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I think I see where you're coming from. Hans said that the main theme has a kind of "never ending" quality to it (and it does, the main melody never resolves to the fundamental key), but I think he could have crafted a more interesting melody than a wavering line on the Am key. Don't get me wrong: what's around this simplistic line is actually very interesting, like the beating E key (the one that is head at the beginning of "Day One"), among other elements of the theme. How many of you would have liked to hear a rousing, inspiring melody over the great crescendo at the end of "Where We're Going"?; what we got sounds, to me at least, like this finale (all of the main theme, for that matter) could have used a great melody over it, instead of just the ascending chords and organ arpeggios.Um... we have had the main theme since December of last year... and it's called First Step<br><br>Everything you need to know about the film is in the teaser trailerJLR, I think I know why you feel that way. Because it is so different from Hans' other scores. Usually he writes huge epic pieces with heavy in-your-face percussion. So it would make sense that you would expect that from this one. <br>But the whole approach to Interstellar was intentionally smaller scale from a musical standpoint. <br>Christopher Nolan wanted the music to reflect the basic them of the movie, which was a story about a father's love for his daughter. In fact Hans Zimmer didn't even know he was writing music for a space movie when he originally wrote the main music for the movie. All he knew was that it was about a parent's love for their child.EDMUND MEINERT I hear what you're saying. It is hard to say something is objectively beautiful cause we all have different opinions. You may not believe that, but you at least have to admit that there is music/art that is objectively well-done. The Interstellar soundtrack, I believe, is objectively well-done. You can acknowledge that it is well-done and still not personally like it.Well it's such an epic sort of movie that I felt it needed more of an epic sort of a theme.  I not talking about a super hero theme for one person, but more of a sweeping saga sort of a theme to represent mankind's struggle to conquer space I guess.  I could picture something like the opening theme music to Gladiator, that sort of feel.
Does it serve a purpose to have a power theme in a movie like that? Humanity and/or love are the big characters in this movie. It's not only about a Man. <br>Megalith, well I certainly wouldn't compare Interstellar with Bambi by any stretch of the imagination but it seems that an epic Christopher Nolan movie about man journeying out into space to worlds unknown with worm holes and time travel, etc., might just deserve more power music than Bambi would. Just saying. Even the Star Trek movies had some nice power themes over the years.Um, do you guys even realize what kind of film Interstellar is? Guys, why isn't there a power ballad in Bambi!?!?!?Mike, yeah I get that and I agree with you.  It's nice that he ventures out into different experimental territories, lets just hope he ventures back in to that truly "signature sound" of his again soon.Well, JLR, even his more "modern" stuff has had several "pure Zimmer action (or grandiose)" moments, like Time at the end of Inception, the prison escape and final scenes from TDKR, or the "Flight" cue from Man of Steel...My point was, Interstellar sounds nothing like any of that, really. There's not very much of Zimmer's "signature sounds" in here, while his other recent stuff has still had it to a notable extent. <br><br>Still, I agree, I do miss the Zimmer sound of old that defined movies like Crimson Tide, King Arthur, The Last Samurai, and I would love to see him make a strong return to that some time. Man of Steel KIND OF did that, but it was a throughly "Nolan-influenced" score, as far as a simple and restrained repeating motif, rather than a big and grand theme (except until the ending of the movie and in the "Flight" scene).
Edmund M, maybe Molossus wasn't the best example but I was just referring to the power of it I guess, it gives me goosebumps.  Anonymous provided some pretty good examples of the sound I'm talking about.  Oh well, it is good fodder for conversation anyway.There can be only one GALVATRON!Mike, I hear what your saying.  However, I think that Hans has now invented a new "established zone" as of late with his past several scores.  I don't mind his new style but I don't think it comes anywhere close to his scores of the past and I hope he gets back to that sound again (at least once in a while).  I agree with Anonymous about the type of scoring that was truly the Hans Zimmer I knew and loved.  I still love the guy, don't get me wrong, I just know he is capable of so much more.Kurt, you DO realize you can change the album names to make them match in iTunes, right?JLR, it's kind of funny to me that you ask for a "driving power theme" and then use Molossus, of all things, as an example. That cue doesn't strike me as strongly thematic at all (sure, there's themes in there, but they aren't of the big huge A THEME IS PLAYING NOW variety that you get from a 90s MV score). "Like a Dog Chasing Cars" would be a better Batman example. "Roll Tide" is perhaps the ultimate Zimmer example.<br><br>However, I'm not so sure a big macho power theme like that would have fit Interstellar.<br><br>Also, Anonymous, quit it it with the persecution complex. Nobody had a problem with your opinion - just the way you presented it.
I actually appreciated that Zimmer really went out of his "established zone" for this score (which, for better or worse, it seems, includes those "big and grand" thematic moments). One of the things I liked was how truly "different" the approach was here.MacCarthur, You'd think we were personally insulting the people on this forum when we criticized something that HZ did.  Good grief.<br><br>JLR, I fully agree that Interstellar needs something more.  I was just listening to songs like "Woad to Ruin" from King Arthur, "Hummel Gets The Rockets" from "The Rock", "Sarajevo" from "The Peacemaker" and "Roll Tide" from "Crimson Tide" and there are some really epic moments in those pieces and I would have liked to see something similar in Interstellar.  Oh well, I guess if you like atmospheric scores with a lot of windy sounds in them, then you'd like Interstellar.Erm, the launch sequence had pretty much the big grand theme. Maybe they could've utilised it a bit more? <br>Hey Hybrid, do you know anything, that Steve compose the music for Michaels new movie Project Almanac?As I also found out.

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 Hans Zimmer Revealed
Hans Zimmer Revealed - review

15 years after founding the website on the following day of the concert in Ghent in 2000, I finally have the opportunity to attend the upstream work of an event that everyone will remember: October's 2014 London concerts "Hans ZIMMER REVEALED & friends".
Indeed, the expanded team was there at the beginning of this event since September 22nd with special permission to film the creation of an important highlight of the composer's career.

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Comments (10)   updated by Nicolas 
  2010, February 27
Hans Zimmer - about Henry 4

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  2010, February 27
John Powell

How To Train Your Dragon

  2010, February 25
Sherlock Holmes
Discombobulate Music Video, Composed by Hans Zimmer

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  2010, February 25
Hans Zimmer & Henry Jackman

Henri 4

  2010, February 18

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  2010, February 14
John Powell

Green Zone

  2010, February 12
Composer Zimmer Talks Sherlock Holmes, Inception, Dark Knight, It’s Complicated

In many ways, the best thing about Sherlock Holmes is its score (released January 12), featuring exotic Hungarian and gypsy instruments. It’s one of about a hundred movie scores delivered by prolific German composer Hans Zimmer, who has earned six Oscar nominations; he won for The Lion King in 1994.

Articulate and charming, Zimmer invited me to his lair in Santa Monica, a sprawling complex housing other composers as well as rooms crammed with synthesizers, computers and towers of servers. He’s currently working on Inception for Chris Nolan, for whom he composed the score for The Dark Knight. He gave me a tour, showed me where and how he composes and explained his working process on the scores for Sherlock Holmes, It’s Complicated, Gladiator, and The Dark Knight. He even plays a bit.

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  2010, February 11
Coca Cola : Hard Times (The Simpsons)

Hard Times features a variety of characters from The Simpsons, most notably greedy billionaire C. Montgomery Burns. As Mr. Burns faces the loss of his fortune and worldly belongings, he learns to appreciate lifes simple pleasures like friends and family. The commercial was first shown during Super Bowl XLIV (44) 2010.

Music By Hans ZIMMER & Michael LEVINE

Thanks to Jens Eriksson

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  2010, February 07
David Buckley

From Paris With Love

  2010, February 04
Hans Zimmer, Academy Award Press Statement

Conan Doyle realized that a successful lead character needs to play the fiddle. I wish all filmmakers did. It makes writing the score so much easier. With Guy's great encouragement we took the orchestra out of the lofty spheres of the concert hall and brought them back to the pub, where they seem right at home. After all, There is no human emotion that has not - at one time or other - been profoundly expressed in a pub, and I'm so grateful that my peers at the Academy have recognized that. This is the year where we pit the humble banjo against the might of the orchestra.

Hans Zimmer

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  2010, February 03
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  2010, February 03
The secret lair of Hans Zimmer, from where he inspires the world

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  2010, February 02
Hans ZIMMER nominated for the Oscars ceremony

The Sherlock HOLMES' score composed by Hans ZIMMER is nominated for the Oscars.

Other composers also nominated are James Horner for Avatar, Alexandre Desplat for Fantastic Mr. Fox, Michael Giacchino for Up and Marco Beltrami & Buck Sanders for The Hurt Locker.

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  2010, February 01
Hans Zimmer - Geoff Zanelli - Blake Neely

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Stephane Vidali / Antas - Nicolas Cabarrou