Why Hans Zimmer should be considered the Modern Mozart

Let me begin by saying I am definitely biased, and I have absolutely zero shame about it. 11 of my favourite films and my top 2 of all time are scored by him and I will sing his praises until my ears stop. Hans Zimmer is undeniably one of the most celebrated and prolific composers of the 21st century. His work has been featured in some of the biggest films of the past two decades, including The Lion King, Dune, The Dark Knight, Interstellar, and Inception, all of which have become modern classics. He’s got no shortage of accolades either, including an Academy Award, three Grammy Awards, and two Golden Globe Awards.

Zimmer has a signature sound that is instantly recognizable and is often highly textured and layered. His use of a wide range of instruments and sounds creates a unique sound that has been praised for its dynamic ability to evoke powerful emotions in audiences. One of the most remarkable aspects of Zimmer’s music is how it supports and elevates the narrative of a film. Yes, that’s what a score is supposed to do, but through his music, Zimmer communicates the emotions and thoughts of the characters without relying on dialogue. He plucks the tone of the film straight from the script and into your ears.
Hans Zimmer has been a trailblazer in the music industry, and his contributions have had a significant impact on the way film scores are created. Zimmer’s unique style of composition has inspired many other composers to experiment with different sounds and styles – and to create more emotionally powerful scores. Zimmer has also been an advocate for using technology to enhance the creative process and has been an avid supporter of using digital tools to create music.

Zimmer has composed music for some of the most iconic films of the past two decades, but he has also created music for many other projects. He has composed music for video games, television shows, and adverts too. Gaming aficionados might remember him from Call of Duty: Modern Warfare 2. In case my mum reads this, that’s a game that 8-year-old Ian definitely did not play to completion at least 10 times. Word for the wise – Extraction Point is great running music.

When Hans Zimmer was asked by Christopher Nolan to write the music for Interstellar, he wasn’t asked to write a theme for an epic space opera. He only got a one-page letter that said the movie was about “a father who leaves his child to do an important job”. Trust Nolan to give no details.

Cornfield Chase, the breakout theme of the soundtrack, plays during a scene where Cooper (the film’s protagonist) drives through a field of corn to catch an old NASA drone. Cooper is in his element here – his curiosity is piqued by the sight of the old plane. The truck makes a sharp turn onto the field and immediately begins to plough into the corn stalks, clearing a path as it hurls husks into the air. It’s too fast for you to properly take in what’s happening and you actually believe you are inside the field. The music is getting much louder and more intense as the truck avoids a combine harvester and drives back into the field while still hot on the drone’s heels. You’re wrapped up in the thrill of the chase, just like Cooper. He’s too far gone and doesn’t realise the cliff face he’s about to drive off. The music reaches a loud IMAX crescendo. Cooper’s shout abruptly pulls you out of it. When the music abruptly stops, the drone whizzes past and you assume the worst – they’ve lost it. Your heart rate slows and you return to your seat, disheartened, only for Cooper to take control. The movie focuses on humanity’s search through the stars for a new world to call home, and Cornfield Chase perfectly captures the feelings of awe and wonder stemming from that premise. All good things must come to an end though, and Cornfield Chase is no exception – the track comes in at just over two minutes long.

If you’ve ever seen an action film since 2010, you’ll probably recognise the infamous “BRAAAM” sound effect. Ever since Inception’s release, action movie trailers have been using their trailers as impromptu foghorns. Tron: Legacy, Transformers 3, all of them have that booming noise. Since then, I’ve been rating films on a scale of “How well would I be able to find land if this was played through a loudspeaker”. This film is unbeaten.

Despite my love for Interstellar, Inception is probably the most iconic score of the 2010s. 24 seconds into the trailer, the sound hits – like a freight train (kudos if you get the reference). The BRAAAM is an auditory call to arms – instantly identifiable and completely unmemorable. It weasels its way into every high-stakes action scene in every other movie in an unrelenting fashion, much like ideas in Nolan’s Inception.
Ostinatos (rhythmic patterns that are persistently repeated for the less musically inclined) largely make up his scores. They are an incredibly powerful tool – one that Hans has mastered and turned into his trademark style. If you listen carefully, you can hear “Non, je ne regrette rien” by Édith Piaf at key points during the film. I would copy and paste the lyrics here and make some wordy analysis based on the lyrics, but I nearly failed my English GCSEs because of text analysis, you can find the translations of your own accord.

The song plays to wake up the characters from a dream. Piaf sings about leaving the past behind, which given the context of the film, is incredibly ironic. Cobb’s (DiCaprio) failure to let go of the idea of his wife holds him back throughout the film. Mal’s name means Bad in French. Now I love Nolan’s smart storytelling but for a film that existed in Limbo for almost 10 years, he named the “antagonist” bad? Who on Earth approved that? Mal is literally a recurring memory that exists only in Cobb’s mind. She’s played by Marion Cotillard who also played Edith Piaf in La môme, a French biopic. Inception is 2 hours and 28 minutes, and Je Ne Regrette is 2 minutes and 28 seconds. Nolan loves to feel smart. Another thing of note. That “BRAAAM” that I mentioned earlier? In every level of a dream, time slows down, and so does the score. BRAAAM comes from a slowed-down version of Je Ne Regrette. It’s a small thing that helps to tie the film together.

Time, the most popular track, is a masterpiece. It’s my go-to song for any mundane task, whether that’s revision, playing chess or doing even more revision. I’ve listened to it so much that it almost crept its way into my Spotify Wrapped last year. It unlocks some inane mental focus mode that lets me crank out Physics homework like I’ve been possessed by Einstein himself. I’ve spent weeks complaining about how uni is going to cripple me with debt, but I would happily fork out £120 pounds to go and hear it perform live at the O2. However, that’s right in the middle of exam season. I can’t explain my obsession with Time. It is quite literally a one-chord progression that plays over and over again at varying levels of intensity, but it’s as close to magic as I can possibly describe. Words simply cannot do it justice. If I pass my A-Levels, I literally owe it to Time. I want this song played at my funeral, while Morgan Freeman gives a speech about life. When humanity is faced with its last day before extinction, this needs to play. When I become an old man, filled with regret, waiting to die alone, this will play when my eyes close for the last time. (Editor: Bloody hell, Ian. But I’ll let it pass, it’s a poetic image)

Hans Zimmer has also collaborated with a wide range of artists and musicians, which has helped to further expand his musical resume. Zimmer has worked with a number of high-profile artists, including Pharrell Williams, Elton John, and U2. In addition, Zimmer has collaborated with many film directors, including Christopher Nolan, Ridley Scott, and Steven Spielberg. These collaborations have allowed Zimmer to explore different musical styles and genres, and to create unique and powerful scores for a variety of projects.

Let me change the tone so that I don’t end this on a morbid note, Hans Zimmer is the best composer of the 21st century. His unique style of composition, a wide range of projects, collaborations, and impact on the industry make him a juggernaut of modern cinema. Zimmer’s discography stretches from the plains of Dune and The Lion King to the vast emptiness of the cosmos in Interstellar. There is no denying that he produces nothing but masterpieces, with whatever he’s given to work with. Those are all valid reasons to rank him as numero uno, but he also has a very cool name and I think that only adds to his value.

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