Hans Zimmer on His Most Unusual and Underrated Scores

As a devoted cinema enthusiast, Hans Zimmer‘s scores transcend the boundaries of even the grandest movie screens. They call for emotional crowds shedding tears to The Lion King in 20,000-seat auditoriums and drenched Coachella attendees swaying to the Pirates of the Caribbean melodies under the twilight. You might have heard “BRAAAM” or a similar sound in countless trailers, but you haven’t truly experienced it until a fellow audience member, much like Leonardo DiCaprio in Once Upon a Time in Hollywood, points toward the stage with uncontainable excitement.

As a film enthusiast myself, I must admit that not many artists outside the realm of pop stardom can pull off the kind of tours Hans Zimmer has been executing for the last few years. Beyond being a current Academy Award nominee for his work on Blitz, this veteran composer is currently performing shows all across the United States and Europe, with dates scheduled as far ahead as March 2026.

On stage, Zimmer compresses his 43-year career into a grand spectacle that traverses the numerous genres he has worked in. One moment you might be hearing the melodies from Driving Miss Daisy, and the next you could find yourself enveloped by the tunes from Pearl Harbor or The Prince of Egypt. Before long, you’ll be immersed in the haunting themes from Inception. Spanning over two to three hours, this largely self-taught German multi-instrumentalist, who built his Hollywood legacy on the foundations of his work with late-’70s New Wave bands, showcases the unique melodic structures and innovative techniques that have made his work a staple in pop culture.

Just before Christmas, Zimmer reflected on his career from the luxurious surroundings of his Santa Monica studio. “I’ve made romantic comedies, war films, car racing movies, thrillers, the bizarre, and even pirate stories,” he mused. “In short, there’s not much left unexplored.

Most technically innovative score

The movie “Inception” resonates with me due to its portrayal of manipulating the very essence of time itself. At one instance, there are three distinct events occurring simultaneously. It’s like multiple trains passing at different speeds, yet they somehow synchronize and harmoniously blend for a moment before drifting off into their separate realms once more. “Interstellar” is equally intriguing because it employs the use of a pipe organ, an instrument rarely utilized outside the realm of horror films.

Weirdest place you’ve heard “BRAAAM” used

I make an effort to avoid acknowledging it. After everyone else incorporated it into their trailers, it somehow seemed less special in Inception. Chris had written about hearing a slowed-down city soundscape with horns in his script, so I manipulated the third trombone note from Édith Piaf’s song “Non, Je Ne Regrette Rien,” slowing it down and adding some unconventional touches. In London, I assembled a group of brass musicians in a stunning hall. An open piano was placed with a brick on its sustain pedal, and they played into it, causing the entire piano to reverberate. It served as a plot point, but “BRAAAM” became every trailer’s go-to transition for moving from one disconnected idea to another. It distorted the original meaning.

Score that inspired the most copycats

In my opinion, I believed I created something truly unique for the film “Rain Man“, but by the end of the year, there were a thousand imitations of it. Since road movies are typically associated with either twangy guitars or rich strings, I chose to avoid those altogether. Instead, I incorporated unusual Cuban rhythms, synthesizers, and even fake panpipes. I kept thinking, “This music should sound like it’s from Mars.” There’s a scene where they drive over a bridge, and the music is written in the key that resonates from the bridge. The music was sent to Dustin Hoffman in New York so he could hum in the correct key. My work on “Rain Man” was more than just a collection of sounds; it was a unified art form, a true Gesamtkunstwerk.

Biggest crowd-pleaser during your live shows

As we approach the finale, we transition from “The Lion King” to a James Bond-like segment, or conclude the first half with a 14-minute rendition of “Pirates”. I have no shortage of quality content. What seems to resonate deeply with audiences is an extended version of “Interstellar”, and it holds up well, which is beneficial.

I strictly followed one guideline for these performances: I always avoid using any images directly from the films, as they might divert attention. Instead, I aim to provide the most unadulterated version possible. To achieve this, I observe the audience and identify what strikes a chord with them. During Coachella, the conversation turned to The Lion King, as I initially resisted using it due to its children’s movie nature. However, Nile Marr convinced me by saying, “Hans, get over yourself. That’s the music of my childhood.” So we went ahead and performed it. It was incredible to see approximately 80,000 people moved to tears in silence.

Most underrated score

The Aficionado”

Nobody attended the movie screening, and its soundtrack is relentlessly discordant. A chilling poem was recited through a vocoder, making it incomprehensible, yet there’s an undeniable sinister undertone to it. This music isn’t for amateurs; it’s the kind that pushes boundaries. Yet, I find myself strangely drawn to it. It seems I might be causing a stir within the band as they contemplate incorporating this challenging piece into their next performance. I doubt the average audience seeks comfort in familiarity. They crave adventure. They yearn for the precipice of chaos. And that’s where I thrive.

Score you’d like another shot at

I’ve been part of many films that didn’t succeed, “The Fan” being one such example. I sometimes find myself slipping into the mindset where everything I’ve ever done is either subpar or not up to my potential. However, there’s a piece within me that I believe I can create. I recall playing something for Gore Verbinski during “Rango,” and he said, “Yes, it’s good if you’re aiming for serviceable and ordinary.” But as soon as we began, the ordinary gave way to something extraordinary and challenging to pull off. The project was almost fatal at times. You’d have to hear it because it’s difficult to explain psychedelic country-western rock and roll with a strong disco rhythm.

Franchise you wish you could score

There’s never enough pornography.

I don’t have much more to accomplish now. I recall working on a movie set in Paris at night. It was raining, and a girl had just ended her relationship with her boyfriend. She was walking along the Champs-Élysées, crying, and the director, who happened to be my friend, was taking an unusually long time to explain the scene to me. Eventually, I had to interrupt him and ask, “Don’t you realize how many times I’ve written this exact scene before?

Biggest cultural contribution other than “BRAAAM”

As a movie enthusiast, I’ve found myself in an extraordinary position, composing and performing music that fills arenas and sells out everywhere. With the exception of John Williams, I don’t believe anyone else could achieve this. Here’s why it matters culturally. It wasn’t solely pressure from Johnny Marr or Pharrell that drove me to do it; rather, I was deeply concerned about the future of orchestras. People might dismiss them as outdated or irrelevant, but I wanted to demonstrate their relevance and importance. In essence, my aim is to preserve the beauty and significance of orchestral music. Despite all the negative aspects of Hollywood, one cannot deny that it remains one of the few places on earth where orchestral music is commissioned daily. Losing orchestras would mean losing a significant part of what makes us human.

Favorite Christopher Nolan collaboration

In a unique turn of events, Interstellar started with an unexpected twist. Chris handed me a letter asking me to write freely, without revealing the movie’s title. He included a fable, typed on thick paper using his father’s typewriter, which seemed to convey the essence of fatherhood – viewing oneself through one’s children’s eyes. Given my familiarity with Chris and his connection to my son Jake, I assumed this was the story’s focus. Thus, I penned a heartfelt tribute to my son, expressing love as the theme.

Late at night, I called Chris’s house, and his wife Emma answered. She informed me that Chris was restless and eager to hear my creation. He came down, sat on my couch, and I chose not to look at him as I played him the piece for the first time. It was a delicate composition, and I asked for his thoughts. He responded, “I suppose I should start making the movie now.” Intrigued, I inquired about the film, to which he spoke about space travel, monumental journeys, and the end of the world. I interjected, “Hold on, stop! I wrote you a deeply personal, intimate piece,” to which he replied, “Yes, but now I know where the story’s heart lies.”

Excited, we then brainstormed what musical elements remained unexplored in the film. Chris suggested using a pipe organ, as it had not been utilized creatively or extensively before. The piece I played for Chris is titled “Day One,” and it features prominently throughout the movie.

Best Prince interaction

I encountered him on numerous occasions. While I can’t pinpoint the exact instances, he would often make remarkably insightful statements that left me momentarily bewildered, uttering something like “What on earth?“. However, within a couple of days, I would find myself admitting “He was absolutely right.” His revolutionary spirit was palpable at all times. I held him in high regard not only for his boldness but also his gentleness. The film we worked on together, “I’ll Do Anything“, turned out to be a catastrophe. Despite the abundance of fantastic Prince songs, the audience required a warm-up beforehand, as they were not ready for a musical production. They were simply unprepared for it, and that wasn’t what people wanted at the time. I possess extraordinary demos from Prince – truly invaluable, captivating, brilliant works. These demos vary, sometimes just featuring a drum beat and him on the piano, while other times they are more polished but it’s the raw ones that I adore most.

Most unusual object you’ve incorporated into a piece of music

In the film Dune, many unique instruments crafted by us and the late musician Chas Smith are featured. Sadly, Smith passed away during the production of Dune: Part Two. His home served as a massive resonating chamber, and he had an unusual collaboration with Boeing and Lockheed, receiving scrap metal to transform into sculptures. Since some of these creations were excessively large and heavy, they couldn’t be transported elsewhere. Consequently, Dune showcases mostly modified or self-made instruments. We recorded the music through these sculptures as a means of staying true to the spirit of science fiction and world-building. Instead of using a traditional orchestra from middle Europe, we opted for an approach that suggested technological advancement in distant worlds. However, Denis Villeneuve chose one element early in the movie – a character playing bagpipes, which he thought was clever because the bagpipes are timeless. Intriguingly, I asked Guthrie Govan, a renowned guitarist, to replicate the bagpipe tune for the film, and I neglected to inform Villeneuve about this until we were at a Q&A in New York. When I revealed that it was actually Guthrie playing guitar, he was quite surprised.

Favorite piece of music that didn’t make a film’s final cut

Back in the day, if a track were my go-to jam, it’d likely make the cut for a film. Yet, not too long ago, I stumbled upon a cassette with 48 potential themes for The Lion King. They weren’t as stellar as the final version, but they weren’t shabby either. At that point in time, I wasn’t keen on fairy-tale films. Boy, was I wrong! I remember thinking, “I’m not a fan of Broadway musicals,” and Disney replied, “We assure you this could never transform into a Broadway musical.” How the tables have turned!

Most expensive studio equipment you own

I currently own an old Moog synthesizer that once belonged to Tangerine Dream – they decided not to keep using it themselves – and this unique piece of musical history is up for sale. In fact, the proceeds could potentially be enough to purchase a new home!

Marr, son of the Smiths guitarist Johnny Marr, tours with Zimmer.
A 1996 sports thriller directed by Tony Scott and starring Robert De Niro and Wesley Snipes.
According to Zimmer, they told him, “You have to look your audience in the eye. You can’t hide behind the screen forever. You owe it to your audience.”
Prince and Sinéad O’Connor contributed songs to the original version of the 1994 flop, which James L. Brooks shot as a musical satire about the film industry. It was re-edited based on negative test screenings. Zimmer wrote the score.

2025-01-16 18:54