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Hans Zimmer è uno dei più genali compositori di colonne sonore (soprattutto film, ma da quello che ho letto ha fatto cose anche per i videogiochi... magari ascolteremo quello che ha composto per i videogiochi).

Ha composto la colonna sonora del Re Leone, del Gladiatore, dei Pirati dei Caraibi, di Inception, di Interstellar, di Batman e del Codice da Vinci, per menzionarne alcuni. Fare una lista esaustiva è impossibile, perché ha composto le colonne sonore di 150 film.
Ha vinto un premio Oscar con il Re Leone, quattro Grammy Awards, tre Classical BRIT Awards e tre Golden Globes.
È stato inserito nella classifica delle 100 persone viventi più geniali.


Comunque, molte persone famose sono come fantasmi: irraggiungibili.

Pare invece che sia piuttosto facile riuscire a intrattenere una conversazione con Hans Zimmer nel web.

In un forum di musica (www.vi-control.net ) un tizio chiedeva come fare a comporre musica che suona come quella di Hans Zimmer.
Il tizio ha ricevuto, nel forum, una risposta direttamente da Hans Zimmer.

Qui sotto metto degli estratti della sua lunga risposta.

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Before writing a single note, my team and I spend a lot of time programming new sounds, sampling new instruments.

I write very strategically for the spaces I record in. For instance, the Hall at Air Studio has a gallery, so I put my horns up there above The orchestra in Batman. The space you have people perform in is as important as the quality of their instruments.
A dead room [in italia è una stanza di registrazione insonorizzata] gives an artificially surpressed performance. It's no fun playing in a dead room. Especially brass players like "using" the reverb in the room to give them time to catch their breath between notes, so they'll have the courage and strength to play the next note stronger. I I like recording in churches and halls, not studios and artificial reverb. 2000 years of architects like Brunelleschi figuring out how to amplify a sound beats the 20 years we've had of fake reverb development.

I got pretty good ears ( I just had them tested...I got the frequency response of a 20 year old. Just luck. I've been listening to music in my studio too loud every day for 30 years). But the biggest thing is to learn how to listen analytically. That takes time. I learned from really good producers and engineers. Two month with Trevor Horn on a bassdrum sound will either drive you crazy, or really make you understand the damn thing (I'm not sure which side I've ended up on...). I know how to engineer, I know what all those knobs do, but I know that Alan Meyerson has a gift and is better at it then me. I think there is nothing worse for a composer to be at the mercy of technology, the players or a recording engineer. It's your piece of music. No one understands it better.

The moment I start writing, I start mixing. Since I don't write on paper, I spend a long time making each note and sound convey the right emotion. It helps later with the live musicians. I can be very specific in my language (and I use English, not Italian) to convey to them why I want a note or phrase played a certain way. I don't make changes on the scoring stage, I don't let directors make changes with the musicians there. The recording is about getting a performance, not re-writing the cue. Nothing sounds worse then a bunch of bored musicians that had to wait while someone's changed an arrangement.

I don't understand why people don't sample their own stuff. I've been (more then once) asked to judge "young composer" competitions. After a while you can't hear the music for the sameness of the sample libraries. I wonder how directors or producers can tell the difference.

And no, you can't sound like me. You are not me, you are you. Just like I can't sound like any other composer. Not with any degree of authenticity.

I hardly ever get a temp in the movies I work on (Chris Nolan will not temp with anything that's not written for the movie. That whole Francis Lai thing is bull. I'm a fan, but I had never heard that score before. And if the rude ignoramus who was trying to hide behind a question mark when he called me a thief had actually analysed the score a bit, he'd have noticed that the whole thing was based on the notes C and D. Not just that riff. It's a fairly straight forward musical tension device. Seconds, anyone? And the rhythmic figure was - on purpose - a cliche. People can take large chunks of dissonance if you put a groove with it...)

I can get obsessively lost in sound design and just spend 4 days making one pathetic little sound...But it helps me think the whole piece through...

...And i procrastinate from writing by answering this question...

Hz

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https://gearspace.com/board/music-for-picture/7048...


**Modificato dall'autore il 24.02.2022 17:52**