Hans Zimmer Addresses ‘Dune’ Score Ineligibility, Why ‘Blitz’ Is Personal to Him and Being Happiest on Tour

I find it truly inspiring to delve into the world of Hans Zimmer, a man who has crafted some of the most memorable and emotionally resonant film scores of our time. His life story is as dynamic and complex as his music, with a career that spans decades and countless iconic films.

After completing his global tour titled “Hans Zimmer Live,” Hans Zimmer’s Santa Monica studio is filled to the brim with musical equipment.

His studio space is large and welcoming, oozing with creativity. The composer and musician is currently at work on an undisclosed project. We’re set to talk for 20 minutes, but Zimmer welcomes the distraction. “The more you are here and we’re chatting, the less I have to go and do any work,” he teases. We end up chatting for an hour.

Beyond the cinematic journey, I’ve had the privilege of rejoining forces with my frequent collaborators once more. Denis Villeneuve for “Dune: Part Two” and Steve McQueen from “Blitz,” are the current recipients of my musical talents. The anticipation surrounding “Dune: Part Two” is palpable, and while I’m not optimistic about securing a second Oscar for it, I can’t help but feel a bit disappointed if it doesn’t. There’s a deep personal connection with Steve McQueen’s project as well; his mother, like mine, was a German Jewish refugee who sought safety in the U.K.

Zimmer likewise discusses his joy during life on the road, explaining it as the time when he feels most content. Furthermore, he shares an extraordinary bond he has with the movie “Widows” and describes how composing its soundtrack marked a significant circle in his career.

That ‘Blitz’ score is something. It’s really unsettling. What was your approach to it?

The reaction from the audience wasn’t simple to achieve, but it was deliberately designed. After watching the movie, I thought, “I want to create something discordant. I want adults to experience the same confusion and fear as a child would.

There are cues throughout it where you create that terror for George, who is trying to find his way back to London to return home. What was the instrument you used to achieve that?

Primarily, my band comprises Molly Rogers and Tina Guo, two individuals with whom I have a close relationship. If you were to ask a violinist or cellist who dedicates their life to producing enchanting melodies, I’d ask them to produce “disturbing” sounds instead. Therefore, it involved people I am well-acquainted with, and there was a great deal of turmoil as textures frequently shifted during the course of the scene. The objective was to establish contrasts, such as when children are atop a train, the music is cheerful.

And what happens next is so deceiving.

Exactly.

What was it about ‘Blitz’ that spoke to you?

Steve’s suggestion to watch the movie held a deeply personal significance for us, given our close relationship and shared past. We delved into each other’s histories, discussing our identities and origins. He knew my mother was a German Jewish refugee during World War II in England, surviving the Blitz, and he recounted his experiences of that time. Steve predicted that I would gain new insights about my mom after seeing the film, and indeed he was correct. The stories that were once merely anecdotes became palpable feelings for me. Steve helped me experience the desperation and raw fear she must have felt as a young woman, being considered an enemy alien in England. This wasn’t dissimilar to George’s experiences; both of us pondered where to find support and compassion in unfamiliar places.

One aspect I greatly appreciate when collaborating with Steve is his ability as both an artistic genius and forward-thinker. Given his wife’s esteemed background in history, he possesses a wealth of knowledge and a keen eye for historical accuracy. This combination makes it possible to express honest yet challenging ideas without being overshadowed. There’s always the temptation to resort to sentimental work, but I believe I successfully steered clear of that throughout our collaboration.

Steve is a visionary. I saw him recently at a film festival and we spoke about this score, and I also told him “Justice for ‘Widows.’” That score still holds up, you know?

As a passionate film enthusiast, I find it hard to believe that the gripping movie “Widows” originated from a British TV series I once worked behind the scenes on – making tea and running errands. It’s almost surreal! But now, as I watch the finished product, it feels like coming full circle.

Let’s talk ‘Dune: Part Two’ and scoring this world. Returning to Arrakis, how did you approach it?

Listen, I am potentially confronted with an odd problem, which I think is quite interesting because of the amount of music that comes from the first movie into the second. We are not a normal sequel. We’re not like “Pirates of the Caribbean,” you have a theme for Jack Sparrow that comes again. This is different. “Dune: Part One” and “Dune: Part Two” are one story, so it would make no sense for me to go and change the theme for the characters. I knew what the last note of the second one was before I wrote the first note of the first one, and I had the whole arc in my head of how to develop what we were going to do.

It seems you originally stated, “There was a story I couldn’t use.” In simpler terms, you could say, “You’re suggesting that I shouldn’t employ this particular narrative style.” For instance, “The Lord of the Rings” employed this narrative technique too. They had one extensive and significant tale which necessitated division due to its size, so they split it into three volumes. In our case, we are dividing it into three parts, but we were compelled to separate the first book.

The essence of my argument is this: If I already won an Oscar for the first one, it’s unlikely I’ll win another for the second one. However, that’s not the crux of my concern. My main point is to exercise caution with these rules because the Academy Awards matter significantly in our industry, and they can potentially limit our artistic expression. You seem to be suggesting that certain works won’t be considered for nomination due to past successes. We need the freedom to explore various creative avenues without such restrictions. Denis making two films from a single heavy book is an example of this creative exploration, and I believe he made the right decision in doing so.

Prior to embarking on my tour, people were advising me, “Oh, modern audiences have short attention spans, so keep your performances brief.” However, I find this statement inaccurate. For instance, “Pirates” lasts for 14 minutes, and I believe “The Dark Knight” is approximately 22 minutes long. The audience remains engaged throughout. Similarly, when Denis plans to create “Dune” as two extended segments, the audience will stay with us. Part of this is due to the importance of expanding on your themes. You need to contemplate your themes and how they evolve over a longer duration. Therefore, don’t dismiss me based on that assumption. It’s not about me; it’s about the movie itself.

If you listen to the scores or watch the films, you do hear the evolution of, say, Paul’s arc, right?

This character undergoes a significant transformation that proves challenging for both Denis and Timothee to portray convincingly, given the unlikable nature of the resulting hero. It’s crucial to ensure the audience still derives a fulfilling experience, avoiding disappointment. I believe the role of music in this context is instrumental; it doesn’t dictate emotions but instead facilitates them, providing an avenue for audience engagement and emotional exploration.

I recall speaking about the music of ‘Dune: Part Two’ a while ago, and you said you teased Paul and Chani’s theme in your concerts before people even knew what it was. What was it like performing that after the film had been released?

It’s possible that part of what I’m pondering involves the recurring theme in my show. Initially, I introduce the theme with Loire Cotler’s captivating solo performance as the voice of “Dune”. She sings alone on stage, with a large screen behind her adding to the atmosphere. After the intermission, Pedro Eustache performs the same theme, this time orchestrated. Despite playing the same piece twice, it often goes unnoticed, and even if recognized, the audience responds emotionally differently. In essence, within those few notes lies a significant emotional voyage.

Are you happier on the road or in a studio?

It brings me immense joy being in the company of fellow musicians, yet finding success as a musician today presents numerous challenges. Earning a decent living, staying afloat, and getting noticed are all struggles I face. However, there’s nothing more satisfying than stepping onto a stage and witnessing others pour their hearts into their performances, feeling the audience’s reaction. For those three hours, everyone is enjoying themselves immensely.

There’s a story to your orchestra and why their performances each night were special, can you share it?

The story of my orchestra is quite simply this. We have played with this orchestra from Odesa, Ukraine, before, and we really liked them, so we booked them again. But COVID hit, so we couldn’t do anything. When we were ready, we called them and said, “Pack your violins.” But the war started, and we managed to get not everybody out. One of the violinist’s cars had broken down trying to get across the border, and just by sheer accident, one of the other orchestra members saw him and gave him a lift. So now we have this orchestra that for three hours every night can’t answer the phone. They don’t know if their homes are being bombed. One night someone couldn’t find their mother, but then the next day, someone found her. These are constant real-life things going on.

After the tour concluded, they found themselves unable to return, but fortunately, the German government generously provided a place for everyone to live. I could share countless tales about the individuals around me, each with remarkable life journeys that they beautifully convey through their music. Each note they play is infused with emotion – blood, sweat, tears, and unwavering dedication. It’s this intensity of collaborating with people that brings me joy. Seeing them walk away with broad smiles on their faces fills my heart.

This interview has been edited and condensed for clarity.

2024-11-28 20:47