She lives in Bradford in the UK.
She does an amazing job to keep these children fed and pay the rent and fight the fight.
Thats who I write for and thats why I write.
Hans Zimmer in ‘Hans Zimmer & Friends: Diamond in the Desert’Trafalgar Releasing
I write for Doris.
Pharrell and Johnny Marr were really the instigators of this, admits Zimmer.
Nothing feels off limits.
I didnt want to do a superhero movie, Zimmer says.
Can you write me a bit of music?
I asked to see the shot and he said no and just asked me to send the music.
Then I realized it was for the main Batman shot.
Nolan is one of Zimmers longest collaborators, with the pair working across seven titles together.
I remember telling him that I couldnt write like this.
I couldnt just write free form, and I needed footage, says Zimmer.
I thought it sounded fun, says Zimmer.
You will always see yourself through the eyes of your child.
He then phoned Nolans house and spoke to Emma Thomas, Nolans wife and producer.
Zimmer says that Nolan would ultimately end up listening to Zimmers composition on loop while he finished writing.
Its an incredible story and one that solidifies just how much music can inform storytelling.
Dune & the Oscars
But Zimmer notes that the process is always different.
Take, for example,Dune, which the composer went on to score for Villeneuve.
I was on a roll.
I was going to finish the arc, and I knew where the story had to go.
That music ultimately ended up being the love theme which held the second movie together.
When he reflects on these storied collaborations, Zimmer clearly isnt short of fond memories.
These were all adventures, which were just great for me.
He considers his most personal piece to be the music from the scene inThe Lion Kingwhen Mufasa dies.
Its a requiem for my father, he says.
You know, use a childrens movie to get over your childhood traumas.
Zimmer says his most challenging piece to write was Journey to the LinefromThe Thin Red Line.
Thats when I realized that you have to give people a bit of time.
People need to listen to the music a few times and walk away and come back to it.
The new is not always palatable.
From beginnings to next steps
Frankfurt-born Zimmer was largely self-taught.
He was my mentor, recalls Zimmer.
We had a deal.
So, my job was to make the espressos, and he would show me how the orchestra worked.
I thought it was quite a good deal actually.
It seemed crazy that this could be a block of flats.
I think we need culture more than ever right now.
And there is a plan to keep space for an orchestra, something hugely important for Zimmer.
