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Hans Zimmer started on INTERSTELLAR


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They just make sense!! They were the best words to use in the context I was using them in!

Fine! I'll go back to EVERYTHING IS AWESOME!

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Listening to that again, it sounds like there's a lot of multiband limiting going on. Think that's the 'harshness' filmmusic's talking about.

Sorry? What is multiband limiting?

by the way, i was talking about the trailer music cue.

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Both.


I'd say this is the best score in a Christopher Nolan film so far. I'll be getting the long soundtrack.

Karol

I agree.

I'm very curious to hear how it functions as an album experience, since its predecessors were all fabulously improved by that despite already being great in context.

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Sorry? What is multiband limiting?

A 'loudness' trick used during mastering and that allows for limiting according to frequency ranges.

BTW, in one of his latest interviews, Zimmer said that films about the future like 2001: ASO and Blade Runner have a very nostalgic score in juxtaposition with their futuristic visuals. I thought that was a neat observation from the Zimster.

Alex

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I really enjoyed the score in picture. There were several moments where I genuinely noticed the music because it was hauntingly beautiful, in a classical sense.

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Yes, it is the best score Zimmer has put together in a very long time. Reaching back to Thin Red Line and Hannibal. Not that I didn't enjoy some of his works but this one is on an entirely different level altogether.

Karol

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http://www.theatlantic.com/entertainment/archive/2014/11/why-interstellars-organ-needs-to-be-so-loud/382619/

[T]here’s a method behind the deafening volume of the Interstellar organ, which should not be dismissed as another instance of Zimmer contriving a grating action-movie sound, or Christopher Nolan failing another movie with poor sound design. In this case, the booming collaboration makes total sense. In the context of a movie that embraces the idea that emotions and feeling are the most important dimensions of human experience, the overwhelming nature of the score is all part of the way Interstellar works as a cohesive whole.

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http://www.theatlantic.com/entertainment/archive/2014/11/why-interstellars-organ-needs-to-be-so-loud/382619/

[T]here’s a method behind the deafening volume of the Interstellar organ, which should not be dismissed as another instance of Zimmer contriving a grating action-movie sound, or Christopher Nolan failing another movie with poor sound design. In this case, the booming collaboration makes total sense. In the context of a movie that embraces the idea that emotions and feeling are the most important dimensions of human experience, the overwhelming nature of the score is all part of the way Interstellar works as a cohesive whole.

My complaint is not about the volume of the score, but rather the lack of balance between the elements that make up the sound mix.

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http://www.theatlantic.com/entertainment/archive/2014/11/why-interstellars-organ-needs-to-be-so-loud/382619/

[T]here’s a method behind the deafening volume of the Interstellar organ, which should not be dismissed as another instance of Zimmer contriving a grating action-movie sound, or Christopher Nolan failing another movie with poor sound design. In this case, the booming collaboration makes total sense. In the context of a movie that embraces the idea that emotions and feeling are the most important dimensions of human experience, the overwhelming nature of the score is all part of the way Interstellar works as a cohesive whole.

What I'm reading is: the obnoxious loudness of Zimmer's scores has finally found a movie whose context can justify said obnoxious loudness.

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Gravity was hardly the first film to demonstrate that that would work...

And Nolan hasn't watched Gravity yet. He's been holding out till after he finished Interstellar, so he could remain uninfluenced by it.

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Well thats what you get when people take audio straight from movie camfootage and paste the one official track to the back of it

Youtube keeps trying to pass of DayOneDark edits as new themes too

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