The score combines the gigantic, chest-thumping sound of Zimmer’s best-known work of the past decade with the spirit of radical sonic experimentation. Along with synthesizers, you can hear scraping metal, Indian bamboo flutes, Irish whistles, a juddering drum phrase that Zimmer calls an “anti-groove,” seismic rumbles of distorted guitar, a war horn that is actually a cello and singing that defies Western musical notation - just to name a few of its disparate elements. The resulting soundtrack might be one of Zimmer’s most unorthodox and most provocative. offices overlooking Hudson Yards in Manhattan. ![]() “I felt like there was a freedom to get away from a Western orchestra,” he says, speaking in the Warner Bros.
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