(With pandemic-era travel restrictions in place, many of these elements were recorded separately in different parts of the world.) Winds player Pedro Eustache built a 21-foot horn and a “contrabass duduk,” a supersized version of the ancient Armenian woodwind instrument. For one cue, he just said, ‘This needs to sound like sand.’”Įntirely new instruments ended up being created from scratch. Guthrie Govan, a slide guitarist whom Zimmer discovered on YouTube, described the process: “He’ll outline the desired end result rather than prescribing a specific means of getting there. The composer David Fleming, who gets an “additional music” credit for his contributions to the score, explained, “We create and collaborate on ideas, experimenting as long as the filmmakers will allow us to before we finally start applying those ideas to picture.” He described “band meetings” as an open forum, adding, “More than anyone else, you can count on Hans to push a bold idea one step further than you think it could possibly go, and then push some more.” It’s Zimmer’s name in the credits and on the soundtrack releases, but he prefers to think of himself as a member of an unusual band that includes a select group of composer-collaborators: “If someone has a great idea, I’m the first one to say, yes. (There’s still more written for the hoped-for sequel.) In addition to the original soundtrack, there’s “ The Dune Sketchbook (Music From the Soundtrack),” comprising extended sonic explorations, and “ The Art and Soul of Dune,” a companion soundtrack to the book of the same title that goes behind the scenes of the film. In fact, Zimmer wrote more music than could fit in the film. “‘Dune’ is by far my most musical film,” said the director Denis Villeneuve, who also hired Zimmer for “Blade Runner 2049.” “The score is almost ubiquitous, participating directly in the narrative of the film. Zimmer’s score is so prominent in “Dune” that at times the movie feels like an otherworldly equivalent of a “Planet Earth”-style nature spectacular. Along with synthesizers, you can hear scraping metal, Indian bamboo flutes, Irish whistles, a juddering drum phrase that Zimmer calls an “anti-groove,” seismic rumbles of distorted guitar, a war horn that is actually a cello and singing that defies Western musical notation - just to name a few of its disparate elements. The resulting soundtrack might be one of Zimmer’s most unorthodox and most provocative. offices overlooking Hudson Yards in New York. “I felt like there was a freedom to get away from a Western orchestra,” he said recently, speaking in the Warner Bros. Even the rollicking tune performed by the bug-eyed creatures in the Cantina was inspired by Benny Goodman.įor “Dune,” by contrast, Zimmer wanted to conjure sounds that nobody had ever heard before. When the composer Hans Zimmer was approached to score “Dune,” the new movie adaptation of Frank Herbert’s epic sci-fi novel, he knew one thing absolutely: It would not sound like “Star Wars.” Musically, those films drew on influences that ranged from Holst and Stravinsky to classic movie scores of the ’30s and ’40s.
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