[Closed] HANS ZIMMER

I am too; i don't wish that we didn't get those, in any case. What i am saying is that it'd be very interesting if he ALSO kept Julyan as well, for a project or two here and there.

I'm glad to see all the praise for The Prestige. I love that film. It is even more brilliant in my eyes when you compare it to the book. I think it improved on the book considerably (which was a more literary version of the same story - okay that sounded really dumb, but you all understand the difference between literary fiction and commercial fiction, right? The book was more literary, the story from the film was more commercial. Does that make sense to anyone?).

Julyan's version of Zimmer's Journey to the Line
(The Descent: Part 2 clip)

That said, the score is really good, as was the first one.

The last one, The Descent: Part 2.

Loved the movie posted better but this is good too.

this one

http://www.shockya.com/news/wp-content/ … oster2.jpg

For anyone interested in THE THIN RED LINE, it'll be good news that soon, The Criterion Collection will be releasing a re-issue of the DVD of the film, along a brand new BluRay version. Apart from newly restored picture and sound, the special features will be as followed:

- New, restored high-definition digital transfer, approved by director Terrence Malick and cinematographer John Toll (with DTS-HD Master Audio on the Blu-ray edition)
- New audio commentary featuring Toll, production designer Jack Fisk, and producer Grant Hill
- Outtakes from the film
- Video interviews with several of the film’s actors, including Kirk Acevedo, Jim Caviezel, Ben Chaplin, Tom Jane, Elias Koteas, Dash Mihok, and Sean Penn
- New video interview with casting director Dianne Crittenden, featuring original audition footage
- New interview with composer Hans Zimmer
- New video piece featuring interviews with editors Billy Weber, Leslie Jones, and Saar Klein
- An interview with writer James Jones’s daughter Kaylie Jones
- World War II newsreels featuring footage from Guadalcanal and the Solomon Islands
- Original theatrical trailer

PLUS: A booklet featuring an essay by film critic David Sterritt and a 1963 essay by James Jones on war films

As it's Criterion, I'm sure this will not be just a random interview for EPK purposes, I'm expecting a meaty conversation. The downside is, however, that Criterion region locks all their releases... so now I'll have to find a way to get a region free BluRay player...

Are you sure it's a Zimmer piece though?

I'll probably get a new BluRay player for this. Man, this got me browsing through Criterion's catalogue, and there's so many movies I'd love to see, and their releases look so awesome...

Here's the TRL cover, by the way (it's most likely the blue BR banner won't be on the finished product, as they only include it on their press releases to show it's BR but drop it on the BR itself):

http://criterioncast.com/wp-content/upl … .21-AM.png

You don't need a blu-ray player. Rips will appear in the usual places the same day of the release. I loved TTRL but getting a new blu-ray player just for this is a bit far-stretched imo, also what kind of tv do you have? If you don't have a widescreen (16:9 at least) lcd screen that supports full hd 1080 and has an hdmi connector, then the blu-ray will be useless.

Or a DVI connector.
Or 720p...the difference between 720p and 1080p is not visible to the human eye in most typical home setups. And even if that statement is questionable, 720p blu-ray is certainly a HUGE improvement over 400p DVD.

I am just saying blu-ray is still worth something even if you only have a 720p display.

Damn that's huge. OWNED.

Hans Zimmer about "Inception":

Collaborating with Nolan for the third time, composer Hans Zimmer used music
to get to the heart of “Inception.” Zimmer emphasizes, “My focus was constantly on the
emotional world of the story because, even when all is said and done about the
astounding visuals, I think that is one of the great strengths of the film.”
Nolan states, “I always want Hans to be inspired by the picture, but I also like to
hear where his imagination would go in interpreting the ideas of the script. Based on
that, we start finding interesting points of synchronization between the movie and the
music.”
Zimmer says that his first conversations with the director were about the
arrangements and the orchestrations. “We talked about wanting big waves of sound,
which would require more brass than strings, so I put together a huge brass section. We
recorded them separately because there was no way that strings would have survived
the onslaught,” he smiles.
One of the string instruments that Zimmer did spotlight was the guitar, played by
legendary musician Johnny Marr, the guitarist for the seminal band The Smiths. Zimmer
acknowledges, “The idea of incorporating a guitar in the score can be a little tricky
because guitar and orchestra don’t always gel. But I kept thinking of Johnny Marr, who
has influenced a whole generation of guitarists. The great thing was that as soon as
Johnny played the first few notes, it was exactly how I’d imagined it…only better. And
that’s what you expect from a great artist.”
Another great artist who is heard in “Inception” is singer Edith Piaf, whose voice
“serves a function beyond the score,” Zimmer says. “I love that Chris wrote Edith Piaf
into the script because there is a timeless romantic quality to her voice.”
Nolan remarks, “One of the decisions I had to make early on was regarding our
use of the Edith Piaf song. Due to the nature of its place in the story, should it be
handled by the sound department or Hans? I decided to give it to Hans because the
song was going to have to weave into the score at some point, and he is a genius at
26
blending music and sound together—figuring out the balance between instruments and
synthesizers and voices and sound effects. It’s very exciting.”
“The aim is for there to be a complete sonic world for the movie,” Zimmer adds.
“The instruments should bleed into the sound effects and the sound effects should bleed
into the music.”
“There are scenes in the film where the score and the sound design are literally
indistinguishable,” Nolan affirms. “What you wind up with is something that connects the
different layers of reality the movie presents between waking and dreaming.”
Emma Thomas reflects, “Working on this film has made me think very differently
about dreams and it’s definitely made me wonder about what I’m dreaming and how it
ties into my life.”
Nolan concludes, “Once you start examining what the dream experience might
mean, it invites people to think about their own dreams and what they reveal. It raises
interesting questions about how we assess the nature of our own reality.”
# # #


source: http://inceptionmovie.warnerbros.com/pd … s_6-18.pdf

Yeah.



"sonic world".
Read: "loads of wall-to-wall noise, becasue either silence OR lyricism is scary."

I like Nolan as a director.
His views on how sound should work in films I'm less keen on.
(I'm not saying it's not valid. Actually I think it is and quite an interesting one at that.
It's just completely against anything I think film music should be and do.)