All language subtitles for 06 - Directors Part 3 - Hans Zimmer Teaches Film Scoring

If you just look at the Ridley
Scott movies, you know

Thelma and Louise is a very different
esthetic musically from Gladiator.

It's a very different esthetic
from Black Reign.

There's a very different style
from, from Matchstick Men.

Well said to a thread, Black Hawk Down,
you know, it's Hannibal.

I mean, they're all they're
completely stylistically, they're very,

very different.

And it's and he's very,
very different as well in them.

because because that's the whole thing.

I mean, you know, it's,
you know, one of the reasons I think

he's such a great director is this
because he's interested in so many things

and he can get passionate
about so many things,

you know,
and there's a underlying esthetic and,

and a huge amount of knowledge
and craftsmanship

that goes with being able to,

you know, oh, we're going to go
and tell the story of Hannibal Lecter.

Oh, we're going to tell the story
of a battle in Mogadishu.

Oh, we're going to tell the story
of some con man in the valley.

so, a

gladiator, you know, so

and and, you know, and really,
I know I just know this about him.

I feel this.

I've never talked about this, but,

you know, if I had to sum it all up

as he's genuinely interested in people

and he's genuinely interested in stories,

and everybody looks at the amazing way
he shoots things and the amazing

compositions of the amazing
AI he has and the amazing artistry.

But underneath, underneath, underneath
all that, the foundation

for all of that is
he wants to go and tell a good story.

I think at the end of the day,

the director composer
relationship comes down to something.

It has to come down to trust

because the directors
of In Charge of Everything

during the shooting of the movie,
he can look through your camera

and you can probably adjust a few things
here.

You can probably do a line reading
for an actor if he really has to play.

There comes the composer.

You know he has to trust me
because if he says to me,

you know what a nice C major called here
would be the perfect thing,

it's meaningless.

I see it so often
that that that filmmakers find it hard to.

Take the step off the cliff.

Because that's really what it's
you know, not

you know,
they've been involved in the script,

they've been involved in the casting,
they've been involved in everything.

And by being involved,
I mean, they had language

and eyes and whatever, you know, words

to control the situation,
to control that movie.

And then they suddenly get to

that part of, we need music

and whatever words they use or whatever
whatever,

however articulate they are, it's
still not going to get the music written.

So they have to go and hand over literally
the baton to the to to the composer.

And I got a second movie
I did over here for Ridley Scott,

Black Rain, and I had heard that
Ridley had a bit of a reputation of,

not sticking with

the composer
sometimes beyond the first session.

so I just said to Ridley, what,

what what it'll take for me
not to get fired.

He said, simple.
Don't write me a symphony.

I knew exactly what he meant.

He said, right.

You know,
surf the movie, enhance the movie,

elevate the movie, be about the movie.

Don't be about.

Oh, but isn't my music fabulous
or something like that, you know?

yeah, you have to have
you have to have a strong ego, but it's

it can't be destructive for
the ego has to be the ego of the process.

The ego of the filmmaking, you know, and.

At the end of the day, you realize

we're all alone in this together.

I remember,

Chris being very worried about

about a certain scene and Dark Knight.

He kept he kept bringing it up, saying,
this has to play like an action scene.

Has to be fast.

It's got to be really fast music.

And and I looked at it and I went,

I thought, no, it's going to be
the slowest music I've ever written.

so I wrote this

piece that, you know, I don't know, 25
beats for a minute or something.

That was,

and everybody, you know,
I got everybody into the room.

I said, Chris, you know,

I tried something completely different.

If you don't like it, you know, it's easy
enough.

You know, it's just been.

And we'll,
we'll we'll try the other thing.

But, I'm not sure.
I think this could be interesting.

You know, everybody knew that.

He'd been saying been going on about
this has to be up the first piece.

And, you know, I played it to him,
and I saw a silence afterwards.

He's looking at the screen

and he looks at me.

He goes, oh, yeah, that works too.

that was the end of that conversation,
you know,

because there's just exploring.

All we're doing is we're exploring things.

It's not about
this has to be a finished piece of music.

I mean, so I tried the slow thing.

If that hadn't worked, you know,
it would have gotten us to the next

and where I would have gone.

So tell me, why the fast piece on
why the slow, slow signal work?

You know,
it would have become a conversation

and somewhere in that conversation,
we jointly would have found an answer.

Terry Malick and I, I mean, he, he,
you know, we fought like cats and dogs

at different points
during the process, you know?

But he said, you know, the way
we speak to us, only brothers can

speak to each other that way.

because
we got passionate, we got into the ideas.

And, you know, I think the it's not really
working type of scenario is

when nobody cares where people don't get
passionate, you know?

And as long as you remember

at the back of your mind,
everybody is just trying to do their best.

Everybody's trying to support
everybody else.

Everybody is trying to work
at the top of their game and, invent.