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Hans Zimmer started on INTERSTELLAR


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It would have been really aggravating if this set contained additional 30 minutes that it advertises.... but no Deluxe Edition content.

Which can happen, folks. ;)

Karol

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Many beautiful moments for sure. But here is the Tristan episode:

Tristan is full of longing and deep desire and since Zimmer is German, it's in his DNA along with the movie. I thought the reference was VERY overt and hadn't heard it mentioned by him in an interview and since Tristan is a revolutionary score, it should be mentioned. It might have been in the temp but this is pretty close to illegal level (ala Gladiator/Holst).

I can see where you're coming from, but the 'Detach' lacks the most characteristic feature of that passage in Tristan - the augmented 4th appogiatura over F. In INTERSTELLAR it's a Major 7th over C,

Why wouldn't you consider the appoggiatura the D to C fall in Zimmer at 1:08?

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Many beautiful moments for sure. But here is the Tristan episode:

Tristan is full of longing and deep desire and since Zimmer is German, it's in his DNA along with the movie. I thought the reference was VERY overt and hadn't heard it mentioned by him in an interview and since Tristan is a revolutionary score, it should be mentioned. It might have been in the temp but this is pretty close to illegal level (ala Gladiator/Holst).

I can see where you're coming from, but the 'Detach' lacks the most characteristic feature of that passage in Tristan - the augmented 4th appogiatura over F. In INTERSTELLAR it's a Major 7th over C,

Why wouldn't you consider the appoggiatura the D to C fall in Zimmer at 1:08?

A 6-5 appogiatura over F Major, but not #4-3.

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So, how the hell to buy it overseas?

Hope they release an international version of the 2 CD set. I don't need any batteries. I only want those 2 CDs.

It will be available internationally, at some point.

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Docking scene is on Itunes:

It's called "No Time for Caution", search for the deluxe version. It oddly has a published date of 22nd November, but it's there, and you can buy it and preview it, like any other.
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So it was going to be released the whole time? I thought the whole uproar was that it wasn't on any of the releases and that it was going to be released for free?

I think it was tacked onto the digital deluxe after the uproar.

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So, a quick estimate of what's still missing. Some of it may be tracked stuff.

- A variation of the main theme that plays during the NASA sequence and the discussion of the wormhole

- A brief hint of What Happens Now? that plays while Cooper records his message before going into hibernation (this may actually be Atmospheric Entry)

- Another variation of the main theme which opens and closes with a poignant soft organ chord, when they return to the Endurance from Miller's planet and Cooper views his messages

- An extended, I think, version of What Happens Now? which plays during Mann's awakening and description of his world

- Brief but awesome cue which plays as Cooper falls into the tesseract

- The opening of the tesseract scene and Cooper's first gravity message, including variations on the "dramatic" theme and material from the first half of Day One Dark

- The gorgeously moving setting of the main theme which plays during the watch encoding and Murph's calculations

- The non-IMAX credits, which is basically a combination of Day One and What Happens Now?

- The IMAX credits, which I can't recall exactly but may be a truncated solo piano reduction of the above

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The version they released is from Hans' mock-up of the score. The mystery continues. I don't think there's an actual live version of the cue. It's gotta be an edit.

Just heard it. Can't deny Zimmer's mockups are pretty good.

But what we heard in film sounded more live, but with the loud sound effects, who knows..

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It certainly sounds like a mock-up but I guess it could be a really, really unmixed live cue... dunno. But this mystery is getting a bit old haha. I'm just enjoying the score, and knowing that there's a half an hour still unheard.


I'd also now like to hear the complete Hans-performed original version of the score.

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So am I. Yet there's that tiny part of me that keeps nagging and wishing for some more variation (as much as I'm trying to shut it up).

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Guys you probably know originally recorded versions are different from film versions (see Batman Chased from TDKR). Have a feeling this is the case with NTFC, but I'm super happy with what we have :)

Anyway IMAX 70MM FILM credits are the version of Day One that's used in the NASA tour sequence, seguing into What Happens Now, not some other solo piano piece.

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I think the issue for a lot of people with No Time for Caution is the mastering - it's way off volume wise and dynamics wise to some extent compared to the rest of the album. Honestly I don't mind that it's the recording sessions version of the cut with the organ and the vocals further back in the mix - comparing it to bootleg recording I'd say it'd not too bad - and boosting the volume of the first 2:40 by 2db to bring it in line with the remaining part of the track did wonders for me. I'm about to take this for a spin on my sound system to see how it fares.

BTW deluxe edition FLAC including NTFC available to buy on http://www.qobuz.com/gb-en/album/interstellar-original-motion-picture-soundtrack-deluxe-version-hans-zimmer/0794043183058

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Not if you live in The Netherlands :(

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Jason's ordering was correct.

Antovolk, are you sure this is an un-produced "session" recording and not a mock-up? Sounds like it could be either but those strings sound sampleish. So do the highest notes on the organ.

And in the IMAX presentation I saw the credit piece was definitely not the same mixture of cues that the other formats had. Much shorter credits, and I think it was a solo piano.

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Antovolk, are you sure this is an un-produced "session" recording and not a mock-up? Sounds like it could be either but those strings sound sampleish. So do the highest notes on the organ.

And in the IMAX presentation I saw the credit piece was definitely not the same mixture of cues that the other formats had. Much shorter credits, and I think it was a solo piano.

Pretty sure it is session recording. Hybrid from HZ.com

Actually I got it confirmed, the cue as you're looking for it doesn't really exist, it's just post production mess in the hands of music editors & mixers (so obviously Mountains material used)...
It is EXACTLY the same case as Batman Chased... Exactly... A cue written, and then music editors messing around.

(Batman Chased is Risen from Darkness)

As for credits - maybe Paramount's domestic 70mm IMAX film version is different. Maybe even the digital IMAX version is different (I keep seeing pics on Instagram that the digital IMAX version credits are scrolling as opposed to static on 70mm)

I saw the film for the 3rd time yesterday and can confirm that the 70mm IMAX film (the international version with WB logo coming first and the end card being Distributed by WB) in the credits had the mixture of cues that I mentioned, obviously edited for time, but they are these 2 cues.

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Well my 70mm film screening had static credits. Couldn't have been much more than 3 minutes.

Yeah mine were static and 3 minutes, but DEFINITELY started with the NASA scene version of Day One/main theme before segueing into What Happens Now.

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TTRL is still by far his biggest achievement, it felt for once like a true composition. But I like that he's thinking about textures, it still doesn't make him an innovator. Electro-acoustic is decades in front of what he's doing, there's nothing unique in his approach, except perhaps in the soundtrack business. Goldenthal was doing the same thing twenty years ago, and at a much higher quality.G

Most of that has very little bearing on the culture of music. Goldenthal's net impact on the direction of film music is somewhere between "who?" and "is that the guy from the 90s?" at the best case.

Innovation is a two-pronged process. There is the Invention and there is adoption. Anyone can invent. I could pee on a large crystal bowl covered in animal skin and record the sound as inventive music. The most challenging part is getting the invention to spread and get adopted. It's one thing to invent, it's another to have people adopt the process and thinking.

The best historical example I can think of is the wheel. It's one of the most brilliant inventions in the history of mankind. It changed how we live, and continues to change how we live. And it was independently invented in the Old World and the New World.

In the old world, it wasn't simply invented. It was pushed through to widespread adoption. Someone at some point realized that it could improve people's lives. Meanwhile, in the New World, the wheel can be found on children's toys. It was invented, but unadopted.

Q2LCRiD.jpg

The rest is history. The mass adoptions of the wheel contributed heavily to the conditions that would allow Europeans steamroll the natives virtually out of existence.

It's a dramatic example, but it shows you that anyone can play around and invent. In the eyes of time and history, that's meaningless. It's where you take invention that makes the difference.

Hans Zimmer may not be at the cutting edge of invention. But there is no mistaking it: he is an innovator. He has proven that he can cause inventions to be accepted and adopted by the masses. Goldenthal might be inventing wheels for his toys, but Zimmer is putting wheels on wagons and carts.

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Yeah, while I appreciate the intent behind the post, you really did oversimplify things there a bit Blume.

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The rest is history. The mass adoptions of the wheel contributed heavily to the conditions that would allow Europeans steamroll the natives virtually out of existence.

I read something along the lines that differences in fauna between the two made pulling animals available to Middle Eaterners, while people in America didnt have something equivalent, but I'm not sure if that makes sense.

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So, a quick estimate of what's still missing. Some of it may be tracked stuff.

- A variation of the main theme that plays during the NASA sequence and the discussion of the wormhole

- A brief hint of What Happens Now? that plays while Cooper records his message before going into hibernation (this may actually be Atmospheric Entry)

- Another variation of the main theme which opens and closes with a poignant soft organ chord, when they return to the Endurance from Miller's planet and Cooper views his messages

- An extended, I think, version of What Happens Now? which plays during Mann's awakening and description of his world

- Brief but awesome cue which plays as Cooper falls into the tesseract

- The opening of the tesseract scene and Cooper's first gravity message, including variations on the "dramatic" theme and material from the first half of Day One Dark

- The gorgeously moving setting of the main theme which plays during the watch encoding and Murph's calculations

- The non-IMAX credits, which is basically a combination of Day One and What Happens Now?

- The IMAX credits, which I can't recall exactly but may be a truncated solo piano reduction of the above

If anyone gives a shit, I'm not using the exact chronological ordering that Jason posted. I've moved a few things (Atmospheric Entry and What Happens Now?) to other places where they appear, where I think they flow better if you have to have only one appearance. Until the complete thing finds its way out, this is what I'll stick with. Unless the box set additions account for everything missing.

j99gHaE.png

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The FYC is up on Paramount's site

01M1 Dreaming of the Crash

01M2 Chasing Drone

01M3 Flying Drone

01M4 Combines Went Haywire

01M5 Dust Storm

02M6 Decoding The Message

02M7 Who's They

03M9 Docking

03M10 Entering Endurance

03M11 Rage Against The Dying of The Light

03M12 Down For The Long Nap

03M13 Message From Home

03M14 Through The Wormhole

03M15 We're Here

04M16A Atmospheric Entry

04M16B They're Not Mountains

04M17 Years Of Messages

04M18 Afraid Of Time

05M19 Murph Comes Home

05M20 No Need To Come Back

05M21 Our World

05M22A We Are The Future

05M22B We're Running Out Of Time

05M23 I'm Going Home pt. 1

06M24 Coward

06M25 Imperfect Contact

06M26 No Time For Caution

07M27 Detach

07M29 Landing In Tesseract

07M30 S.T.A.Y. pt.1

08M31 Quantifiable Connection

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the last 2 tracks are oddly missing, but we heard those on the 2 soundtracks already

also Quantifiable Connection has some glitching going on

They'll likely fix everything up before the main score page goes live at http://paramountguilds.com/interstellar/score

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