Hans Zimmer, the soundtrack of the cinema that began in gambling dens for workers | The USA Print

Hans Zimmer, the soundtrack of the cinema that began in gambling dens for workers



By listening to the two seconds of ‘Naaaaa, chugüeñaaaa’ (nants ingonyama in Zulu), the viewer has already recognized the soundtrack of The Lion King and for the next few bars, the melody transports him to the African savannah to witness Simba’s baptism. The music for the Disney film was the work that definitively elevated Hans Zimmer as one of the best contemporary film composers. Incomprehensibly, it took almost 30 years until the musician got the second golden statuette in 2021 for his work in Dunealthough along the way he left immortal soundtracks like that of gladiator , interstellar , Source Y Pirates of the Caribbean.

Born in Germany into a family of Jewish origin, Zimmer remembers one of his first piano teachers hitting his hands as torture. As a child, he was expelled from eight schools for lack of discipline and a teacher ended up throwing a chair at his head, according to the documentary. Hans Zimmer. the hollywood soundtrack, available in Movistar Plus. The family ended up moving to England, where Zimmer would begin his first steps as a musician in the midst of the social unrest of the time of Margaret Thatcher. As he comments during the tape, he played in bands in blue-collar clubs where no one listened to them.

The technology of the 80s entered the world of music without brakes and Zimmer ended up fascinated by the capacity and potential of computers and synthesizers: “What you could do on stage was less interesting than what you could do with a synthesizer”, points out the musician whose works will go down in history for having been one of the first to combine electronic music with symphony orchestras.

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After some work, in 1988 the great opportunity came with rain man, in which he expressed a sound very different from what is customary in a travel film. It was still a surprise, an unknown composer putting the soundtrack to Tom Cruise and Dustin Hoffman, who got an Oscar nomination. This was his great world showcase: Zimmer comments that, while he was still an unknown person, at the Oscars he received up to seven job offers for films. They followed Driving Miss Daisy, Black Rain, Days of Thunder, Thelma and Louiseuntil in 1994 it arrived The Lion Kinga soundtrack without which the subsequent worldwide success of the musical, which has been sweeping the box office in cities like Madrid for more than a decade, cannot be understood.

What you could do on stage was less interesting than what you could do with a synthesizer.

Zimmer has made his mark on every film genre he has touched. From the war adventures of Dunkirk Y pearl harborto create futuristic, dreamlike and even alien sounds in Interstellar, Origin Y Dune. Create very complex themes but with very few notes as we could hear him in The thin red line either The Da Vinci Code, or disturb the viewer with the two notes of the distorted violin for the character of the Joker in The dark knight. He has also been able to gain a foothold in genres as hackneyed in Hollywood as the epic, since gladiatorfor several generations the music of the Empire will always be that of Zimmer.

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At the dawn of the 21st century, he had already established himself as one of the main composers in the North American industry, although he never stopped looking for new forms. He built studios in Santa Monica that he continues to expand constantly and that has several teams of composers and sound technicians who work on films, series and documentaries (one of the most unknown aspects of the musician is his work on the latter).

Unfairly, musicians are largely forgotten in movies, even more so in documentaries where possibly more than any other genre they need melodic reinforcement. The award-winning series planet earth of the BBC turned to Zimmer for the soundtrack of what many already consider the best recorded chase in history, that of some snakes to a baby iguana. As an exercise, try playing it with or without sound to appreciate the composer’s work.

“I need a Tibetan war horn, although I have no idea what it sounds like,” he requested for his work on Dune, in which the challenge was to create music for an alien world of the year 10,000. The composer came to the conclusion that the only instrument that would have survived would be the bagpipes. The sound was as mentioned in the documentary “bagpipes playing heavy and a woman who yells at your face”, the result of his second Oscar, which he could not collect in person when he was in Europe during his world concert tour with which he sold out the tickets to each city that goes.