Wednesday 11 September 2013, 16:45
Walking into the Californian studio of Hans Zimmer, king of the blockbuster soundtrack, I’m greeted by a series of epic, thundering chords.
Then the music fades and the illusion ends. It’s just a couple of Zimmer’s assistants testing out the studio equipment. But for a moment…
Like our presenter Neil Brand and the rest of the production team, I’m a lifelong film devotee, and the series was a remarkable opportunity to meet and hear from some of the greatest talents of modern cinema.
The world of actors and directors tends to be a closely guarded one, but composers rarely get their share of the limelight, and our interviewees proved refreshingly open and approachable.
Amiably holding court in his studio - which resembles a high-class 19th Century bordello with synth components on the wall – Hans Zimmer recalled his own early days working for the BBC (remember the theme to the 80s game show Going for Gold?).
He discussed how comedies can be the hardest films to get right – he "agonises" over every note of a comedy soundtrack.
I was surprised when he claimed The Lion King is the most serious score he’s ever written, until he explained how its story reminded him of the early loss of his own father.
Zimmer was candid about how he still feels vulnerable when presenting a piece of music for the first time. Making the series really brought home to me just how tough a composer’s job can be.
Scripts and actors’ performances can be tweaked and worked on as they evolve; film scores are much more a matter of taste.
Being a well-established composer is no guarantee that your latest work won’t be rejected by a director or studio.
I didn’t hold out much hope, but Scorsese turned out to be so keen to take part that he gave up a rare morning off from filming The Wolf Of Wall Street to talk to us.
He discussed his two classic 1970s films – Taxi Driver, scored by perhaps the greatest ever American film composer, Bernard Herrmann, and Mean Streets, which had no composer at all, just Scorsese’s favourite tracks from his own record collection.
Scorsese was as sharp and fast-talking as we’d hoped – just like a character straight out of one of his movies. But when he recalled Mean Streets and its links to his own childhood, it brought out a more emotional side of him that I don’t think is often seen.
We were surprised to learn that for someone with such an instinctive feel for music, Scorsese can’t actually play an instrument himself.
We were taking on a huge subject, and we knew from the start that it would be impossible to include all the scores and composers we admired.
At all stages of making the series we faced painful decisions about what to leave out. I’ll never forget when the great Disney composer Richard Sherman performed his classic song Feed The Birds from Mary Poppins in Disney’s own recording studio for us.
Hearing the two pieces brought together sent shivers down the spines of everyone in the room.
Like Zimmer and Sherman, Vangelis took us to thrilling, emotional places in just a few notes. Watching the series, I hope you’ll feel similarly transported.
John Das is the series producer of Sound Of Cinema: The Music That Made The Movies.
The series is part of BBC radio and television's autumn season dedicated to the composers, songs and film scores that form the soundtrack to the big screen. Please see the Sound Of Cinema season page for details.
Comments made by writers on the BBC TV blog are their own opinions and not necessarily those of the BBC.
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