# Mind Heist - Zack Hemsey



## Madrigal (Jul 25, 2013)

I recently stumbled upon Zack Hemsey's _Mind Heist_, the composition that was used for one of the first Inception trailers. I had never listened to it out of context but doing so now, I think it's a fantastically well crafted piece. I'm not surprised it got the Inception team's approval. 

The composition itself is generic (therefore easier to sale/place) but it's the mix and the use of sounds that impress me. You have to take into account the fact that it was all done with sample libraries and mixed by one guy. He's not trying to make the samples sound real, he's actually using them in a very rhythmical/upfront unrealistic way. 

The dynamics of the piece are perfectly balanced, they build-up very ingeniously and the reverb used is gorgeous, subtle and dark. I'm really wondering what kind of reverb was used here. For VI's, I'm guessing VSL for strings and brass given the very upfront and dry nature of the samples? 

I think it's a good example of great writing for samples. This piece wouldn't be as punchy if played by an orchestra.

Any of you guys have more incite on this piece? I know there was a post a while ago discussing how the Remote Control team was too busy with other projects so "Mind Heist" was brought to the attention of Chris Nolan and it got Zimmer's approval. I'm really curious as to how it got to Nolan's ear though, a music supervisor, publisher? 

I'm 3 years late, but I think it still is a very relevant piece in the VI and trailer music world. 

-M


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## Mike Marino (Jul 25, 2013)

Here's a video about him from Soundworks:
http://soundworkscollection.com/videos/zackhemsey


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## Madrigal (Jul 25, 2013)

Cool interview, thanks Mike!


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## guitarman1960 (Aug 8, 2013)

I think Mind Heist is a terrific piece of work, although it seems to attract a fair bit of unwarranted sneering from a few jealous music snobs.

I think it's a superbly crafted track, and also think the reverb on the 'braaams' is fantastic especially if you listen on headphones.
When the massive theme comes in with the big strings and the drums, again if you listen on headphones there is a lot going on underneath the strings, with 'risers' and synth effects etc to add drama and massiveness to the sound. This has been incredibly well done and sounds absolutely HUGE.

There does seem to be a bit of mystery though about how the track came to the attention of the Inception crew. I've read interviews with Zack and he is very evasive, saying he can't reveal anything because of a 'none disclosure agreement' whatever that means, so what's going on here?? Anybody know?

I did manage to find out that Lou Hemsey, a veteran in the film soundtrack and mixing and mastering world is obviously related to Zack, and if you visit louhemsey.com it mentions that Zack has joined the company. So maybe it's the old old story of family connections that got Zacks music heard by the right people?

A great track though, and one that has become VERY influential and often copied since, in fact Steve Jablonsky 'was influenced by' the structure of the track wholesale
for his cue 'It's Our Fight' from the Transformers movie. Google Zack Hemsey v Steve Jablonsky, and see what you think. My own opinion is that it's pretty disgusting and blatant, but seeing as he's ripped off the actual structure and vibe more than the precise notes, I suppose he got away with it. Pretty bad though in my view.


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## dcoscina (Aug 8, 2013)

Doesn't look like he uses a keyboard controller to play in his lines. Wow, if that's the case, it must take him a bit to compose his stuff. 

I enjoy Mind Heist as well. Cool piece.


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## Jetzer (Aug 8, 2013)

I love this track, although in the original track the Braahms were not really there, if I'm not mistaken. I read or heard somewhere that HZ / Lorne Balfe added them later.


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## Madrigal (Aug 8, 2013)

guitarman1960 @ Thu Aug 08 said:


> I did manage to find out that Lou Hemsey, a veteran in the film soundtrack and mixing and mastering world is obviously related to Zack, and if you visit louhemsey.com it mentions that Zack has joined the company. So maybe it's the old old story of family connections that got Zacks music heard by the right people?



This would also be my guess, although I've never heard 
of contractual obligations that would preclude one 
from revealing how he got the job. 

By the way, I think the Jablonsky piece doesn't even sound half as good.


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## dinerdog (Aug 8, 2013)

guitarman1960 - if all goes well, at some point Zack will get a temp cue that the director MUST HAVE, just like Jablonsky. We try with every bone in our body, but when a director is in love with a Newman/Zimmer/Williams etc. track, it's just one of those days. So when something sounds close (but not as good), I more often think the composer is dragging his feet a lithe bit until the director says "f-it, it's close enough".

You know on the first Transformers 1 score "Sam At The Lake" the director HAD to have a Thomas Newman track, same for Trevor Rabin on "Library Of Congress" from the first National Treasure and on and on.

Interesting find on the Lou Hemsey thing, there's almost ALWAYS more of a back story than first appears.


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## Tanuj Tiku (Aug 8, 2013)

I think Hans did mention in an interview that he did get involved in some way with the trailer at some point. 

Perhaps the brass parts were added later. At the time it even started rumors that Zack's music was so impressive that he started working with RC specifically with Hans.

I remember a composer in Mumbai telling me that the director of a movie he was working on had approached Zack for another project of his and that Zack was indeed working with Zimmer. 

I don't think this was true. Similarly, there is no way to tell for sure what really happened unless Hans or someone from RC will reveal if there is anything to reveal actually over here.

Zack may well have family connections - thats great! If somebody is good, it does not matter how they got in. If everyone liked his music, that is all that matters.

At the end of the day, you always get a gig based on some connections/recommendations. Either you build them slowly over time or you just get lucky.

I think, hard work and talent is a sort of a default trait one must have - rest is just how life works out in the end. 

When we started writing music, it was not about a career or money so why should it be like that now?


Tanuj.


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## dinerdog (Aug 8, 2013)

Agreed Tanuj, I'm sure Zack just wrote a track that he thought was really cool and so did a lot of other people. That is what it should/could be about. : >


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## Consona (Aug 8, 2013)

Madrigal @ Thu Jul 25 said:


> He's not trying to make the samples sound real, he's actually using them in a very rhythmical/upfront unrealistic way.


This is what I like about that too. It has symphonic soundscape but very own kind of sound. Really nice! It's somewhat similar to Sherlock Holmes OST which is not trying to sound like the solo instruments are on the same stage as the orchestra, I like the sound of that soundtrack very much.

Yea, it sounds like VSL to me.

Here is full Mind Heist EP: http://www.youtube.com/playlist?list=PLB4EC54DB837EFA10


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