Zimmer’s late father was an inventor who encouraged his early, Frankensteinian experiments on musical instruments. Or the booming trombone that heralds Edith Piaf’s “Non, Je Ne Regrette Rien”, which he contorts into a menacing motif throughout Inception. Think of the bombastic horns and Romany jigs and reels in Pirates of the Caribbean. His own work is impressive in its variety, with each of his scores indelibly tied to its accompanying film – and vice versa. They need to go and throw the structure out.” People are desperately trying to reinvent pop music without realising one of its inherent flaws. I end up going ‘no wait a second, this is not how life works’, and suddenly you go off and decide you need something completely different here, and that’s what film music allows you to do.
“Verse, chorus, verse, chorus, middle eight…” he says. (Photo credit should read GUILLAUME SOUVANT/AFP/Getty Images) It sounds like The Cranberries found some kind of closure in this last record. On it, O’Riordan, who recorded demos for the album’s 11 tracks before her death in January last year, sings: “Fighting’s not the answer/ Fighting’s not the cure/ It’s eating you like cancer/ It’s killing you for sure.” The band have spoken about how O’Riordan was singing about leaving many of the negative things in her life behind. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. The orchestra dis ap pears, then re appears, this time with a chorus. T hen the strings get louder and an orchestra begins playing. She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well. A solo piano be gins playing a very slow, b eautiful melody, strings play light ly in the background. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released. There’s a cruel irony that the release of The Cranberries’ final album should come just a week after journalist Lyra McKee was shot dead by the New IRA during a riot in Londonderry. The shows – which come to UK arenas next week – aim to bring his work to a different generation. “I am an embarrassing silence without my musicians,” he says, as our conversation turns to the forthcoming World of Hans Zimmer tour. Especially for someone who has scored over 150 films, from Crimson Tide and Gladiator to The Thin Red Line and Christopher Nolan’s Dark Knight trilogy. But there’s a weird truth in music, as well, that binds people or connects them, and makes them look at each other in a different way.”Īlthough clearly passionate about the importance of music and storytelling, Zimmer is self-effacing when it comes to his role within it. Right now, you journalists are the last defence against the world going completely to s**t.
The story is still vital, and we have to make people hear it. It didn’t really matter if you didn’t understand the words, you knew that whatever they were, they were incredibly important. The score, he says, was an attempt to capture what the singer Lebo M had seen in South Africa before he fled to LA as a political refugee.
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