Analysis on musical scoring by Hans Zimmer - Essay Example

?Introduction The work of Hans Zimmer has led into international recognition, specifically because of the use of his music with Hollywood films. The approaches which are taken by Zimmer, as well as the process which is used for creating the music have provided various ways of producing music so it can be used in various films and among different audiences. By exploring this specific process of music, while understanding the creations of Zimmer, there is also the understanding of how to work with film music and the process of composition. This can be furthered with examining the way in which Zimmer not only looks at the basics of music techniques, but also how this links to the elements which are used in films for an overall understanding of the production of music. Background of Hans Zimmer Zimmer was born in 1953 in Germany, and is now considered one of the world’s most renowned composers and arrangers. He has produced music for over 100 films, including “The Lion King,” “Gladiator,” and “Inception.” He is also the head of music production at DreamWorks studios and works through a company which he runs, known as Remote Control Productions. The work that Zimmer has done has led him to winning four Grammys, two Golden Globes, a Classical BRIT Award and an Academy Award. He is also considered one of the top 00 living geniuses for the time. He began playing at an earlier age, specifically as an escape route from the loss of his father. His love of music led him into working with several bands, such as a New Age group and a rock band, each time a featured keyboard player. He then moved into writing jingles for Air – Edel Associates which launched his career as a film composer. He moved into this by partnering with Stanley Myers who introduced him into orchestral scoring. By 1988, Zimmer began writing film compositions and has since then become one of Hollywood’s top writers (Talking Shop, 2008: 1). Fundamentals of Zimmer’s Scoring The main ideal which Zimmer uses in his music is the combination of electronic and orchestral music. The influences of partnering with Myers, as well as his background in playing the keyboards has led to the scoring alternatives for his music and has led into the combined focus. Zimmer believes that the use of acoustics is one which is irreplaceable because of the mood it creates. However, there is an understanding that the electronic sounds and arrangements are able to create a different mood and set of elements that are easily combined with the music. The main concept which Zimmer keeps in mind before scoring the music is when and where to use the specific instrumentation as well as how this will reflect the story line and mood that comes from the music. Keeping these in mind first then allows Zimmer to move into scoring with the right alternatives and arrangements while creating a specific approach to finding the right mood before beginning the process of scoring (Karlin, Wright, 2004: 369). The first step which is taken with the process of creating a score is based on collaboration with the film producers. Stills, shots and the plot line are sent for consideration to the work of the music artist, specifically so it creates an understanding of what the characters are about and the mood which needs to be created in specific sections. If it is a work where music is used for specific characters, then the shots are from the make-up and the specific plot line which follows the characters. However, if there are suggestions to add music at a certain point in the plot line, then this is broken down between the composer and those working on the set. The earlier collaboration between the two is able to create an understanding of what is needed for the music scoring while beginning the process of producing the right tone with the overall score (Zimmer, 2009: 1). After this original step, there is an approach to creating a nature of the sounds that are being introduced. Zimmer uses the process of taking the sounds and adding them into a script, specifically by understanding how the sounds highlight the character or plot line which is used. While taking this step, Zimmer already understands and has made a conscious decision of what to do with the music, what types of elements are needed and how to make the music carry a specific tone. After this point, it is a matter of taking the different types of instrumentation and combining them into an overall idea that presents the nature of the character or plot. This is done with the singular instruments as well as with the overall orchestration and arrangement which is outlined, which begins the process of the scoring of various parts of the film. For example, in the rendition of the Joker in Batman, Zimmer uses strings combined with electronics with a dissonant sound. This original idea was first displayed to show the overall concept of what would be used and then leads into the understanding of how this will create tension and dissonance with the character of the Joker. The idea of linking both ideals together becomes the main component when moving into the process of scoring (Zimmer, 2009: 1) After this point, the focus is on getting the sounds that instantly allow one to recognize the character or the mood of the plot. Experimentation is used with different sounds first, specifically to create an understanding of how the sounds are combined with the overall characteristics. Demos, longer recordings and different experiments are provided to the director, specifically to create the overall feel of what should be given with the different components of the film. The director is then able to state what is needed for the specific film and for various parts of the character. Each of these is produced earlier and before the film is finished recording or ready to be released. The demos may include the regular electronics and acoustical instruments; however, Zimmer is also noted for adding in concepts such as razor blades against strings, pencil tapping and other elements which create an overall mood and quick second of recognizing a character (Zimmer, 2009: 1). After a specific demo is taken, there is a basic script created for the recording. This is inclusive of working with the musicians, telling them the script of the music and distinguishing what should be played. With the longer scripts, this is written out or depicted with the sounds that are used by Zimmer. The recording musicians are then brought into the recording studio several times to see if the right sounds can be depicted, while using only the best of the sounds to get the right alternatives and play backs for the music. By using this process, there is the ability to use the process of the music, combined with the understanding of the character depiction and plot line with the creation of sound that is able to reflect this. The main association is to take the concepts and to make them into sound that is a part of the overall film (Zimmer, 2009 1). While the main ideas are set up by Zimmer, there are also others that work with the process of creating the music and setting the scores. There is a group of musicians that work on Zimmer’s team and which provide technical support for recording and finishing the process of the music. Music designers, recorders, engineers and others work with the ideas that Zimmer creates to make them move into completion. He is able to take ideas that have existed in the past as well as the newer ideas that he thinks will fit into the scenes. He then speaks about these with others on the team to see if the correct ideas can be given. Another individual is responsible for setting the scores that can’t be completed while Zimmer continues to work on finding the right ideas with both orchestration and electronic music. The ideas turn from script and into score if needed, then become longer clips of the idea that is recorded repetitively. The director is then able to find where to fade, cut and change the music so it is either heard as background noise or as a melody. Zimmer understands that his process is to set the tone, write the themes and to orchestrate those themes with others. After this, a group of musicians is able to work with him to complete the process and to make the ideas ready for the movie, while the ideas change and transform according to what fits (Tapley, 2010: 1). Setting the Mood with Music The processes which are used with the music scoring and finding the right attributes are combined with setting the mood of the music. This is done when the concept of the film first arises and is determined as the most important element of the film. There are three main focuses that are inside of the process for setting the mood. This includes the emotional tone, dialogue and the sequences that are needed for the vital parts of the story. This is dependent on the direction that is taken with the overall script and is further defined by what is expected from those that are composing the music. The idea isn’t to create a script that is based on the musical theories or expectations. Instead, the approach is to use a tone, instrument or overall concept that makes a statement about the mood. For instance, if the mood is melancholy, then instrumentation, melody and harmony will be used to find the perfect way to emphasize this, either through a character or a part of the plot line. Since most of the sequences are smaller with this, the focus becomes on finding the musical noise that represents a mood, as opposed to creating an entire piece that is able to depict the elements of the movie (Lewis, 1998: 51). The way in which the mood is set is first defined by looking and describing a character, action or scene. There is then an understanding of what this should communicate to the audience, such as fear, sadness or happiness. It is this that creates the main idea of what should be used. Instrumentation, both electronic and acoustic, is then identified as being a part of the mood. For instance, the clashing of an electronic guitar with a dissonant chord easily is able to present a type of tension throughout the film. This can be used for characters as a continuous identification or may be used once to depict a specific point of horror, sadness or tension. The idea is to take the context of the film and to communicate it in a different way through the use of music while adding into the overall value of the film. The music is usually set by first finding the idea, followed by the instruments, than turns into a set of recordings that can move in and out of the film to highlight and heighten a specific situation (Kendall, 2002: 17). The philosophy which Zimmer takes is based on his belief in aesthetic memory. This states that an individual is able to remember a character, scene or mood according to the beauty or contrast which it creates within the movie. The theory which Zimmer uses with aesthetic memory states that if you play something on the piano, or other instrument, you can only get so far before the theory changes. If the chord changes to a place that doesn’t seem like it fits, then it has to change. This component of aesthetic memory is one that is defined by the familiar and the known elements of music theory and what is considered acceptable and pleasing to the ear. The mood that is created with the music uses this basic theory of remembering what is aesthetically pleasing and helping to define this within the music. The theory which is used is to balance the aesthetics so there is a sense of tension and release that is throughout each of the themes. The mood is then created by trying to find chords, sounds and melodies that are either ambiguous or which create a sense of aesthetics based on a sound that represents the end idea (Zimmer, 2009: 1). Organizing Musicians After the scoring is completed and given as a main ideal to the directors for approval, then the musicians are organized for recording. There are three main ways in which the music is written and produced with the overall film. The first is spotting, in which a director has already edited a film and realizes that additional parts are needed to enhance a specific spot. The second is writing, which is inclusive of the ideas and sound that can be produced from the recording studio as the main parts that can be used with the music. The third is the arranged orchestration, which is inclusive of scores that are recorded over a longer period of time, as well as defined ideas that create a specific noise or sound and which can be used continuously throughout a work. Recording musicians are used for all three processes and are able to define the music. These are first created through temp tracks, which is what explains the idea to the director. Typically, these are produced with different software systems with an understanding that it won’t resemble the end sound but will give an idea of the film. Structure and source music are then used with the overall film, specifically which defines where the sounds and scores should be used as well as the length and expectations that are a part of the film. The process of recording then requires several applications to speaking with and using different studio artists as well as working with engineers for the several sequences and steps that are needed for the end product (Kompanek: 2004, 17). The first step taken with Zimmer is the use of a mock up, in which several demos and ideas were given to the directors over the main ideas of the film as well as the needs of emphasizing specific characters. This was followed by the changes suggested by the director, specifically which gives a clear and defined direction for the recording process. The main scores and sounds are developed and the musicians are brought into the study. An engineer and musicians are then hired and told which sounds are needed as well as what should be emphasized within the music. If scoring is used, then this is given to the musicians before being hired. Zimmer has a musical team which works with him, all which understand the main ideas which need to be conveyed and which help with the production of the music at this stage. The musicians understand the plot line, character relationships and the main ideas which need to be conveyed when looking at the score or the main ideas which are supposed to be recorded. The plot line and specific scenes with the mock ups are played to the musicians so there is an understanding of how this should be conveyed. Dynamic markings, expectations with tempo and the main melody or sound are continuously provided to the musicians to make sure that there is an understanding of timing and expectations (Zimmer, 2009: 1). One composer is brought into the music room at a time, as well as two engineers that are a part of the scene. The director is also a part of the process, specifically with identifying ideas that should be conveyed in the process. These are often given to the musician with some of the takes so several ideas can be conveyed. Usually, there are several hundred recordings that are given and one which is chosen for the final recording. If there are missing parts, then punch – ins and polishing is done to complete the process and to create the needed elements with the specific part that is being highlighted with the music. The final mix is then set with the engineers and is mixed with the scenes to highlight what is needed. At the end, different parts and elements are altered, specifically to create the needed mood. If the director decides to switch this, then new recordings are made until it fits with what is needed for the final scene (Zimmer, 2009: 1). The difference between Zimmer and several producers is based on the requirements that he uses to have musicians as a part of the process and to include acoustic instrumentation whenever it is needed. Instead of only creating electronic renditions of acoustic instruments, Zimmer makes sure that there is a specific component of the acoustic at all times. If extra musicians are needed for this, then there is the ability to create a different alternative to the idea that is given. Recording musicians are hired on contract and work with the process until the final concepts are created. The main ideal with the acoustic music is to make sure that the resonance and the specialized instruments are heard with the right impact, as opposed to creating an electronic rendition which may not work. Zimmer also makes sure that the director and the musician are able to hold a specific understanding of what changes need to be made as well as how to approach specific ideas for more effective alternatives with the creation of the music. It is these various elements of communication that help to present and create the end product of the music (Zimmer, 2009: 1). Workflow and Production The workflow and production that is used with Zimmer is the one aspect which he is not a part of and which a team is used to ensure that the final product is produced. In this instance, Zimmer works as the instructor or director of the music while others create the final product. The production begins after the ideas are created and approved by the director. These are then taken to his private recording studio where he works with an assistant producer, two engineers and the director for the production of the music. Composers may also assist with the final scoring if an orchestra is used or if the components consist of more than the solo instrumentation or electronics. At the same time, there is the ability to use alternative composers as the main idealists to spread the work and to assist with the final production. The Remote Control Production studio provides room and insight to creating this and allowing for more work to be presented to others that are working in the production studio (Hurwitz, 2007: 1). The collaboration which is used moves from the composer ideas to the recording of the orchestration. The collaboration at this point includes engineering, speaking with musicians and working with the directors for the final production that is needed. Typically, this includes working scene by scene with the recording musicians, engineers and the producer. Once the final cut is made and accepted by the director, then the cut is mixed, edited and mastered for the final recording. This is then mixed into the film to create the overall atmosphere which is needed and to build a production that works with the film. By using this process, it saves time, specifically because musicians, engineers and directors are spoken to with a collaborative and communicative process while everyone involved is able to create specific responses to the production that is occurring (Hurwitz, 2007: 1). Evolution of Ideas The first production that Zimmer created and which led him to fame was with the production of “Rain Man” in 1988. In this particular film, there is an aspect of keeping it simple while defining the basic elements in the film to create the overall atmosphere. The scoring consists of synthesizers mixed with steel drums and doesn’t switch throughout the film. The film is what allowed Zimmer to make a break into music, specifically winning him an Academy Award in 1989. The scores which followed included “Driving Miss Daisy,” which also included synthesizer and samplers throughout the music. The next film was in 1991, with the “Thelma and Louise” soundtrack, consisting of a slide guitar performance and the movement into other electronic sounds which could be used as a part of the film scoring. (Entertainment Weekly, 2009: 1) The earlier movies led to the height of Zimmer’s career in which his music began to evolve into deeper and richer sounds. In 1992, he produced music for “The Power of One,” which used African choirs and drums to reminisce the main theme throughout the movie. It was from this film that Zimmer was able to move forward with the creation of “The Lion King,” composed in 1994. This particular film won an Academy Award for Best Music, a Golden Globe and Two Grammys. The particular film included live recording which was done in South Africa as well as renditions of the scores which were done with synthesizer and technological mixes to create the impact of the scores that were used. “Crimson Tide,” “The Thin Red Line” and “The Prince of Egypt” followed, all which used the same concept of ethnic, live recordings that were consistent with highlighting the main themes of the music (Entertainment Weekly, 2009: 1). The work that Zimmer has done from 2000 and into the present time has altered the approach to music by moving outside of the thematic material by scoring while combining the past elements of the music. The known works include “Gladiator,” “The Last Samurai,” “Black Hawk Down,” “The Da Vinci Code,” “The Simpsons Movie,” “Pirates of the Caribbean,” “The Dark Knight” and “Inception.” Each of these works is being followed with TV series and video games productions produced by Zimmer as well as others that belong to his production study in California. His several works have led him into the Hollywood Stars of Fame and have created changes with the understanding of how film is composed (Entertainment Weekly, 2009: 1). The works from 2000 to present have taken a different turn with the music as well. Zimmer has focused on creating an approach that moves outside of the main ideal of the plot line or the representation of the music. This is inclusive of sounds that represent characters, subtle instrumentation and parts of the music that can be used continuously, such as through a minimalist approach, and the movement of combining the electronic music with acoustic instruments in different scenes. Instead of keeping the same instrumentation and various elements, Zimmer has moved into combining several theories and ideas, dependent on what the characters and the plot are. When listening to the first renditions of Zimmer’s work, then listening to his later works, it can be seen that there is a progression and evolution. The works which he is now working on are consistent with using several types of instrumentation, sounds and ideas, all which portray the plot, characters and various aspects of the performance. In the earlier works and until 2000, there was an approach that was based on providing an overall feel to the entire film. For instance, in “The Lion King,” Zimmer stays with the same acoustic feel through the entire film, all which depicts the concept of being in Africa as the main element. The mood that is created is further defined by the same instrumentation and having specific songs that are used throughout the film. The performance based music of this time period was altered with the later works, specifically with creating a concept of production through sounds and representations that are more symbolic, as opposed to being a direct representation of the film. Philosophies of Zimmer The approach and evolution which has occurred with Zimmer is one which he has found is building his philosophy at the height of his career, specifically because of his desire to change the rules as he builds his philosophies to music. The changes which he notes have been made come first from the idea of collaboration, which has allowed for changes to be made within his own career and introduces ideas and concepts which wouldn’t be considered if it were outside of the main initiatives. The concept of building a laboratory and to take the ideas of several and create it into a general theme is one that is known to change the evolution and work, specifically because this has currently been the leading effort with the new music and has created a different set of sounds which can be used for the overall initiatives and changes within the work. He states that this is why and how the different scores are able to work. Ideas with new instrumentation, valuable sounds and the theories which can be changed provide different types of insight into what is occurring within the work and allows the themes and the overall sounds of the movies to continue to change. This not only helps with the collaboration, but has allowed Zimmer’s work to take on different roles, specifically which his recent ideas working as a combined effort from past creations and into the contemporary time (Zack, 2007: 1). The main philosophies of Zimmer are also able to change because he changes the styles in which he is interested in as well as the themes which matter in terms of theory and expectations within the film industry. His personal process is inclusive of this, specifically with his capability of listening to different styles of music and seeing how this fits into the overall themes that are within a specific work. For instance, Zimmer states that he listens to classical composers, rock composers and those who perform the different pieces with various styles. The transitions that are made with this are inclusive of developing a tone and a voice with the music as well as accenting different parts of the music. As this is done, it is able to change and influence the styles. As Zimmer learns about this, he is able to create his own philosophies and ideas about how the music can work, what changes need to be done and what elements are associated with the work. However, this is also based on the desire to change the tunes and to find the perfect rendition of the moods. For instance, Zimmer states his desire to learn how to create the perfect romantic tune and mood while stating that each time he tries, something different arises and leads into a different concept that can create a change in his style of music (Zack, 2007: 1). The overall theme which Zimmer states with his music is that it should be a consistent evolution of ideas while finding a mood which fits with the film and which compliments what is occurring. His personal evolution, work with the collaboration and the concepts and initiatives which he has taken have all led into new ideologies of what it means to be a musician and to work within the area of film. There is an understanding that film writing differs from the regular music; however, the evolution of this, as exemplified with Zimmer, also provides new alternatives for music and the potential it has. The concept of seeing music as noise first, then showing how the noise can be an expression of a mood and reflective of a character is the main association taken into perspective with Zimmer. His approaches to film music are then created by trying to find a way to express what the film is trying to state through the compliment of the music (Zach, 2007: 1). The direction that Zimmer has taken to this point is one which he expects to continue, specifically with the collaborative elements and the ability to move into a sense of creativity with the music that is reflective of plot and character. The association is based on combining craft and technique with the inspiration and creativity that is able to drive forward the movie and to create different associations with the concept of the film. The evolution that is created is one not only based on these two components, but one which Zimmer prides himself on when looking at point of view. Zimmer believes that a composer who is working in film has to carry a point of view, relationship to the film and the idea of building a specific mood or element in various parts of the film. Even though directors are able to share with this specific concept, the composer is required to look at the other point of view that allows the music to mix with the overall style created. Combining this with the expectations from other points of view is what allows the scores to be accepted or to move into a contrasting element with the overall production of the film (Black, 1998: 1). Conclusion The concept of film scoring in a movie production is one which moves through several stages until the final piece of work is accepted. With Hans Zimmer, the pieces of work show the different phases which he has moved through as a composer as well as how this has led into his current position as one of the most well – known artists in Hollywood. His career has led him through several experimental stages and into a craft, combined with a sense of creativity that is based on the concept of music scoring. The philosophies and innovations which Zimmer has used throughout his career continue to gain him recognition in Hollywood films as a renowned composer and producer of various types of music that are able to depict and reflect the concepts in film. References Black, Edwin. (1998). “Hans Zimmer.” Film Score Monthly. Retrieved from: http://www.filmscoremonthly.com/features/zimmer.asp. Entertainment Weekly. (2009). “Hans Zimmer Reflects on 15 of His Memorable Film Scores.” (September). Hurwitz, Matt. (2007). “Hans Zimmer’s Scoring Collective.” MIX: Professional Audio and Music Production (September). Karlin, Fred, Rayburn Wright. (2004). On the Track: A guide to Contemporary Film Scoring. Routledge: New York. Kendall, Lukas. (2002) “Film Score Monthly.” Soundtrack Club (7). Kompanek, Sonny. (2004). From Score to Screen: Sequencers, Scores and Second Thoughts: The New Film Scoring Process. New York: Schimer Trade Books. Lewis, Tommi. (1998). “The Prince of Egypt Movie Scrapbook.” Performing Arts. Talking Shop. (2008). Hans Zimmer. BBC. (July). Tapley, Kristopher. (2010). “Interview: Inception Composer Hans Zimmer and Ambient Music Designer Mel Wesson.” In Contention (July). Zach, Andrew. (2007). “Interview with Hans Zimmer.” Sound Track Net Retrieved from: http://www.soundtrack.net/features/article/?id=210. Zimmer, Hans. (2009). The Conscious of Creating the Film Score. Retrieved from: http://www.youtube.com/watch?v=vt5_TB3mB2U. Zimmer, Hans. (2009). Hans Zimmer in His Studio. Retrieved from: http://www.youtube.com/watch?v=6GsUi-DFNZ4&feature=related. Read More