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Hans Zimmer is one of the busiest film composers of our time. The 61-year-old Oscar winner is known for his often dark tones, but he also opts for lighter dishes. On Friday evening, he will receive the Max Steiner Award at the Konzerthaus on the occasion of "Hollywood in Vienna". Previously, the German national spoke to the APA of success, disappointment and the charm of Vienna.
6:43 pm, October 19, 2018
APA: What's a film to bring with you to write music?
Hans Zimmer: It has more to do with the director and the team. For example, in the three "Batman" films I made with Christopher Nolan: It was twelve years of our life! You must try to work with people you like, who are interesting, who have new ideas and who make life exciting! And of course, they must be able to tell good stories.
APA: Have you ever been disappointed?
Room: of course! And some administrators have certainly been disappointed by me. Sometimes it does not sting. Everyone wants to deliver the best movie possible. But it may also be the best scenario, with the best actors and the best opportunities, but it will not be for any reason. On the other hand, sometimes very small movies that no one believes in have suddenly become wonderful and fun. Who knows? But there are also movies that have not had great financial success, but I love it and yet it is a success. In the end, it's my life, I only have one. I have to spend it to try to do the best job possible and surround myself with people who interest me.
APA: Keyword Success: How do you define it as a film composer? Are they rewards like an Oscar or a Grammy?
No, i dont think so. You can write the best music of your life for a movie that no one is watching, and that means nothing at all. The commercial success must already belong a little. After all, it's show business, not showfriends. (Laughter)
APA: During your career, you have put many movies to music. Is it just this range, from comedy to action, which interests you?
Zimmer: Yes, I'm bored quickly. For example, if you watch the movies I did with Ridley Scott, "Gladiator" is very different from "Thelma and Louise" and the "tricks" that no one has seen yet are very different. Or "Hannibal", which I have always considered a romantic comedy! I love working with these crazy guys who always choose something new. For example, "Interstellar", "Inception" and "Dunkirk" are very different from the "Batman" films that I made with Christopher Nolan. He has to do a comedy. (Laughter)
APA: When you think back to your beginnings, what is the biggest difference from when you started composing today?
Zimmer: In fact, what I brought to Hollywood: The idea that you can work with the director from the first day. Synthesizers and electronic devices have made this possible. Before that, it was enough to play everything on the piano, the director then heard it for the first time with the big orchestra. This has also changed the technology in making movies. It is no longer a question of filming, the composer generally having access to the material only these last weeks. When I work with Chris Nolan, I start writing music well before the shoot. At "Inception", he did not want to show me the movie until I finished the music. (laughs) Music has a lot to do with speed, time and structure, we musicians feel it very well. That's why it's not so difficult for me to talk to Chris about his ideas and his subject because time also matters a lot for him. Then I write music, it makes the film and, in one way or another, everything goes very well.
APA: The technical conditions have not changed much?
Zimmer: Actually, I came to music about electronics, and that on computers, which was not planned at the time. I thought: it could be an interesting musical instrument! So I started quite early and I am a musician of the 20th century. I take this technology as if Bach used the instruments of his time. "Interstellar" was particularly exciting, in particular, because we used a large organ, which in the 17th century was actually the most complicated technology invented by humanity at that time. Although it is there to make music. (laughs) And it's only in the 20th century that something more complicated has happened.
APA: How important is the Max Steiner Award to you?
Zimmer: I see it this way: I'm here to keep the name Max Steiner alive. Do not talk about Hans Zimmer, talk about Max Steiner and what Vienna gives to the world! It's upside down that it's called "Vienna in Hollywood" because without Vienna, there would be no Hollywood. And not only musically. We always try to make psychological films – but where would we be without Sigmund Freud? Where would we be without Berggbade 19? Or without Egon Schiele, Gustav Klimt, Karl Kraus, Stefan Zweig and Theodor Herzl? It's amazing what brought this little town to zeitgeist, which is now very relevant. The revolution of culture, of humanity – you have everything in this small town and give it to the world! I'm just trying to learn as much as possible about Vienna.
APA: Do you have the opportunity this weekend?
Room: not at all! (laughs) Do you see this corner here? That's it.
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