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Confessions of a Hans Zimmer intern... Samplecast #46 exposes everything (well almost)

Dave Connor

Senior Member
... but I'm curious which cues you hear this in the most.
Here is an example of HZ's invention apart from what I mentioned. The other day I flipped my TV to 12 Years A Slave (which I haven't seen still.) There was a very brief fiddle cue - twenty seconds or so. Well it was the most vibrant beautiful thing you ever heard. I wanted to own it immediately. This was my response before I remembered Hans scored the film. Now this is a throw away cue where it's function to picture is going to be accomplished with virtually any southern fiddle style cue of no particular quality. What does Hans do? He writes a series of scintillating, modulating phrases using a harmonic language closer to Richard Strauss than the Old South or West. Not only does it ring perfectly true musically but is energized and made new in a way that satisfies both the requirements of the film and the modern ear simultaneously. Personally, he's giving his take on a classic genre and showing {one way} he would do it to update it and give it a new appeal (and with stunning success.) Absolutely brilliant to do all that in a very brief statement that normally would require almost no thought at all. It makes laughable the claims he doesn't write his own music when there are few composers in or out of film that can (or will) do something like that.
 
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