I think this one has more electronics in it than anything else.. I didn't want to do straight orchestra because Batman, he's not a straight character. I mean where do you get those wonderful toys from and the technology? So I thought I could embrace a bit more technology in this one.. there isn't a straight orchestral note on this score. - about his score for Batman Begins (2005)
I don't drive, so one of my assistants drives me to my writing room, and I have a calendar on the wall telling me how much time I have left, and how far behind I am. I look at it and panic, and decide which scene to work on. And you sit there plonking notes until something makes sense, and you don't think about it any more. Good tunes come when you're not thinking about it.
If the secret should be known, which is not much of a secret at all, this is my hobby I love doing this. Anything else feels like work to me.
I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas... It's a very irresponsible life. The only decisions I make are about the notes I'm writing.
I'd never written for talking fuzzy animals before. I knew how to write to human emotions but these were animals. It took me a while to sort of get over that and do what you do which is just treat them like human characters. (On The Lion King (1994)]
Nobody ever mentions the Elliot Goldenthal scores. And of course I'm not mentioning any of that either, because quite honestly I didn't go and look at the old Batman movies again. - about previous Batman scores
I am not saying it is a bad movie or good movie, but it is an odd movie. All of the music was written before Terry would edit a scene. That was just how he wanted to work. It was a very odd way of working for me, because I had to lead the charge up the hill all the time. It gets a little daunting.
The Thin Red Line
A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.
You have to remain flexible, and you must be your own critic at all times.
If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning.
A soundtrack can carry a visual along, be an unforgettable addition to the film and sometimes there is a small moment of something really great, which exists as beautiful music on its own merit.
Wings of a Film: The Music of Hans Zimmer.
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours' worth of tunes, and they were really pretty --but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.
I thought how do we deal with in a children's movie the idea that a father dies and make an emotional yet not horrifying experience. And it's very simple. It's my point of view because my dad dropped dead when I was six. I had nobody to talk to about it (About his score for The Lion King (1994))
This is the best love theme I've ever written, I keep telling everyone this is a romantic comedy, but nobody believes me. - (on Hannibal (2001))
when (producers) are going, 'This scene really doesn't work and we need some help here,' and you realize what they're saying is you can make or break this movie.
Trust me, if you're working on a $70 million movie and you're the last guy, you feel all that weight on your shoulders,
It is a more honorable approach than the Red Sea parting shower curtain.