Speaker 1: M I'm Alec Baldwin and you're listening to hear the thing.
Speaker 1: The score of a movie has a way of enriching
Speaker 1: a film's emotional journey from the profound to the playful.
Speaker 1: It is often an unconscious part of why the feeling
Speaker 1: of a movie stays with us long after we leave
Speaker 1: the theater. My guest today is one of the all
Speaker 1: time masters of film composition, Han Zimmer. He scored more
Speaker 1: than one d fifty movies, including Gladiator, Hannibal, Sherlock Holmes,
Speaker 1: The Last Samurai, The Thin Red Line, and many many more.
Speaker 1: Pond Zimmer's work has earned him an Academy Award for
Speaker 1: The Lion King, two Golden Globes, and countless more nominations.
Speaker 1: In two thousand five, han Zimmer began working with director
Speaker 1: Christopher Nolan. It's become one of the most celebrated partnerships
Speaker 1: in movie history. For Nolan, Zimmer has scored the Dark
Speaker 1: Night Trilogy, Interstellar, Dunkirk, and Inception, which features this song. Time.
Speaker 1: Hans Zimmer's work spans an eclectic range of feature films, television,
Speaker 1: and documentaries. I wanted to know whether his scoring process
Speaker 1: is different when he works on animated films. All directors
Speaker 1: are different from each other. But once was invited to
Speaker 1: a dinner party and at the end of the table
Speaker 1: sat Terrence Malick and Vanna Hartzuk. You know, everybody's talking
Speaker 1: at the long table, and then suddenly everybody stops talking
Speaker 1: and it's just the two great artists chatting, and they're
Speaker 1: arguing about which Q in Lion King is better. You know,
Speaker 1: these two admirable hoteurs are arguing about Lion King, you know,
Speaker 1: about a kid's movie. So the weird thing is, you know,
Speaker 1: I can talk to Terry Malick about animation, and I
Speaker 1: can talk to Tom mcglass, our director on Boss Baby
Speaker 1: about Thin Red Line, you know, and in one way
Speaker 1: or the other, it's sort of the same thing. Other
Speaker 1: than that, you can get away with a lot more
Speaker 1: in animation, I find, you know, you and I in
Speaker 1: a peculiar way, we give life to something that doesn't
Speaker 1: have life. I mean, it's it's, you know, the whole
Speaker 1: point about animation, especially now a CG, where things have
Speaker 1: gotten so refined and they can do such amazing things,
Speaker 1: but the one thing they can't do, they can't really
Speaker 1: truly breathe life in. And so ultimately that the only
Speaker 1: real performances is the actors and the musicians. And for instance,
Speaker 1: what we did on the Last Line King movie. You know,
Speaker 1: he did a remake, and I said, what am I
Speaker 1: going to do a remake? And I thought, everybody knows
Speaker 1: the tunes. Everybody in the orchestra knows the tunes. All
Speaker 1: my musicians and know the tunes. I'm going to spend
Speaker 1: a week pretending I'm recording little cues, and in the
Speaker 1: last two days, I'm literally going to make it about Okay,
Speaker 1: we're going to run the movie from the beginning to
Speaker 1: the end, and you're gonna just hold on for dear life,
Speaker 1: and we're going to record the whole thing as a
Speaker 1: performance because I wanted to have that, you know, the
Speaker 1: thing that you get in a life performance, the thing
Speaker 1: you get in a theater genius mixed with sphere and catastrophe. Well,
Speaker 1: we've had people talk to us and they have careers
Speaker 1: in whatever, editing or what have you. And I'm curious,
Speaker 1: not in a relationship, let's say with Nolan, where you've
Speaker 1: made a few films with him, or you made a
Speaker 1: couple with Nancy and this his two boss babies and
Speaker 1: so forth, but on your Maiden Voyage with Nolan. Does
Speaker 1: he send you the script and you start to get
Speaker 1: in conversation with him the type of score he wants
Speaker 1: and you start to like riff little things before or
Speaker 1: do you only really get concretized about it until you
Speaker 1: see cut footage. Let's talk about Chris and my working method.
Speaker 1: And I think we start off on the wrong foot
Speaker 1: right away because he wanted me to do Batman, and
Speaker 1: I kept saying I don't want to do Batman, and
Speaker 1: finally he said, why don't you do Batman? I said,
Speaker 1: I know how to be the dark Knight, but I
Speaker 1: don't know how to be Bruce Wayne. And he said,
Speaker 1: that's easy. Get a friend and to be the other character.
Speaker 1: You don't have to be schizophrenic. So I asked my
Speaker 1: friend Jameson Howard, who is you know, one of the
Speaker 1: most elegant composers in the world, to be light and
Speaker 1: let me be my dramatic darctness. And then I was
Speaker 1: working on something in Los Angeles Christmas shooting in London,
Speaker 1: and he has a way of being very persuasive. He's going, well, yes,
Speaker 1: I got this shot of Batman standing on top of
Speaker 1: a building, and I don't quite know how to get
Speaker 1: him there, because I don't want to temper it. But
Speaker 1: it's there something that you can just I mean, it
Speaker 1: doesn't have to be good. Just give me something that
Speaker 1: gets him up there. And so the first time James
Speaker 1: and I saw the movie, it had all our rotten
Speaker 1: little demos in it. But if you go to something
Speaker 1: like inception. I remember Chris phoning me and he's going, hey,
Speaker 1: do you want to come down to the beach with
Speaker 1: the kids. Is that how he puts it? Yeah, when
Speaker 1: he needs some music for his movie, let's go down
Speaker 1: to the beach with the kids. And I think that's great.
Speaker 1: I'm gonna try that. I'm gonna call Spielberg and let's
Speaker 1: go down to the beach with the kids. Got it worked.
Speaker 1: He realized that this idea of the different times and
Speaker 1: the different dreams, it was very complicated to an audience.
Speaker 1: And I said, you look to a musician. It's the
Speaker 1: easiest thing, because that's what we do all the time.
Speaker 1: You know, you have a bar and you're divided into
Speaker 1: four quarter notes, and you can divide that time of
Speaker 1: the four quarter notes into eight notes, etcetera. And you
Speaker 1: just keep dividing down and and and play. You're always
Speaker 1: playing with time. So I think at the end of
Speaker 1: the day, it doesn't matter if the audience never gets
Speaker 1: the intellectual conceit of the movie. But just think of
Speaker 1: me like a river and the audience is on a
Speaker 1: little boat, and I take you downstream with the story.
Speaker 1: And sometimes it's going to get a little rocky, and
Speaker 1: sometimes it's gonna get a little boring, but you sort
Speaker 1: of know you can trust the river to take you
Speaker 1: on this journey and take you to the end. So
Speaker 1: Chris loved that, and we do think very similarly. I mean,
Speaker 1: I remember him phoning me from Iceland, so I hadn't
Speaker 1: seen any footage, right, I just about read the script
Speaker 1: he phoned me from. So he's explaining the scene, which
Speaker 1: is and then you have to hit this shot, and
Speaker 1: then this is this, and this is the most important
Speaker 1: scene in the movie. Our lead character is basically seeing
Speaker 1: his whole family through the years, and he's starting to
Speaker 1: cry at a certain moment. You know, I had to
Speaker 1: be pointing, and I finally said to Chris, Chris, I
Speaker 1: don't think I can just do this. I don't think
Speaker 1: I can wing it without some footage. And I remember
Speaker 1: all these cuts in my head, and he says, our
Speaker 1: sense of time, our sense of aesthetics seems to be
Speaker 1: very similar. Just write it, send it to me. If
Speaker 1: it doesn't work, i'll send you the picture. Well, unfortunately
Speaker 1: it works, I said. I found him. I said, how
Speaker 1: how is it? He goes, well, it's within two frames,
Speaker 1: but I can go and adjust that. So then he
Speaker 1: finished the shooting and I'm going, okay, show me the movie.
Speaker 1: He's going, you know, it's going really rather well. You know,
Speaker 1: you imagining my movie and writing freely. At which point
Speaker 1: I started to just say, in term pieces of music,
Speaker 1: without telling him what they were for, I wouldn't write
Speaker 1: anything on them. I just send the music. But I
Speaker 1: very strongly, having read the script, knew what they were for.
Speaker 1: And I was praying and hoping. There's a shot in
Speaker 1: there where Mario Kotia is on a on a ledge
Speaker 1: and her shoe drops just so, and I was so
Speaker 1: hoping that this piece I sent for him was going
Speaker 1: to end up in that spot. And then months down
Speaker 1: the road, when I first saw it, there it was,
Speaker 1: and he absolutely got it. So we have this language
Speaker 1: without words, because I think what is really important with
Speaker 1: music is that to me it's an autonomous language. I
Speaker 1: am speaking to you in English, which obviously is not
Speaker 1: my mother tongue, as you might detect from the horrible accent.
Speaker 1: But if I were to speak to you in a
Speaker 1: couple of cords, I feel unsafer ground and I feel
Speaker 1: more articulate. So that's how Chris and I kept working.
Speaker 1: We kept coming up with crazy you know. We did
Speaker 1: a list, for instance, for interstella, of what other things
Speaker 1: we haven't done, you know, and we would cross off
Speaker 1: big drums, I did that one, big halls. Oh, we
Speaker 1: did that one. And then Chris said, what about pipe organ?
Speaker 1: And that became that, you know, because, as he said it,
Speaker 1: this is a movie about space and rockets and all
Speaker 1: that stuff. I mean, I saw the shape of the
Speaker 1: pipe organ, and at the same time I saw the
Speaker 1: afterburner of rockets, and I thought both are fabulous pieces
Speaker 1: of technology. Now with Nolan, do you feel that your
Speaker 1: task is to help them understand and help yourself understand
Speaker 1: what they want? Have you ever had conflicts with director
Speaker 1: where you said, I don't agree. How much truth would
Speaker 1: you like? Well, I mean, when my rule on this
Speaker 1: show was I don't want to ruin my career, your
Speaker 1: your Your career can't be ruined. What I'm asking is
Speaker 1: are you there to perform what they want or do
Speaker 1: you consult with them? The director has to trust composer,
Speaker 1: and ultimately the composer needs to go and buy into
Speaker 1: the director's vision. But music is indefensible. I can write
Speaker 1: you something and play it to you and I think
Speaker 1: it is the greatest fucking thing. And I just answered
Speaker 1: every question you ever had about your character, whatever, and
Speaker 1: you don't get it and it doesn't resonate. So there's
Speaker 1: no way I can sit there and explain to you
Speaker 1: why you should like it, and other resonates or doesn't.
Speaker 1: That's someone. The other thing is I like working with
Speaker 1: directors who spend a minimum of time talking to me
Speaker 1: about what music they want, because as soon as they
Speaker 1: start talking to me about what music they want, my
Speaker 1: mind goes off into that thing of going My job
Speaker 1: is to do something that they can't even imagine. My
Speaker 1: job is to knock their socks off. My job is
Speaker 1: to do something that is so beyond anything that they
Speaker 1: could do because otherwise said to it themselves. And you know,
Speaker 1: and it makes me rather done. It makes me a
Speaker 1: musical secretary. Do you think that someone to use a
Speaker 1: you know, a more celebrated example, because everyone knows the
Speaker 1: story about Alex north composition for Space Hotessey. Do you
Speaker 1: think that someone like Kubrick lunged in the direction of
Speaker 1: the classical repertoire because he knew what the music was,
Speaker 1: He didn't have to wait for somebody to write it.
Speaker 1: There it is extant, it's real, I know, I want,
Speaker 1: you know, fun Carreon with the with the vienna and
Speaker 1: this and that, just play the Blue Danube and he
Speaker 1: doesn't have to rely on anybody. Do you find that
Speaker 1: there were some directors who they just don't want to
Speaker 1: give that control? Well, well, it's such a sad you know.
Speaker 1: I mean, first of all, I should let you know
Speaker 1: that Sally Kubrick was the first director that ever fired me.
Speaker 1: What the full metal Jacket, and Vivian has started took over,
Speaker 1: but but it became this weird, strange thing. So I
Speaker 1: was really I mean I was maybe eighteen nineteen and
Speaker 1: us but as soon as I was fired in other words,
Speaker 1: because I didn't know how to do what he wanted
Speaker 1: me to do. Because Stanny koper knew everything. He had
Speaker 1: studied drumming with Jeane Kruper. He just wanted me to
Speaker 1: be his musical secretary, and I'm not very good at that.
Speaker 1: Take dictation, absolutely, take dictation. I mean I would get
Speaker 1: these tape sent drumming with ten fingers on his tabletop
Speaker 1: and go, well, get a drummer to do exactly that,
Speaker 1: and you know, so that didn't work. But then once
Speaker 1: I was officially fired, I would get these phone calls
Speaker 1: where he would go, I think Vivian's in a bit
Speaker 1: of trouble. Can you go up there and see if
Speaker 1: she's all right? Oh, he'd go, what do you think
Speaker 1: of Dolby Stereo? I'm eighteen years old, you know, I
Speaker 1: have no idea. I'm talking to Stanley Cooper. How did
Speaker 1: you end up in? I mean, you're eighteen years old.
Speaker 1: How does an eighteen year old Hans Zimmer wind up
Speaker 1: within fifty miles of Stanley Cooper? How did that happen?
Speaker 1: Anton first, his designer, who knew me. They were shooting
Speaker 1: for Metal Jacket in the docklands of London, and I
Speaker 1: knew Vivian, who then took over, and so I was
Speaker 1: really helping Vivian, and soon and then years later I
Speaker 1: ran into Vivian and I was just on my way
Speaker 1: to London. She said, oh, we really should go and
Speaker 1: see that. I'm going. Why would I see if he
Speaker 1: goes no, no, no. He's always talking about you. Whenever
Speaker 1: movie comes on television that you did, He's always saying
Speaker 1: I found him. I was the first one who gets.
Speaker 1: He forgets the other part. But you know, it's really
Speaker 1: busy and I had to go down to Australia from London,
Speaker 1: so I didn't go and see him because I thought
Speaker 1: that Stanley Kubrick is beyond He's immortal, you know, because
Speaker 1: he was Stanley Kubrid. Sure. And I get to Australia,
Speaker 1: I get to Sydney and the guy who's picking me
Speaker 1: up from the airport coincidentally was a chap who who
Speaker 1: had met on Full Metal Tracket and he's got a
Speaker 1: really sad face. And I realized that, you know, Stanley
Speaker 1: had died, which was inconceivable to nature. And I learned,
Speaker 1: don't say no. If somebody says, hey, come on over, interesting,
Speaker 1: you come over. And I learned a lot from him.
Speaker 1: I learned vast thanks for that. You know, this is
Speaker 1: music from the film Chappie. Han Zimmer discovered his musical
Speaker 1: talent very early in life. Another one of our guests
Speaker 1: who took music seriously at a very young age is
Speaker 1: classical pianist Long Long. He was a musical prodigy, winning
Speaker 1: his first competition when he was five. Long Long and
Speaker 1: I spoke before a live audience in New York City
Speaker 1: in two thousand nineteen. He talked about his father's skepticism
Speaker 1: of playing in competitions. He discouraged me to do competitions
Speaker 1: and I was like, wow, did he say why? Yeah?
Speaker 1: He said, then you're too crazy about being number one
Speaker 1: and you're not really focus on what you should be,
Speaker 1: you know, learning the repertoire and too. He said, do
Speaker 1: you want to become a great musician or you want
Speaker 1: to just win? And I said, oh, I said, is
Speaker 1: that not the same? I said, well, what was the difference?
Speaker 1: I said, If I don't win a prize, how I'm
Speaker 1: going to become a great musician. Here the rest of
Speaker 1: my conversation with celebrated pianist Long Long that here's the
Speaker 1: thing dot org. After the break, Hans Zimmer talks about
Speaker 1: how he went from playing dingy clubs around England and
Speaker 1: making coffee for composer Stanley Myers to realizing what he
Speaker 1: wanted to do for the rest of his life. If
Speaker 1: you're enjoying this conversation, tell a friend and be sure
Speaker 1: to follow Here's the Thing on the I Heart radio app,
Speaker 1: Apple Podcasts or wherever you get your podcasts. I'm Alec
Speaker 1: Baldwin and you're listening to Here's the Thing. This piece
Speaker 1: is from the film Twelve Years a Slave. Hans Zimmer
Speaker 1: was born in Frankfurt, Germany. He's largely self taught, and
Speaker 1: even as a child, understood a strong connection between music
Speaker 1: and mood. But my father died when I was six
Speaker 1: and I already played the piano. I enjoyed playing the piano,
Speaker 1: but my father died and I realized the only thing
Speaker 1: that made my mother happy, that put a smile on
Speaker 1: her face was when I played the piano. So I
Speaker 1: sort of took on that burden, which then, of course
Speaker 1: backfired because at school I was appalling and everything other
Speaker 1: than playing music. I got thrown out of nine schools.
Speaker 1: Ultimately I ended up in school in England, fabulous school
Speaker 1: called Heartwood House. You know, it was a choice to
Speaker 1: go back to Germany or hang out in Swinging London.
Speaker 1: So by the time of eighteen, I was in the
Speaker 1: back of a Ford transit van going up and down
Speaker 1: the end one playing every working men's club and every
Speaker 1: citty pub. That's the eighties. It was crazy, it was amazing.
Speaker 1: There was a company called Working Title that they were
Speaker 1: making music videos and one day channel for new television
Speaker 1: station came about and Working Title decided, since we don't
Speaker 1: know how to make movies, that's okay, they don't really
Speaker 1: know that, but we'll do something called My Beautiful Laundrette,
Speaker 1: which was a young Daniel day Lewis, and it was
Speaker 1: an extra honory anti Thatcher right, gay Cross everything, you know,
Speaker 1: amazingly sort of just mind blowing when nobody saw it coming.
Speaker 1: And Daniel kisses this Indian boy and you could feel
Speaker 1: the jaws of the audience hitting the floor. And I
Speaker 1: loved it. So Kubrick and that introduction through full Metal.
Speaker 1: When you're eighteen years old, had you worked on any
Speaker 1: films who you've been close to any film sets or
Speaker 1: studios before that? Yes? Yeah, no, no, absolutely. I had
Speaker 1: a mentor Stanley Meyers that the man who wrote the
Speaker 1: music for The Deer Hunter a brilliant man. And so
Speaker 1: Stanley had this coffee machine. He loved his Italian espresso.
Speaker 1: He had bought an unbelievably complicated coffee machine, and so
Speaker 1: my job was to work the coffee machine and Stanley
Speaker 1: would showed me how to write for orchestra. And the
Speaker 1: first day was Stanley Meyers and Nicholas Rogue sitting there
Speaker 1: looking at a scene. In the morning, I was making
Speaker 1: coffee and they're both going, we have no idea what
Speaker 1: to do. And by the evening they had come up
Speaker 1: with a mind blowing, beautiful solution, musical solution. And I
Speaker 1: realized that this idea of that you have nothing and
Speaker 1: that you make something out of nothing, and that it's
Speaker 1: just a conversation and you just you just breathed the
Speaker 1: picture in and turn it into notes. That was a
Speaker 1: fantastic adventure. And then Standing I had a little studio,
Speaker 1: and Standing was very good friends with the producer Jeremy Thomas,
Speaker 1: who phoned me up one day and said, would I
Speaker 1: mind coming in on Saturday because he had a Reti
Speaker 1: Sakamotive and Bernardo better Lucci coming in to have a
Speaker 1: look at what we act had done on the Last Emperor,
Speaker 1: and would I just go and round the tape machines
Speaker 1: for them. So they piled into my little studio, and
Speaker 1: it turned out that there was a found lack of
Speaker 1: communication and Bato Lucci had re cut the Last Emperor
Speaker 1: as in a flashback, while Sakamoto had scored the previous version,
Speaker 1: which was all in chronological order. And the other thing
Speaker 1: was Sako Moto's idea was that he was going to
Speaker 1: play Bernardo the stuff half his friend could recorded at
Speaker 1: Abbey Road, and he was gone because he had him
Speaker 1: tour starting the following day, and so nothing fit. So
Speaker 1: David Byrne from the Talking Heads was the other composer,
Speaker 1: and Kong Su, who was a Chinese composer but had
Speaker 1: studied in Berlin, was another composer on it. So the
Speaker 1: Chinese composer could only speak German, so I was useful
Speaker 1: in this case. And Jeremy said, can you just go
Speaker 1: up to Appy Roden just sort of sort this out,
Speaker 1: you know, we called the orchestra, and I had no
Speaker 1: idea what four m you know, fifty one whatever something.
Speaker 1: There was a real four was not a real too,
Speaker 1: but I never heard and I didn't even know what
Speaker 1: scene it was supposed to go. And Bernardo would go,
Speaker 1: why is it getting quiet in the middle of a shot,
Speaker 1: and I'm like, tap down things, furiously coming up with
Speaker 1: excuses to sort of not put the blame on reality Sacermoto.
Speaker 1: It really wasn't his fault. So that was really my
Speaker 1: other introduction. Yeah, and it was like these people are crazy,
Speaker 1: these people are genuinely crazy and that. And there was
Speaker 1: one day where Bernar I was working out at Pinewood
Speaker 1: and there was something had gotten and things kept getting lost,
Speaker 1: are things kept not happening or whatever? And he felt
Speaker 1: me up with most of you because where are the
Speaker 1: Chinese death belts. I didn't know that we're going to
Speaker 1: be Chinese less belt, nor did I even know that
Speaker 1: there is such a thing as Chinese death bells. So
Speaker 1: I said, well, okay, I'm really sorry. I'll come right
Speaker 1: over with that Chinese death bells. So I made up
Speaker 1: something on the synthesizer because I thought if I don't
Speaker 1: know what they sound like, he won't know what they
Speaker 1: sound like. And I came over and as I got
Speaker 1: to Pinewood, Bernado's walking up and down at the gates
Speaker 1: to the studio and he's like he's got his hands
Speaker 1: behind his back, and I get out of the column saying, look,
Speaker 1: I'm really sorry. It wasn't my fault, by the way,
Speaker 1: It really wasn't, you know. But I wasn't gonna blame anybody.
Speaker 1: It just went it. I'll do it, and Bernano went, look,
Speaker 1: I'm really sorry. I shouted at you, and he handed
Speaker 1: me a box of chocolates and he said, look, even
Speaker 1: though I'm the director and I'm paying you, I realized
Speaker 1: that the seconds of your life are going by and
Speaker 1: I should be more gracious. That taught me something. I mean,
Speaker 1: the more I worked within the film business at these
Speaker 1: early days, and mostly it was in Soho and mostly
Speaker 1: like Working Title, all our cutting rooms were either above
Speaker 1: a strip club or a pawn shop, and you know,
Speaker 1: and I would run up the stairs with my little
Speaker 1: piece of music and singer up to the picture and
Speaker 1: hold my breath because if the director didn't like it.
Speaker 1: But at the same time I realized it was all entertainment,
Speaker 1: and should it go wrong upstairs, maybe I could get
Speaker 1: a job downstairs at the pond, you know, or the
Speaker 1: strip club for that matter, all the strip club for
Speaker 1: that matter. Absolutely. And then Working Title offered me, like
Speaker 1: the twentie movie or something like this, that it was
Speaker 1: about the anti apartheit movement in South Africa called a
Speaker 1: world apart beauty Beautiful film, Beautiful film. Chris Mingers. So
Speaker 1: We're sitting at the Groucho Club and I'm I'm getting
Speaker 1: so what's the budget? And Tim Bevan says, we're not
Speaker 1: telling you what the budget is. Your wife is pregnant,
Speaker 1: and we know what you do. You take all the
Speaker 1: money that you're supposed to go and take home with
Speaker 1: you and you just spend it on making the movie
Speaker 1: sound good. So we're not telling you what the budget
Speaker 1: is this time. So you go and do the movie
Speaker 1: and it's going to be all right. So I did
Speaker 1: the movie and it turned out my daughter was born
Speaker 1: on the first day of working in the film, and
Speaker 1: they opened an account in her name and put the
Speaker 1: money in there. So, you know, whatever you say about
Speaker 1: the death things about filmmaking, the you know, how synature
Speaker 1: do you want to be? There are people who are
Speaker 1: genuinely have a hard gentleman, gentlemen. You know. The other
Speaker 1: thing which I think is so vital is Hollywood, with
Speaker 1: all its cheapness and vulgarity, what have you. It's the
Speaker 1: last place on earth that commissions orchestral music on a
Speaker 1: daily basis. And if we don't have that, the orchestras
Speaker 1: will just die. At what point were you immerged in
Speaker 1: the classic Bernard Herman era of film scoring. Did you
Speaker 1: listen to a lot of film scores? And no, no,
Speaker 1: not at all. I come from one of those snobby
Speaker 1: European families where we went to the opera once a
Speaker 1: week and we had no television because television was considered
Speaker 1: the end of culture as we know it. And I
Speaker 1: remember I snuck into the little local cinema where they
Speaker 1: were playing Once upon a Time in the West, and
Speaker 1: it was just like Ennio Morriconi, Sergio Leone those shots,
Speaker 1: and I'm going, that's it, that's it, That's what I
Speaker 1: want to do, and there was nothing that could stop
Speaker 1: me from doing this. Did you feel at any point
Speaker 1: that you needed to study film itself in order to
Speaker 1: do your job better. No. I felt I needed to
Speaker 1: study mythology. I needed to study fairy tales. I needed
Speaker 1: to study psychology. I needed to read like crazy, and
Speaker 1: I needed to sit down and talk to as many
Speaker 1: d piece as I possibly could, because if I was
Speaker 1: the years, they were the eyes. I was the guy
Speaker 1: who would never go home. I was always the kid
Speaker 1: who was still hanging around in the cutting room, you know,
Speaker 1: just badgering the editor, going well, why why are you
Speaker 1: doing that? Why are you doing this cut? And why?
Speaker 1: And how does this work? And you know, talking to
Speaker 1: the DP what colors are you going to use? What
Speaker 1: the tone of this film? Tell me what the color
Speaker 1: palette is going to be? Like knowing as we do
Speaker 1: now that you know, I might watch The Crown in
Speaker 1: bed on my computer and my wife is asleep next
Speaker 1: to me, and then if it's Gladiator, you think, let's
Speaker 1: just blow the fucking roof off the theater and let's
Speaker 1: just blow it out. You know, that's forty ft why
Speaker 1: twenty ft high? Is there a difference between scoring for
Speaker 1: TV and for film? Not? That should be? That should be,
Speaker 1: But I don't make a difference. I just I just
Speaker 1: feel there's a right path if somebody has a compelling story.
Speaker 1: If Peter Martin comes to me and he goes, I've
Speaker 1: given up on doing movies. I want to do The Crown.
Speaker 1: You take that very serious. And Peter's vision as vast
Speaker 1: and what a juggernaut that's been. Oh my god, absolutely,
Speaker 1: I love Peter. I've known him, I've known Peter. I
Speaker 1: want to say, I've known Peter all my life. Peter
Speaker 1: and I speak to German. He speaks better German than
Speaker 1: I do. You know, we come from that working title
Speaker 1: camp European cinema. It's really different. I mean I came
Speaker 1: to Hollywood expecting it to be technologically far more advanced
Speaker 1: than Europe, and I expected it to be far more collaborative.
Speaker 1: And it wasn't. The composer worked alone, and he had
Speaker 1: a ghost writer who would never get a credit. You know,
Speaker 1: It's like an army of ghostwriters who never saw their
Speaker 1: names up in light. And I thought, how that's poor
Speaker 1: bus is going to get their career. You know. Stanley
Speaker 1: Myers my mentor. I mean he gave me credits straight away.
Speaker 1: I mean it wasn't a big deal and we would
Speaker 1: all be in the room together. So I learned from
Speaker 1: Stephen Fierce, I learned from Nick Work, I learned from
Speaker 1: John's Lessenger. I learned from Terry Mallock. You did Pacific Heights.
Speaker 1: We did Pacific Heights. I have auditioned for that movie.
Speaker 1: I remember I was involved. And he did a movie
Speaker 1: The Believers, Yes that Marty Sheen did, and I was
Speaker 1: I was going to do that movie Allen Barkin and
Speaker 1: I think we're pretty close to getting those jobs, and
Speaker 1: then the casting director cut our throats and get rid
Speaker 1: of us because they felt we were too young. I remember,
Speaker 1: I was just overwhelmed with a passion to work with Sleshinger.
Speaker 1: What was he like? Same with me? Any director who
Speaker 1: in the middle of scoring says, I'm so sorry, but
Speaker 1: I have to take a few days off because I'm
Speaker 1: directing an opera and sales books. Okay with me? Do
Speaker 1: you know what I mean? It's like at the end
Speaker 1: of all the scoring sessions he made a list of
Speaker 1: all the quotes of classical music I'd used, which was
Speaker 1: it was great, it was a game. But again, knowing
Speaker 1: that writing music and performing music, what happened when you
Speaker 1: go and record it and you here and you go
Speaker 1: it's not right. Well, one of the things is to
Speaker 1: be absolutely clear we are making a recording. We're not
Speaker 1: doing a concert. You don't have the free say of
Speaker 1: a life performance going on. So I I try to
Speaker 1: have a bit of that going on. For instance, I
Speaker 1: tell directors before I start working with them, and they
Speaker 1: all get it. I will not make a change during
Speaker 1: the scoring session in front of the orchestra. We'll take
Speaker 1: it off the stands, I'll go home. I'll rewrite it
Speaker 1: whatever you want, but I will not do it in
Speaker 1: front of the orchestra, because when the orchestra is playing,
Speaker 1: it's about a performance, and we don't want to stop,
Speaker 1: and we don't want to bore them, and we certainly
Speaker 1: don't want to show any insecurity. The lion taming and
Speaker 1: film composing seem to have a close link. You know,
Speaker 1: both can kill you. I mean, the director will eat
Speaker 1: your life. And if it's not the directors, there's there's
Speaker 1: a whole bunch of guys in the brass section who
Speaker 1: are just looking at you, going, okay, kid, let's see
Speaker 1: what happens. Let's see you had some of that early on. Yeah, absolutely,
Speaker 1: and now we're fine. Now. I actually had one of
Speaker 1: the greatest compliments recently. There's a percussionist in London who's
Speaker 1: played on everything from you know, Star Wars plus all
Speaker 1: the classics, and I saw him the other day and
Speaker 1: he goes hamps. We were worried about you when you
Speaker 1: went to Hollywood because we thought you're just going to
Speaker 1: become one of those prats. But you know something, you
Speaker 1: came back You're still one of us. You're still a
Speaker 1: complete music bastard, and we love you for that. So
Speaker 1: I thought that was like the best compliment I could have,
Speaker 1: and it meant whatever we were doing was going to
Speaker 1: be okay because I was still part of them. Now,
Speaker 1: when you see footage, does a performance every motivate you? Really?
Speaker 1: What's an example of our performance by an actor in
Speaker 1: a film you did? They really helped lift you to
Speaker 1: the level you wanted to go In terms of your score,
Speaker 1: Jack Nicholson in as good as it gets. Really, I
Speaker 1: didn't know what to do. I was really struggling, and
Speaker 1: finally I said to Jim Brook's, Jim, what are you
Speaker 1: doing at the weekend? Do you mind sitting on my
Speaker 1: couch and let me just look at Jack. Look at
Speaker 1: what he's doing. I mean, there's a history. Before Jack
Speaker 1: started filming the movie, I was at his how going
Speaker 1: over like he's going to play the piano. He didn't
Speaker 1: want to play the piano. I'm going it's easy. I
Speaker 1: can go and replace anything that's wrong. No, Jack didn't
Speaker 1: want to play the piano, didn't more to play the piano.
Speaker 1: I think he just wanted to talk to him a bit.
Speaker 1: But so Jim sitting there and we just started to
Speaker 1: work out together what this character would be like. It's
Speaker 1: the way his legs moved. It's just just a little
Speaker 1: something in the shoulder. It's never something he says. It's
Speaker 1: body language. It's a ballet, and literally it was. It
Speaker 1: was two days of just experimenting. Jim sitting there and
Speaker 1: we worked the whole thing out. And so you know,
Speaker 1: I totally understood what Jack was trying to do. Helen Hunt.
Speaker 1: She wanted to ask you for I love that film.
Speaker 1: He did too. He did too, He did too. And
Speaker 1: what I love is there's an almost pugilistic quality too
Speaker 1: when he says his lines the woman that the legendary
Speaker 1: line when he's at the elevator and the woman says,
Speaker 1: how do you write those female? You write those women
Speaker 1: so well? I I think of a man and I
Speaker 1: take away reason and accountability right, one of the greatest
Speaker 1: lines in Hollywood history. There's another bit in it at
Speaker 1: the end when he doesn't know how to go and
Speaker 1: see the Hell and Hunt character, and Greg Canea says
Speaker 1: to him, but you already have an advantage, You already
Speaker 1: prepared to humiliate yourself and in a funny way. I've
Speaker 1: made that sort of my litmotif of how I'm going
Speaker 1: to go and play a piece of music to a
Speaker 1: director or anybody for that matter. I'm sure, I'm sure
Speaker 1: that these examples have been There might be none or
Speaker 1: certainly few and far between. But if you ever just
Speaker 1: pushed out your best effort and you thought I can't
Speaker 1: save this movie, yes, and and being wrong at the
Speaker 1: same time, thinking this is terrible, and then the audience
Speaker 1: loved it, you know, don't try to predict anything. That's
Speaker 1: a very good point, you know, to their own self.
Speaker 1: Be true. I mean, look, you and I we did
Speaker 1: a movie. There's a line and girl and boy met
Speaker 1: forty five minutes ago in the story and they're sitting
Speaker 1: next to each other and she says to him, if
Speaker 1: I have one more night to live, I want to
Speaker 1: spend it with you. And I said to Michael. By Michael,
Speaker 1: you gotta get rid of that line. I learned from
Speaker 1: Bridley Scott. Bridley Scott always would say sentimentality, that's unearned emotion.
Speaker 1: And he said, yeah, yeah, don't worry, I'll get rid
Speaker 1: of it. He never got rid of it. It's the
Speaker 1: favorite line in the movie by teenage girls. God, Hans Zimmer,
Speaker 1: this is to every captive soul from the motion picture
Speaker 1: Hannibal m Yeah, when we return. Hans Zimmer talks about
Speaker 1: how an invitation from musician Pharrell Williams helped him overcome
Speaker 1: stage fright. I'm Alec Baldwin and this is here's the thing.
Speaker 1: In two thousand sixteen, Hans Zimmer did something he hadn't
Speaker 1: done in decades, played in front of an audience. The
Speaker 1: result was Hans Zimmer Live and arena style concert series,
Speaker 1: which wouldn't have happened with encouragement from his friends. There
Speaker 1: was like a cabal ganging up on me. There was
Speaker 1: Farrell Williams, Jolly mar and my friend Anne Marie Simpson,
Speaker 1: great violinist, and they're all sitting here and they're going
Speaker 1: you know, and you can't hide behind the screen for
Speaker 1: the rest of your life. Sometimes it is your duty
Speaker 1: to look an audience in the eye, especially after you've
Speaker 1: done so much. I'm gonna a terrible idea. I think
Speaker 1: I should just stay in this room. I mean, And
Speaker 1: so this goes on and I keep saying no, and
Speaker 1: they get up and they're walking out of my room,
Speaker 1: and right at the end, Farrell turns around and he says, Hey,
Speaker 1: I'm going to play the Grammys. Do you want to
Speaker 1: play guitar for me? And I thought only an idiot
Speaker 1: would say no. So it was his show. The Grammys
Speaker 1: were his show. I'm playing guitar. Through the whole performance,
Speaker 1: he kept his eyes on me. He just to make
Speaker 1: sure that I was okay, that was safe, which was
Speaker 1: such an act of kindness, and I was going, Oh,
Speaker 1: it's not so bad. This is actually good fun. So
Speaker 1: I phoned. I thought, my friend Harvey Goldsmith, who promoted
Speaker 1: the original Live Aid and everything else. I mean, he
Speaker 1: brought Springsteen to to England, etcetera. And I was saying,
Speaker 1: how if I did a concert, I mean, do you
Speaker 1: think anybody would come? Yeah? I think so. So in
Speaker 1: fourteen we did two nights in London and a rock
Speaker 1: and roll venue, and I thought it was important. Number one,
Speaker 1: it was important to be a rock and roll venue,
Speaker 1: and it would be fun to pon orchestra into it,
Speaker 1: or we can go more extreme, because then we went
Speaker 1: and did Cotella and I thought, oh, we have to
Speaker 1: do Cotella because we've got to have an orchestra in
Speaker 1: the middle of the desert and acquire. And secondly, I
Speaker 1: want to change the way people perceive orchestras and choirs
Speaker 1: because I can understand that going to a classical concert,
Speaker 1: unless it's an amazing conductor, seeing a guy with his
Speaker 1: back to you all night while there's a whole bunch
Speaker 1: of guys and girls reading the paper is like a
Speaker 1: bad marriage on a Sunday morning. So I said to
Speaker 1: the orchestra, if I get rid of the conductor, I mean,
Speaker 1: we have enough technology, we can go and show things
Speaker 1: up on the conducting, up on the screen. You know,
Speaker 1: it doesn't have to be in the sideline. You will
Speaker 1: have an autonomous sideline to the audience. Will that work?
Speaker 1: And they said, yeah, absolutely, we'll have We'll have a
Speaker 1: go at it, and that basically became the basis of
Speaker 1: that tour and the idea of being surrounded by not
Speaker 1: only great orchestral players, but great rock and roll players,
Speaker 1: because great musicians are great musicians. You either move me
Speaker 1: or you don't move me. You know, it's interesting how
Speaker 1: when you write music. I want to tee this up
Speaker 1: with the story which was I was haunted by the
Speaker 1: sequence in Cold Blood where Robert Blake is watching Scott
Speaker 1: Wilson have sex with the prostitute, and he's sitting on
Speaker 1: the bed, and then that transforms into his mother with
Speaker 1: a job on, and the father comes in, and it's
Speaker 1: this horribly painful, traumatic thing for the Robert Blake character.
Speaker 1: And he's sitting there with tears running down his eyes
Speaker 1: and the rain behind him in the window, running down
Speaker 1: the window, and they played this Mexican ballot and I
Speaker 1: drove myself to the brink of insanity trying to find
Speaker 1: out what the name of the song was, who the
Speaker 1: singer was, and of course who wrote it. And I
Speaker 1: couldn't take it anymore. So you know, when you're with
Speaker 1: C A A as an agency, they can get you
Speaker 1: on the phone with anybody. So the next thing you know,
Speaker 1: I'm on the phone with Quincy. I said, now this
Speaker 1: song in this thing? He said, yeah, yeah, Man, Nina
Speaker 1: the song of Nina Baby. That's the name is sell Nina.
Speaker 1: And and and I go who wrote the song? And
Speaker 1: suppose he goes, I wrote a baby. I wrote it.
Speaker 1: What you're talking about? Man? I wrote the song like
Speaker 1: I write all the songs. Did you feel that there
Speaker 1: were parts of your career we want to learn to
Speaker 1: write music? You thought you couldn't write whether you know,
Speaker 1: from the culture, Yeah, I mean absolutely. I mean I
Speaker 1: had to from Penny Marshall. When she comes to me
Speaker 1: and she goes, forties girls baseball leader. Though I'm going
Speaker 1: I know nothing about being a girl. I know nothing
Speaker 1: about the forties. I don't know anything about jazz, you know,
Speaker 1: And she goes, don't worry about it, just do it,
Speaker 1: and oh yeah, And I say I know nothing about baseball.
Speaker 1: She goes, when they hit it, that's good. You know.
Speaker 1: That was basically my brief. It took me a while
Speaker 1: to figure out how I could solve this because I
Speaker 1: really don't know anything about jazz. You felt, you didn't
Speaker 1: know anything about jazz. You want a jazz fan, yes,
Speaker 1: But I didn't know how to do it, you know.
Speaker 1: And I thought, well, hang on, everybody's got like some
Speaker 1: crazy uncle that when drunk will play boogie boogie on
Speaker 1: the piano. So I thought, well, I can be that
Speaker 1: guy playing boogie boogie and the piano and just orchestrated
Speaker 1: and shove it in front of a bunch of very
Speaker 1: good players. So that's how that score came about. Here's
Speaker 1: the thing. Penny was a huge influence because she loved
Speaker 1: having a chat, especially between the hours of three am
Speaker 1: and seven and the more I had some chats with Penny. Okay,
Speaker 1: so so since I was one of the few Parsan session,
Speaker 1: therefore I was up and I would use those charts.
Speaker 1: I remember one Penny, how do you make a good movie?
Speaker 1: Because that's easy. All you have to do is protect
Speaker 1: your star. And by that I don't mean the actor,
Speaker 1: I mean your main character. Don't let him say anything
Speaker 1: that's out of character coming off his mask, don't let
Speaker 1: him wear anything that's not in character, don't have his
Speaker 1: hair be stupid. Because when you know what your main
Speaker 1: character is, then the rest of the story will group
Speaker 1: around it. And I thought that makes perfect sense. Now,
Speaker 1: what about with ron Howard? You mean, the Frost Nixon
Speaker 1: thing is obviously a very dry, very powdery kind of
Speaker 1: a drama, you know, I mean, oh man, that was
Speaker 1: a tough I mean, o'shean and Frank, I mean, Frank
Speaker 1: is just such a wonderful malvolio esque, you know, kind
Speaker 1: of presence and everything he does it just drips with
Speaker 1: a kind of danger. You know, what did Ronnie tell
Speaker 1: you he wanted for that film? We all loved the
Speaker 1: play and you know that's back to Peter Martin in
Speaker 1: the Crown. I mean, that's a Peter Martin thing. So
Speaker 1: ostensibly we had a meeting every day for two weeks
Speaker 1: before he went outituding to talk about the songs, to
Speaker 1: make the songs to be the right thing for the era.
Speaker 1: And I don't think we actually got any songs in it.
Speaker 1: You know, I would go, well, if you give me
Speaker 1: this close up, I can give you this piece of music,
Speaker 1: I can do something like this, and la la la la.
Speaker 1: You know. So for two weeks we we sort of
Speaker 1: worked out camera moves and we worked out how to
Speaker 1: transform a play into a movie. Now. One of the
Speaker 1: junctures in which I intersected with your movie was a
Speaker 1: documentary series called Evidence of Revision. It's considered the citizen
Speaker 1: pane of JFK conspiracy films. It's nine hours long, divided
Speaker 1: into five parts. I'm listening to this and this music
Speaker 1: comes on and I'm going, oh man, this music is
Speaker 1: so fucking beautiful and it's the last Samurai. Now, he
Speaker 1: sampled a couple of your pieces for this thing, Hannibal.
Speaker 1: He plays to every captive soul, oh yes, and oh
Speaker 1: my god, you just the tears start rolling down your face.
Speaker 1: There's a big story involved for piece why it's worth
Speaker 1: making movies. To me, Ridley had just come back from Florence,
Speaker 1: I think, to finished shooting the movie at Sunday night,
Speaker 1: eleven o'clock in the evening at Fox in the cutting room,
Speaker 1: and it's Ridley, it's Pietro Scarlia, the editor, and me
Speaker 1: and the picture on the abbott is parked on a
Speaker 1: tear running down Clary Style Link's face and I say
Speaker 1: to him, to both of them, I say, well, she's
Speaker 1: crying because she's in love with him and she has
Speaker 1: to betray him now, and really goes no, no, no no,
Speaker 1: it's a tear of disgust. It's disgusted at this monster
Speaker 1: when he has her up against the refrigerator. Yeah, exactly,
Speaker 1: exactly right. So this goes on, so so it gets
Speaker 1: more and more heated at this conversation, and finally we're
Speaker 1: standing and three grown men at eleven o'clock at nine
Speaker 1: on a Sunday are shouting at each other about the
Speaker 1: meaning of a tear on a woman's face. And I
Speaker 1: had one of those we had moments, you know, where
Speaker 1: the camera pulls back and I see us all. I thought,
Speaker 1: what a great ful job we are discussing Julia, and
Speaker 1: I'm going, this is the most important thing to us
Speaker 1: at this moment. And that's what this piece is about.
Speaker 1: Because I said, Okay, Retty, this is what I'm gonna do.
Speaker 1: I'm going to write the whole score is going to
Speaker 1: be a romantic comedy. And he's okay, fine, all right
Speaker 1: if you can pull that off. Five romantic comedy. So
Speaker 1: that is my big love theme. What's the movie of yours?
Speaker 1: You watch when you sit there when it's screens and
Speaker 1: you go, you know, it's not that bad. Actually it's
Speaker 1: pretty good. It really does work. Yeah, I know I'm Buyingary.
Speaker 1: It's ship. It's not ship. I think they could all
Speaker 1: do with a bit of a do over and implease,
Speaker 1: But I tell you the opening to the Lion King,
Speaker 1: I mean it was really important to me. I wanted
Speaker 1: that African voice. My friend Lebo, who had discovered at
Speaker 1: a car wash he was a political refugee, he was
Speaker 1: working at a car wash. I said, come and just
Speaker 1: come and do this thing. And you know, like that,
Speaker 1: like within the first notes, you know you're now not
Speaker 1: in Kansas anymore. What advice do you have for people
Speaker 1: who you're working with who are young people who want
Speaker 1: to because I'm assuming that actors can come and go.
Speaker 1: They have their healthy on period, writers, directors, But it
Speaker 1: seems like compos users, when you hit it, you can
Speaker 1: stay there for a very long time. Your career has
Speaker 1: been a very long time now and you've stayed at
Speaker 1: the top of this business for a very long time.
Speaker 1: What advice do you have for people who want to
Speaker 1: get into that part of the business? Just say yes,
Speaker 1: you know, like when Penny Marshall says, do you not
Speaker 1: do a movie about baseball and swing? Yes? I know
Speaker 1: nothing about it. Just be honest, I know nothing about it,
Speaker 1: but sounds interesting, right, you know, old Yes. I remember
Speaker 1: being on the phone with Ron just out of courtesy
Speaker 1: right at the end. I thought I should say, well,
Speaker 1: what are you working on? And he said the Da
Speaker 1: Vinci Code, and I'm going, oh my god, it's like
Speaker 1: run on monologue. It's totally uncinematic. How can you, I mean,
Speaker 1: how are you gonna do that? And it's a phenomena.
Speaker 1: How are you going to deal with the phenomena? And
Speaker 1: he goes, yeah, I know, And ten minutes later my
Speaker 1: agent goes, what did you say to Ron always, I'm sorry.
Speaker 1: I know he's setting off on this journey and I
Speaker 1: just probably really, like, you know, made it even worse
Speaker 1: for him. He goes, O, no, no, he wants you
Speaker 1: to do the film. He wants you to solve it
Speaker 1: for him, you know. And it gave me a year
Speaker 1: of being able to immerse myself in art and in
Speaker 1: literature and to hang out at the Louver at night.
Speaker 1: This is why people say to me, why am I
Speaker 1: on the board of the Philharmonic? I said, the movies
Speaker 1: often disappoint me, The theater sometimes disappoint me. The symphony
Speaker 1: never disappoints me. Right when now I go see the
Speaker 1: New York Philharmonic play, I'm never disappointed. Absolutely your music.
Speaker 1: Is there a joint ownership of that movie and the
Speaker 1: publishing rights and so forth for the soundtrack, album and
Speaker 1: so forth. Do you have some control or did the studio?
Speaker 1: Is it a buy out and they own it? They
Speaker 1: own it. But there's a law that says you are
Speaker 1: allowed to perform anything you want to perform, right, so
Speaker 1: I think it would be keenous to not be able
Speaker 1: to own my life. Wow, you know, because that's really
Speaker 1: what it is. Isn't it. I mean, you know that
Speaker 1: thing Bernardo said to me. You know, as the seconds
Speaker 1: of life are taking away, we are creating these things.
Speaker 1: You know. Manon an actor turned to me once. He
Speaker 1: said to me, you're gonna go back to your trailer,
Speaker 1: I said, He goes, Why do you go to your trailer?
Speaker 1: He said, the sets where you want to be even
Speaker 1: when you're not shooting, he said, pull up a chair,
Speaker 1: he goes. Just be a part of it, absolutely, just
Speaker 1: watch them shoot. And as I've gotten older, when I
Speaker 1: read a script, I say to myself, could I stay
Speaker 1: on the set during the entire shooting process of this
Speaker 1: movie and just be a witness and watch them do
Speaker 1: this movie? Is do? I love it that much? And
Speaker 1: that's become a metric for me. Actually, and I spend
Speaker 1: far more time on the set now than I used to.
Speaker 1: I never go to my trailer anymore. It's too boring.
Speaker 1: I think my whole career is based on I would
Speaker 1: always hang around and be the guy asking the stupid questions.
Speaker 1: You know, not be afraid. Why are you doing it
Speaker 1: like that? You know, tell me explain this part to
Speaker 1: me or whatever. You know, everything informs everything, but you
Speaker 1: nailed it when you said this is our lives. We
Speaker 1: spent our lives doing this. It is our lives. And
Speaker 1: that's what Farrell and Johnny Mark were so right about
Speaker 1: that I should stop hiding and then I should do
Speaker 1: things in real time, be on a stage. If I'm
Speaker 1: going to have a platfall, Yes, if I go hello
Speaker 1: Oslo in Stockholm, they will forgive me. Let me just
Speaker 1: finish by saying this as you're scoring the sequel to
Speaker 1: Boce Baby, please make me look funny, made me look smart,
Speaker 1: made me look powerful. Okay, when you're writing the music,
Speaker 1: just have that in mind. If you don't mind made
Speaker 1: me look powerful. We have not only have we fulfilled
Speaker 1: that brief but you know you getting away with that line, Um,
Speaker 1: I have a beautiful voice. I mean just that, and
Speaker 1: pausing just to have your voice just let it lay
Speaker 1: there and let them all be and thrilled. Well, listen,
Speaker 1: thank you. You're one of the greats man. I mean,
Speaker 1: your movie scores are just I mean, these people that
Speaker 1: you work with, they're lucky to have you. Boy, what
Speaker 1: a difference you make. It has been a pleasure. Composer
Speaker 1: Hans Zimmer. This is from the motion picture The Last Samurai.
Speaker 1: I'm Alec Baldwin and this is here's the thing from
Speaker 1: my Heart Radio M