00:30:56,840 --> 00:31:01,200
At the centre of the complex
lies Hans's studio,
502
00:31:01,200 --> 00:31:05,160
an extension of his own personality.
503
00:31:05,160 --> 00:31:08,520
I... As a European working
in America,
504
00:31:08,520 --> 00:31:12,080
I miss a Europe that doesn't
actually exist any more.
505
00:31:14,320 --> 00:31:17,480
And I myself had these doubts
about staying here, you know?
506
00:31:17,480 --> 00:31:20,200
And I wanted to go...
I wanted to go back to Europe.
507
00:31:20,200 --> 00:31:22,640
And I thought, "Hang on.
This is Hollywood.
508
00:31:22,640 --> 00:31:26,720
"You know, you can be and build
whatever you want to do."
509
00:31:26,720 --> 00:31:31,280
So...I was very precise about
my thinking about this room...
510
00:31:32,720 --> 00:31:36,160
..even though it just sort of
looks like some crazed German
511
00:31:36,160 --> 00:31:37,480
tossed it together...
512
00:31:38,640 --> 00:31:42,960
..because I knew I was going to
spend 90%, probably, of my life
513
00:31:42,960 --> 00:31:43,920
in this room.
514
00:31:45,880 --> 00:31:49,680
I thought I might as well have
some fun with it and do something
515
00:31:49,680 --> 00:31:55,120
which lets people speak their mind,
you know? A room that is safe.
516
00:31:56,680 --> 00:32:00,640
Hans works in a space
that removes you from the world.
517
00:32:00,640 --> 00:32:03,280
You've never been in a space
like it.
518
00:32:03,280 --> 00:32:07,360
It's always been fun to hang out
there, sometimes watch him suffer,
519
00:32:07,360 --> 00:32:10,480
have a glass of wine
while he suffers.
520
00:32:10,480 --> 00:32:17,040
The environment inside his studio
is so alive
521
00:32:17,040 --> 00:32:21,120
with exploration and discovery
that it's a blast.
522
00:32:22,320 --> 00:32:26,040
You know, the sort of samurai thing,
and it's really kind of, you know...
523
00:32:26,040 --> 00:32:29,360
This room is like a Buddhist
sort of... Old Buddhist temple.
524
00:32:29,360 --> 00:32:32,160
And...what else? The keyboard
and whatnot, you know?
525
00:32:32,160 --> 00:32:35,360
And you just sit on a nice couch
and you just feel it,
526
00:32:35,360 --> 00:32:38,040
you talk about it, you feel it,
you talk about it, you feel it,
527
00:32:38,040 --> 00:32:40,640
you talk about it. And he's
on the keys. He's on the keys,
he's feeling it.
528
00:32:40,640 --> 00:32:43,680
You know, he's almost, like,
having the conversation with
the keys as you talk about it.
529
00:32:43,680 --> 00:32:47,400
And then you find, "Hey, hey, hey,
what's that? What's that?
What's that note? Do that again.
530
00:32:47,400 --> 00:32:50,120
"Is this written down?
OK, it's being recorded.
531
00:32:50,120 --> 00:32:52,480
"OK, it's being recorded. OK."
532
00:32:52,480 --> 00:32:56,760
He doesn't want to read a script.
So he... It's...
533
00:32:56,760 --> 00:32:59,360
You know, it's like
being psychoanalysed.
534
00:32:59,360 --> 00:33:03,600
He wants to... You know, he wants me
to tell him the story.
535
00:33:03,600 --> 00:33:05,840
Because we had talked about that...
536
00:33:05,840 --> 00:33:10,280
Not only tell him the story but,
like, "Why must I tell the story?"
537
00:33:12,000 --> 00:33:14,160
It's about getting the big picture.
538
00:33:14,160 --> 00:33:17,200
It's about figuring out
what moves somebody,
539
00:33:17,200 --> 00:33:19,640
what doesn't move somebody.
It's about playfulness.
540
00:33:19,640 --> 00:33:20,800
Right...
541
00:33:20,800 --> 00:33:23,920
That's why I don't take notes.
542
00:33:23,920 --> 00:33:26,920
Why take notes?
You know, we'll just record it.
543
00:33:26,920 --> 00:33:28,600
We'll just listen to it afterwards.
544
00:33:28,600 --> 00:33:31,440
OK, this part of our meeting...
545
00:33:31,440 --> 00:33:34,280
There's nothing that stops
playfulness more than
546
00:33:34,280 --> 00:33:36,680
seeing somebody taking notes.
547
00:33:36,680 --> 00:33:39,960
You know, suddenly it's the job.
548
00:33:39,960 --> 00:33:41,600
And he asks all kinds of questions,
you know?
549
00:33:41,600 --> 00:33:43,200
And I think he's searching
for an angle.
550
00:33:43,200 --> 00:33:45,240
And then at some point
he'll be like, "That's it."
551
00:33:45,240 --> 00:33:47,840
"Womp, womp, womp..." Instead of...
HE HUMS RHYTHM
552
00:33:49,720 --> 00:33:53,360
In the case of Pirates, it was...
He was technically unavailable,
553
00:33:53,360 --> 00:33:56,840
but I really think he just thought
it was a failed endeavour
554
00:33:56,840 --> 00:34:00,240
from the outset. Just the genre,
just a pirate movie, was like,
555
00:34:00,240 --> 00:34:03,840
"What are you doing?" Like, "Pass!"
You know, but in a nice way.
556
00:34:03,840 --> 00:34:05,560
Like, "I'm doing
Mission: Impossible.
557
00:34:05,560 --> 00:34:08,400
"I can't do your pirate movie."
And so...
558
00:34:08,400 --> 00:34:10,520
So when we were done editing,
I brought it to him
559
00:34:10,520 --> 00:34:11,640
and played it to him.
560
00:34:11,640 --> 00:34:15,480
And I think he sort of shifted
and he started playing at
561
00:34:15,480 --> 00:34:17,920
that little...
HE HUMS TUNE
562
00:34:22,840 --> 00:34:24,840
They had fired
the original composer...
563
00:34:24,840 --> 00:34:26,680
That's very interesting.
564
00:34:26,680 --> 00:34:29,560
..and we had three weeks
to finish the score.
565
00:34:29,560 --> 00:34:34,560
So, Hans went home
and started writing.
566
00:34:36,440 --> 00:34:39,240
And he wrote all the themes
overnight.
567
00:34:44,960 --> 00:34:48,400
And then we talked, you know,
at length about,
568
00:34:48,400 --> 00:34:49,760
like, the drunken waltz.
569
00:34:49,760 --> 00:34:52,840
Like, "Why is Jack like that
with his sea legs?"
570
00:34:52,840 --> 00:34:54,040
What is that? Sort of...
571
00:34:54,040 --> 00:34:56,520
It's not just a waltz,
it's a kind of slurred waltz.
572
00:34:59,960 --> 00:35:01,560
Keep a sharp eye.
573
00:35:01,560 --> 00:35:03,600
HANS PLAYS KEYBOARD
574
00:35:05,080 --> 00:35:10,120
So, the character of
Jack Sparrow is...
575
00:35:10,120 --> 00:35:11,960
HE PLAYS MOTIF
576
00:35:13,200 --> 00:35:16,320
The notes go up positive.
577
00:35:18,440 --> 00:35:20,720
Sort of, you know, the innocence.
578
00:35:20,720 --> 00:35:23,160
There's like an innocence,
hope, and...
579
00:35:23,160 --> 00:35:27,440
You know, it's like, "Oh, I can go
and do anything, right?"
580
00:35:27,440 --> 00:35:29,800
Now...
HE PLAYS NEXT PASSAGE
581
00:35:29,800 --> 00:35:31,840
..this bit...
582
00:35:34,480 --> 00:35:36,520
..is a bit naughty, right?
583
00:35:39,280 --> 00:35:40,920
That's the wrong chord.
584
00:35:40,920 --> 00:35:44,680
So, you go from naughty to,
you know, he's doing something.
585
00:35:44,680 --> 00:35:49,160
It's still... It's still benign,
but it's definitely the wrong chord.
586
00:35:49,160 --> 00:35:51,600
HE PLAYS NEXT PASSAGE
587
00:35:51,600 --> 00:35:56,320
Here we are. We're back on
the safety of the optimism,
588
00:35:56,320 --> 00:36:00,160
but...the devil's fifth...
589
00:36:01,320 --> 00:36:02,960
..to a minor chord.
590
00:36:02,960 --> 00:36:06,800
So, that's part of his character.
He is definitely naughty.
591
00:36:08,040 --> 00:36:11,440
And then he does
something unexpected.
592
00:36:13,120 --> 00:36:15,720
He changes key right in the middle
of the phrase,
593
00:36:15,720 --> 00:36:17,160
but only for one second.
594
00:36:17,160 --> 00:36:19,480
HE PLAYS CHORD
595
00:36:20,640 --> 00:36:23,240
And it resolves in a sort
of classical way,
596
00:36:23,240 --> 00:36:24,800
which is really a lie...
597
00:36:27,200 --> 00:36:31,280
..because he goes to something
even naughtier, etc, etc.
598
00:36:31,280 --> 00:36:36,280
So each phrase is part of his...
I'm describing his character.
599
00:36:36,280 --> 00:36:39,800
MUSIC FROM: Pirates Of The Caribbean
by Klaus Badelt and Hans Zimmer
600
00:36:39,800 --> 00:36:42,240
HE HUMS MELODY
601
00:36:44,560 --> 00:36:49,240
It kind of rolls like
you're on the deck of a boat.
602
00:36:49,240 --> 00:36:52,520
Boat and rum make for
unsteady rhythms.
603
00:37:00,240 --> 00:37:02,600
Arriving on a sinking dinghy,
604
00:37:02,600 --> 00:37:05,680
that's the fanfare
that he travels with -
605
00:37:05,680 --> 00:37:08,160
"I bring with me my own soundtrack."
606
00:37:09,800 --> 00:37:12,240
He's still the greatest pirate
of the seven seas.
607
00:37:16,280 --> 00:37:19,040
That allows the music
to be quite big...
608
00:37:20,680 --> 00:37:22,760
..because it's consistent with
that character.
609
00:37:22,760 --> 00:37:24,400
It's what he's hearing.
610
00:37:32,120 --> 00:37:33,680
APPLAUSE
611
00:37:34,960 --> 00:37:37,200
And it was just fun to do.
612
00:37:37,200 --> 00:37:39,240
It's not clever.
It's just fun.
613
00:37:39,240 --> 00:37:41,040
Yes!
614
00:37:41,040 --> 00:37:46,240
I think Hans has an approach
which I wouldn't call unifying,
615
00:37:46,240 --> 00:37:49,160
but I do recognise it
over and over again.
616
00:37:51,040 --> 00:37:56,280
It's this great ability
to build a theme.
617
00:37:57,720 --> 00:37:59,120
In The Da Vinci Code,
618
00:37:59,120 --> 00:38:03,600
Hans refined the technique
he pioneered in The Thin Red Line
619
00:38:03,600 --> 00:38:08,680
of using a small number of notes
to create complex, driving themes.
620
00:38:10,600 --> 00:38:12,480
I mean, this is so simple.
621
00:38:12,480 --> 00:38:14,880
The simpler these things are,
the more I fear
622
00:38:14,880 --> 00:38:16,640
I'm going to get found out.
623
00:38:16,640 --> 00:38:21,520
I mean, look, I can't think of
any artist who doesn't think,
624
00:38:21,520 --> 00:38:24,720
"They're going to catch me at it.
They're going to find out."
625
00:38:27,760 --> 00:38:31,440
You get some very simple notes
that inspire other simple notes
626
00:38:31,440 --> 00:38:36,200
that go with it, and you can go
and play with these rounds.
627
00:38:39,760 --> 00:38:44,440
It's not easy, but it's
incredibly powerful and stirring.
628
00:38:46,080 --> 00:38:48,800
That's one of his patterns
that you will see -
629
00:38:48,800 --> 00:38:52,480
and with different kinds of themes,
different sorts of tunes.
630
00:38:52,480 --> 00:38:54,200
Some of them are just
one or two notes.
631
00:38:54,200 --> 00:38:56,800
Some are very melodic,
like this one.
632
00:38:57,920 --> 00:39:01,080
But getting that music
through repetition...
633
00:39:02,720 --> 00:39:04,960
..to sort of evolve
into something...
634
00:39:06,000 --> 00:39:08,000
..go from one place to another,
635
00:39:08,000 --> 00:39:11,680
well, that's what every movie
wants to be is a journey.
636
00:39:11,680 --> 00:39:14,680
And, you know, his cues
often convey that.
637
00:39:19,760 --> 00:39:21,480
It's a journey. It takes you
on a journey,
638
00:39:21,480 --> 00:39:24,040
and you add experiences
every time round.
639
00:39:24,040 --> 00:39:25,880
I mean, you've heard it,
640
00:39:25,880 --> 00:39:30,680
so now you need to add another layer
of experience,
641
00:39:30,680 --> 00:39:33,200
a layer of time,
layer of something to it.
642
00:39:33,200 --> 00:39:35,400
MUSIC FROM: The Da Vinci Code
by Hans Zimmer
643
00:39:49,480 --> 00:39:53,240
This technique of creating
longer themes that build and build
644
00:39:53,240 --> 00:39:55,920
found their ultimate expression
in the films
645
00:39:55,920 --> 00:39:58,280
of one of Hans's key collaborators.
646
00:40:01,000 --> 00:40:04,280
I've never liked music that feels
layered onto the movie,
647
00:40:04,280 --> 00:40:06,520
like sauce going onto
a piece of meat.
648
00:40:06,520 --> 00:40:11,120
You know, to me, good film music
really should be baked into the DNA
649
00:40:11,120 --> 00:40:15,840
of what the actual film is and woven
into the fabric of the film itself.
650
00:40:15,840 --> 00:40:19,080
And Hans was very on board
with that process.
651
00:40:20,120 --> 00:40:21,920
There's certain things which...
652
00:40:21,920 --> 00:40:25,440
I know they're good ideas, but
I'm not good enough to do them yet,
653
00:40:25,440 --> 00:40:28,520
so I use the next movie
to actually go
654
00:40:28,520 --> 00:40:31,280
and get a little bit better at them.
655
00:40:34,160 --> 00:40:36,120
Hans's work with Nolan
would result in
656
00:40:36,120 --> 00:40:39,000
some of his most memorable scores,
657
00:40:39,000 --> 00:40:43,080
involving war movies,
dream-stealers...
658
00:40:44,080 --> 00:40:46,320
..and superheroes.
659
00:40:46,320 --> 00:40:48,560
It's not who I am underneath...
660
00:40:49,520 --> 00:40:50,560
..but what I do...
661
00:40:51,800 --> 00:40:53,040
..that defines me.
662
00:40:54,440 --> 00:40:57,680
What he was doing on Batman Begins
is he was distilling the essence of
663
00:40:57,680 --> 00:41:02,160
this great icon, not into
a complex melody,
664
00:41:02,160 --> 00:41:08,440
into an idea of almost the sound
effects approach of these bat flaps,
665
00:41:08,440 --> 00:41:11,000
these kind of big whooshes of noise.
666
00:41:17,000 --> 00:41:18,840
Literally two notes,
667
00:41:18,840 --> 00:41:23,520
but the recording process that went
into that - the layering process,
668
00:41:23,520 --> 00:41:27,200
the hundreds and hundreds
of tracks of sound
669
00:41:27,200 --> 00:41:31,840
that is supporting that, musically
and harmonically and all the rest,
670
00:41:31,840 --> 00:41:35,680
and the different combinations that
allowed from us - is extraordinary.
671
00:41:43,280 --> 00:41:47,160
At times, the music
is very, very minimal,
672
00:41:47,160 --> 00:41:51,760
but the production methodology
is always extremely expansive
673
00:41:51,760 --> 00:41:55,560
and full of design ideas
and imagination.
674
00:41:56,600 --> 00:41:58,320
HE PLAYS EXCERPT
675
00:42:00,520 --> 00:42:04,120
I mean, that's nothing, right?
And then the theme is...
676
00:42:04,120 --> 00:42:06,400
HE PLAYS THEME
677
00:42:08,760 --> 00:42:10,560
It's two notes, right?
678
00:42:11,600 --> 00:42:13,040
That's it.
679
00:42:13,040 --> 00:42:15,480
And only at the end does it break.
680
00:42:15,480 --> 00:42:18,360
And it goes...
Still the same two notes.
681
00:42:20,800 --> 00:42:23,680
And it becomes triumphant
for one moment...
682
00:42:25,280 --> 00:42:28,720
but before it recedes back
into darkness.
683
00:42:28,720 --> 00:42:31,360
You know, just for one moment,
you can see...
684
00:42:31,360 --> 00:42:32,920
You know, quite...
INDISTINCT
685
00:42:35,240 --> 00:42:39,280
He's fascinated
just by sound itself,
686
00:42:39,280 --> 00:42:42,320
beyond the emotional qualities
of music.
687
00:42:42,320 --> 00:42:47,400
He has the best samples,
for example, of anyone in the world,
688
00:42:47,400 --> 00:42:50,000
but he continually strives
to improve them.
689
00:42:55,720 --> 00:42:58,240
When it came to The Joker Suite,
I remember talking to him.
690
00:42:58,240 --> 00:43:01,600
He was like, "I'm convinced that the
Joker should be a piece of music",
691
00:43:01,600 --> 00:43:04,680
and started from one note.
I was like, "Oh, God, here we go!"
692
00:43:04,680 --> 00:43:06,880
You know, but if anyone could do it,
it would be...
693
00:43:06,880 --> 00:43:09,520
That's more the thought of
an inventor. Do you see what I mean?
694
00:43:09,520 --> 00:43:11,360
Come on, come on!
I want you to do it.
695
00:43:11,360 --> 00:43:13,600
I want you to do it.
Come on, hit me. Come on, hit me!
696
00:43:13,600 --> 00:43:16,360
There's something anarchic
about the Joker.
697
00:43:16,360 --> 00:43:18,440
Hit me!
698
00:43:18,440 --> 00:43:20,320
By the time I'd bumped into me
again, he was like,
699
00:43:20,320 --> 00:43:23,520
"I think I have to concede -
it has to be two notes."
700
00:43:23,520 --> 00:43:25,160
So, he spent ages on this,
701
00:43:25,160 --> 00:43:27,720
and it became the iconic,
sort of distorted violin thing
702
00:43:27,720 --> 00:43:29,760
that's just the two notes going...
HE HUMS
703
00:43:30,960 --> 00:43:35,520
I thought that Joker was the most
interesting character in that movie.
704
00:43:35,520 --> 00:43:37,800
He was always in control
of the situation
705
00:43:37,800 --> 00:43:41,760
and was the only one
who always spoke the truth.
706
00:43:41,760 --> 00:43:45,680
And then this idea of these endless
rises that start in one pitch
707
00:43:45,680 --> 00:43:50,120
and just climb and climb and climb
and climb and climb.
708
00:43:50,120 --> 00:43:53,160
ELECTRICAL JOLT, JOKER LAUGHS
709
00:43:53,160 --> 00:43:56,120
JOKER LAUGHS, FLUTTERS LIPS
710
00:43:56,120 --> 00:43:57,480
Come on!
711
00:43:57,480 --> 00:44:02,760
This idea of just
a one-note metamorphosising
712
00:44:02,760 --> 00:44:07,240
in this absolute incredible...
And very quietly as well.
713
00:44:07,240 --> 00:44:11,440
I wanted you to lean in
a little bit to pick it out.
714
00:44:11,440 --> 00:44:14,160
I wanted you to lean into
the darkness.
715
00:44:14,160 --> 00:44:15,560
Could you please just
give me a minute?!
716
00:44:15,560 --> 00:44:18,760
That, to me, is something
no-one had really ever done.
717
00:44:18,760 --> 00:44:22,600
You had people who wrote
extremely note-y symphonic music
718
00:44:22,600 --> 00:44:26,520
and you had, like, rock guys
who just about crossed over enough
719
00:44:26,520 --> 00:44:29,160
to be able to scramble together
a film score,
720
00:44:29,160 --> 00:44:32,800
but to have someone sort of
right in the middle
721
00:44:32,800 --> 00:44:37,280
who could sort of steal
the underlying structural techniques
722
00:44:37,280 --> 00:44:41,120
of modern popular music
and then understand enough of
723
00:44:41,120 --> 00:44:43,480
all the vocabulary of all sorts
of different kinds of,
724
00:44:43,480 --> 00:44:47,280
and often symphonic, music
and sort of put that together.
725
00:44:49,080 --> 00:44:50,480
People don't even need to think
about this
726
00:44:50,480 --> 00:44:51,840
when they're watching a movie,
727
00:44:51,840 --> 00:44:55,120
but it's one of the reasons
that he's able to deliver
728
00:44:55,120 --> 00:44:57,280
so much of the feeling you need
and the storytelling
729
00:44:57,280 --> 00:45:00,440
without being invasive and fussy
and pompous.
730
00:45:03,880 --> 00:45:05,320
The more I worked with Hans,
731
00:45:05,320 --> 00:45:09,120
the more I realised the value
of his creative contributions
732
00:45:09,120 --> 00:45:12,640
to the conceptual underpinnings
of what the films could be.
733
00:45:14,240 --> 00:45:16,040
With prompting from Nolan,
734
00:45:16,040 --> 00:45:19,360
Hans developed radical new ways
of scoring a movie.
735
00:45:21,000 --> 00:45:25,760
With Interstellar, I actually
got him to do his first demo
736
00:45:25,760 --> 00:45:28,480
on the basis of a short letter
that I wrote him,
737
00:45:28,480 --> 00:45:31,720
explaining the feelings,
the sort of fable
738
00:45:31,720 --> 00:45:33,520
at the heart of what the film
was going to be
739
00:45:33,520 --> 00:45:35,280
without even telling him the genre.
740
00:45:35,280 --> 00:45:38,120
And I did that while I was writing
the script.
741
00:45:40,880 --> 00:45:43,720
I gave him one day to give me
his first impression
742
00:45:43,720 --> 00:45:45,720
of the emotions I was talking about.
743
00:45:45,720 --> 00:45:47,960
And what he did for me
in that one day
744
00:45:47,960 --> 00:45:50,240
became the basis of
the entire score.
745
00:45:53,240 --> 00:45:57,720
Chris made me write this whole score
away from picture.
746
00:45:57,720 --> 00:45:59,560
It was a good experiment.
747
00:46:01,160 --> 00:46:03,600
I was writing freely.
748
00:46:03,600 --> 00:46:08,480
You know, I wasn't a slave
to the edit, as it were.
749
00:46:08,480 --> 00:46:12,520
He stopped writing pieces of music
that are integral to the structure
750
00:46:12,520 --> 00:46:15,000
of the film, and he started
just writing music
751
00:46:15,000 --> 00:46:16,760
and not watching the picture.
752
00:46:16,760 --> 00:46:19,840
So, he would create
a 35-minute piece
753
00:46:19,840 --> 00:46:21,520
that he would try against picture
754
00:46:21,520 --> 00:46:24,120
and it would inform, then,
the process.
755
00:46:25,800 --> 00:46:28,400
By writing these big, long
pieces of music,
756
00:46:28,400 --> 00:46:31,040
it gives you more of a sense of
what the picture is
757
00:46:31,040 --> 00:46:33,040
and how the music can help it.
758
00:46:38,160 --> 00:46:40,960
A couple months ago, I was
rewatching the movie with my friends
759
00:46:40,960 --> 00:46:43,440
and we're all sobbing.
760
00:46:45,360 --> 00:46:49,720
And I realised that the way that my
friends were experiencing the movie
761
00:46:49,720 --> 00:46:52,080
was completely different
from how I was,
762
00:46:52,080 --> 00:46:56,640
because I was able to hear
how my father loves,
763
00:46:56,640 --> 00:47:00,080
you know, because that movie
is about a father and a daughter.
764
00:47:00,080 --> 00:47:04,560
And to be able to hear how my father
loves and how he sees his children,
765
00:47:04,560 --> 00:47:07,280
I think, is probably the greatest
privilege of my life.
766
00:47:08,600 --> 00:47:11,240
He worked really, really hard.
767
00:47:11,240 --> 00:47:14,120
You'd catch him in the mornings,
catch him at night.
768
00:47:14,120 --> 00:47:18,120
But throughout the day,
every single day, he was working.
769
00:47:21,080 --> 00:47:23,840
Yeah, I'm glad that he takes
more breaks now,
770
00:47:23,840 --> 00:47:27,760
not just for us to be able
to spend time with him
771
00:47:27,760 --> 00:47:29,520
but also for himself.
772
00:47:30,760 --> 00:47:34,000
Because he hasn't been around
in my life -
773
00:47:34,000 --> 00:47:37,360
and the life of his children -
all too much,
774
00:47:37,360 --> 00:47:39,040
he's tried to really make up for it.
775
00:47:40,800 --> 00:47:44,160
I think every parent
comes with flaws,
776
00:47:44,160 --> 00:47:49,640
but he's really tried to show us
how he can love.
777
00:47:49,640 --> 00:47:54,320
He doesn't always say it,
but he shows us with his gestures.
778
00:47:54,320 --> 00:47:56,720
He tells you with his eyes,
"I understand.
779
00:47:57,880 --> 00:47:59,440
"I'm here.
780
00:47:59,440 --> 00:48:02,600
"I'm sorry I wasn't earlier,
but I'm here now."
781
00:48:11,160 --> 00:48:13,400
Having conquered the world
of superheroes
782
00:48:13,400 --> 00:48:18,000
and science fiction epics, Hans was
on the lookout for new collaborators
783
00:48:18,000 --> 00:48:20,560
and new projects.
784
00:48:20,560 --> 00:48:22,560
He sought one out.
785
00:48:22,560 --> 00:48:26,520
It was a world away from
Hollywood blockbusters.
786
00:48:26,520 --> 00:48:28,440
I made a film called Shame.
787
00:48:28,440 --> 00:48:30,640
And there was a piece of music,
there was a little temp music
788
00:48:30,640 --> 00:48:33,920
we were using, called Hans Zimmer.
It was close to him,
789
00:48:33,920 --> 00:48:35,880
but not exactly. So we were
just playing with it.
790
00:48:35,880 --> 00:48:37,600
I thought it was great.
I thought it was OK.
791
00:48:37,600 --> 00:48:40,040
It's not that piece of music,
obviously not.
792
00:48:40,040 --> 00:48:43,280
But, yeah, it is obviously
hugely inspired by it.
793
00:48:43,280 --> 00:48:46,720
So I was in New Orleans,
in a hotel room,
794
00:48:46,720 --> 00:48:50,000
and I get this call early in
the morning - and it's Hans Zimmer.
795
00:48:50,000 --> 00:48:52,640
And I said, "Oh, shit, this guy's
going to sue me or something.
796
00:48:52,640 --> 00:48:56,880
"What's going on?" I thought...
He goes, "No, no, no, no, no, no!
797
00:48:56,880 --> 00:48:59,880
"But why didn't you ask me
to work with you?"
798
00:48:59,880 --> 00:49:02,200
I thought, "Well, I never thought
I could, you know,"
799
00:49:02,200 --> 00:49:03,840
He was like, you know,
"You should ask me.
800
00:49:03,840 --> 00:49:06,760
"I'm interested in working with
film-makers, great film-makers
like yourself."
801
00:49:06,760 --> 00:49:09,120
I said, "OK, well, I'm working
this film called 12 Years A Slave."
802
00:49:09,120 --> 00:49:12,800
"Are you interested in working
on it?" He goes, "Yeah, of course!"
"OK, but you're pretty expensive."
803
00:49:12,800 --> 00:49:15,080
"Don't worry about that. Listen,
I would love to work with you."
804
00:49:15,080 --> 00:49:17,720
And that was it. That was the start
of our relationship.
805
00:49:19,440 --> 00:49:22,480
Hans is lavish with
what he brings you.
806
00:49:22,480 --> 00:49:24,920
You know, 12 Years A Slave
is the really good example,
807
00:49:24,920 --> 00:49:27,160
that we were there with
empty pockets
808
00:49:27,160 --> 00:49:31,120
and he was getting people on
planes - and first class musicians -
809
00:49:31,120 --> 00:49:33,840
to come over from Germany
and start working with us
810
00:49:33,840 --> 00:49:35,080
and developing...
811
00:49:35,080 --> 00:49:38,120
You know, we wanted a kind of
slightly home-made feel
812
00:49:38,120 --> 00:49:40,520
about some of the score
in 12 Years A Slave,
813
00:49:40,520 --> 00:49:44,200
particularly in that area where
he's trying to write using juice.
814
00:49:47,240 --> 00:49:51,520
I loved working on it so much.
I thought it was important.
815
00:49:52,720 --> 00:49:54,760
Nobody believed in it.
816
00:49:55,960 --> 00:49:58,000
We had no budget.
817
00:49:59,000 --> 00:50:01,000
It's very few of us,
818
00:50:01,000 --> 00:50:04,720
but I remember Steve being
in the room, and it's like...
819
00:50:04,720 --> 00:50:07,360
The intimacy was vital.
820
00:50:11,440 --> 00:50:17,120
It was a very low-budget film,
and it was really Hans's generosity
821
00:50:17,120 --> 00:50:19,560
at bringing the right
ingredient over
822
00:50:19,560 --> 00:50:21,560
and getting him to work with us.
823
00:50:23,000 --> 00:50:24,960
I'm a short order cook.
824
00:50:24,960 --> 00:50:28,440
You know, I go out, I find...
I go shopping.
825
00:50:28,440 --> 00:50:32,680
Oh, good ingredients -
you know, fresh tomatoes, special...
826
00:50:32,680 --> 00:50:35,400
"Oh, look at those carrots!
They look really good," you know?
827
00:50:35,400 --> 00:50:38,640
And then I spend forever
peeling and chopping, etc.
828
00:50:38,640 --> 00:50:41,000
And because the ingredients
are fresh
829
00:50:41,000 --> 00:50:46,640
and the ingredients are delicious,
I'm hoping it's going to be OK.
830
00:50:51,240 --> 00:50:53,480
He's like a kid that doesn't want
to do his homework,
831
00:50:53,480 --> 00:50:55,080
and it's like, "Come on,
what the fuck?"
832
00:50:55,080 --> 00:50:57,160
But at the same time, he's working.
833
00:50:57,160 --> 00:50:59,760
He's... It's working, he's working.
834
00:50:59,760 --> 00:51:03,040
Shit takes time. You know,
anything takes time. You know?
835
00:51:06,920 --> 00:51:09,240
This desire never to be pigeonholed
836
00:51:09,240 --> 00:51:12,520
even led him to score
natural history films.
837
00:51:17,040 --> 00:51:21,160
Hans brought all his feature film
experience to these projects.
838
00:51:31,560 --> 00:51:35,800
But he discovered there were
crucial differences.
839
00:51:35,800 --> 00:51:39,800
If you take something like
a Chris Nolan's Batman,
840
00:51:39,800 --> 00:51:44,040
there's an enormous amount
of sound design music.
841
00:51:45,120 --> 00:51:48,760
It's like literally creating
worlds from scratch...
842
00:51:49,960 --> 00:51:54,000
..which, of course, you don't want
to do in a natural history.
843
00:51:54,000 --> 00:51:57,200
What you want to do is you want
to leave room for the natural sound.
844
00:52:02,120 --> 00:52:05,800
So, yes, there is a difference.
You try to work around it.
845
00:52:07,000 --> 00:52:09,800
There's a danger of
making animals cute...
846
00:52:11,200 --> 00:52:12,560
..Disney-fying them.
847
00:52:14,400 --> 00:52:16,640
And since I know the other side
of the coin,
848
00:52:16,640 --> 00:52:18,640
you know, I know what not to do.
849
00:52:20,960 --> 00:52:25,240
On the other hand, the iguana
and the snake scene.
850
00:52:25,240 --> 00:52:27,120
I keep referring to that scene
851
00:52:27,120 --> 00:52:31,800
because I know every director
is just immensely envious of it.
852
00:52:33,440 --> 00:52:36,480
The best car chase
nobody ever filmed.
853
00:52:39,560 --> 00:52:42,240
And that, of course, was scored like
an action scene.
854
00:52:53,800 --> 00:52:56,000
He's always changed.
He changes and changes.
855
00:52:56,000 --> 00:53:01,640
Yeah, he uses a sound for a while
as he kind of perfects it,
856
00:53:01,640 --> 00:53:04,720
and then there's this era
of that sound on films,
857
00:53:04,720 --> 00:53:08,120
and then he'll change again.
He gets bored with his own sound.
858
00:53:11,200 --> 00:53:15,640
Hans's most recent work not only
earned him his second Oscar,
859
00:53:15,640 --> 00:53:20,160
but it might be the most radical
reinvention of his sound ever.
860
00:53:20,160 --> 00:53:23,760
His brief was to create what
the director, Denis Villeneuve,
861
00:53:23,760 --> 00:53:26,440
described as an alien score.
862
00:53:26,440 --> 00:53:28,480
MUSIC FROM: Dune
by Hans Zimmer
863
00:53:31,080 --> 00:53:32,520
The idea for doing that,
864
00:53:32,520 --> 00:53:37,160
it should be a score that will use
unknown instruments...
865
00:53:39,440 --> 00:53:44,760
..that the sound would be something
that would come from another time,
866
00:53:44,760 --> 00:53:46,320
from another place.
867
00:53:53,680 --> 00:53:56,880
It was also very important that
the score would have some kind of
868
00:53:56,880 --> 00:53:58,400
spiritual quality.
869
00:54:04,480 --> 00:54:09,720
It's one of the main theme of Dune -
like, that exploration of religion
870
00:54:09,720 --> 00:54:13,320
and the danger of mixing
religion and politics together.
871
00:54:18,400 --> 00:54:21,760
The male characters are not really
the male characters
872
00:54:21,760 --> 00:54:23,960
that drives the story forward.
873
00:54:23,960 --> 00:54:26,880
It's the female characters
that drive the story forward...
874
00:54:29,800 --> 00:54:35,280
..so it was really important for me
to find a great female voice...
875
00:54:36,600 --> 00:54:38,520
..and then frame her...
876
00:54:39,960 --> 00:54:44,240
..with all these instruments which
we built, which we synthesised,
877
00:54:44,240 --> 00:54:49,080
which we drove people crazy
that write software - you know,
878
00:54:49,080 --> 00:54:53,640
"Can you build me a resonator
that will turn Tina Guo's cello
879
00:54:53,640 --> 00:54:55,600
"into a Tibetan war horn?"
880
00:54:55,600 --> 00:54:57,880
"What does a Tibetan war horn
sound like?"
881
00:54:57,880 --> 00:54:59,440
"I have no idea."
882
00:55:03,680 --> 00:55:07,240
Quite late in the day, he recorded
some sort of scratchy noise
883
00:55:07,240 --> 00:55:11,000
that was redolent of sand
and dry wind.
884
00:55:12,600 --> 00:55:15,120
I don't know what it was.
I think it was a sound effect.
885
00:55:15,120 --> 00:55:17,920
And he remixed everything
to include it!
886
00:55:24,480 --> 00:55:27,680
I think it drove everybody nuts
on that show.
887
00:55:33,600 --> 00:55:37,240
As much as he has designed
all those alien instruments,
888
00:55:37,240 --> 00:55:41,440
he decided that the instrument
that will have survived 10,000 years
889
00:55:41,440 --> 00:55:43,920
in the future will be the bagpipes.
890
00:55:46,200 --> 00:55:47,840
He started to compose with
the bagpipes,
891
00:55:47,840 --> 00:55:53,520
which was, like, very fresh,
surprising and interesting.
892
00:55:54,920 --> 00:55:57,920
And the Oscar goes to
Hans Zimmer, Dune.
893
00:55:57,920 --> 00:55:59,680
CHEERING
894
00:55:59,680 --> 00:56:03,840
I don't think anybody's ever won
an Oscar for a score that blatantly
895
00:56:03,840 --> 00:56:07,000
is bagpipes, heavy metal guitars
and a woman screaming at you.
896
00:56:07,000 --> 00:56:09,120
SCREAMING
897
00:56:13,600 --> 00:56:15,440
"What's going on here?
898
00:56:15,440 --> 00:56:19,240
"Where are the strings?
Where are the nice things?"
899
00:56:20,920 --> 00:56:23,120
It was just a provocative thing.
900
00:56:31,640 --> 00:56:33,880
APPLAUSE
901
00:56:35,120 --> 00:56:38,160
Hans began his musical career
in a band
902
00:56:38,160 --> 00:56:40,320
touring working men's clubs.
903
00:56:41,640 --> 00:56:46,400
His life has turned full circle
as he takes his scores on the road.
904
00:56:47,520 --> 00:56:50,280
But these days,
the venues have changed.
905
00:56:51,600 --> 00:56:54,440
His enthusiasm has increased.
906
00:56:54,440 --> 00:56:58,160
I think it's going out on tour
that's responsible for that.
907
00:57:03,120 --> 00:57:06,400
He loves the people he works with.
He loves touring.
908
00:57:06,400 --> 00:57:09,480
It feeds him. It nurtures him.
909
00:57:09,480 --> 00:57:12,720
When he's on a stage, there's nobody
who quite has that relationship
910
00:57:12,720 --> 00:57:14,760
with the audience.
911
00:57:14,760 --> 00:57:17,800
They come in to see a maestro
and they end up seeing somebody
912
00:57:17,800 --> 00:57:19,960
who feels like a friend
by the end of the show.
913
00:57:23,480 --> 00:57:27,680
I used to be so afraid of being
on stage, but nowadays,
914
00:57:27,680 --> 00:57:33,840
it was just like dinner party with
12,000 people, just having a chat.
915
00:57:33,840 --> 00:57:36,720
He's basically had a midlife crisis
and become a rock star.
916
00:57:40,320 --> 00:57:42,960
CHEERING AND APPLAUSE
917
00:57:45,200 --> 00:57:47,240
I'm still learning something.
918
00:57:47,240 --> 00:57:49,280
I just want to use all those things
I've learned.
919
00:57:49,280 --> 00:57:51,320
And I want to go and play with
all these synthesisers,
920
00:57:51,320 --> 00:57:52,920
and I want to go and tell
all these stories,
921
00:57:52,920 --> 00:57:56,840
and I want to go and work with
all these directors.
922
00:57:56,840 --> 00:57:59,640
He is not the norm,
and that's, like, why he has
the career that he does.
923
00:57:59,640 --> 00:58:02,320
Like, he doesn't want to do things
the way other people have done it,
924
00:58:02,320 --> 00:58:05,520
and he thrives on it.
You know, he loves it.
925
00:58:09,440 --> 00:58:11,320
Things moved really fast.
926
00:58:12,440 --> 00:58:16,080
Life isn't as long
as you think it is.
927
00:58:16,080 --> 00:58:19,120
You have a choice. You can go
and try to live a playful life,
928
00:58:19,120 --> 00:58:23,800
or you can go and live a life
which excludes playfulness.
929
00:58:23,800 --> 00:58:25,480
And it doesn't get you anywhere.
930
00:58:25,480 --> 00:58:27,760
Playfulness gets you somewhere.
931
00:58:29,520 --> 00:58:32,320
It's fun, it's inspiring,
932
00:58:32,320 --> 00:58:36,280
just making a racket and hopefully
have a bit of a laugh.
933
00:58:37,480 --> 00:58:38,600
It's wonderful.
74744
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