Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
'Hans Zimmer': Composer/Producer Career
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Inception is a 2010 science fiction film composed and directed by Christopher Nolan. Hans Zimmer, a German film composer and music producer who create the score for Inception. In the past, he composed music for over 100 films, including the famous Lion King, Dark Knight, Crimson Tide, and much more. His works are important for integrating electronic musical instruments and electronic music technology with traditional orchestral arrangement in his production. He interpret the work he wrote for Inception as “a very electronic dense score’ filled with ‘nostalgia and sadness’ to match the actor feelings throughout the film.
The film’s opening piece is “Half Remembered Dream.” In this piece Zimmer uses a brilliant trick to grab the audience attention. This film for the greater portion it is about how a dream can disorient human. As Leonardo Di Caprio lies in the surf, this 1-2 beat play, it seems ill fitting with the images presented. However, in the film, the normal time slows as a person go further and further into the dream, at this point, Di Caprio is at the bottom level of sleep....
This scene is attempting to insinuate to the audience his failure of being a detective. This presents discontinuity due to the fact that the the film is changing space rapidly with no indication of time. This has graphic discontinuity edit because the scene is trying to create dissimilar environments but present the same visual principle. Rhythmic relation in this also contributes to the discontinuity by montage. As each scene is changing within the scene, the musical background has sudden interruption to follow with the intensity. Therefore, as there is no logic connecting the shots, this is to underline and present bewilderment to the audience due to the rapid change in
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
In this essay I am going to explore the unique collaboration between director and composer and how much a long-term collaborative process between the two can influence the establishment of the former as an author. An author, in this case, stands for an authority actively shaping the film’s story and message but at the same can be understood as an author of music, I will try to consider both factors. In this process I want to begin with filmmaker’s general relationship to music, then while answering the main question I will give examples of the European collaboration of Theo Angelopoulos and Eleni Karaindrou, focusing on their approach of using music in new ways, as well as examples from the more known collaborations between Alfred Hitchcock and Bernard Herrmann and David Cronenberg’s collaboration with Howard Shore. Furthermore, I am going to include conclusions from my personal experience I have had with my friend and director Nuno Miguel Wong. Concurrently this Essay is not an analysis of the music in the films of the above-mentioned collaborations, but rather focuses on their distinct working relationship and how it might have affected their musical approach and productivity.
As the opening credits scroll on the screen, the violins in the orchestra play an anticipatory mood. Almost like a chase is occurring. This music sets the scene for the rest of the movie and the horror that will ensue. The same melody is continued into the first scene just at a slower speed. When Marion Crane and Sam Loomis are in the hotel room
In Bruno Nettl's article A Place for All Musics? Confrontation and Mediation he talked about how the “School of Music” and “Departments of Music” are so far from the reality of accepting all music. These schools typically only study Western European art music and Nettl through this article is pointing out the major flaws with this system as a distant observer. He wrote, “Even the various sorts of Western art music may not be included on equal terms. Actually, there are some ways in which the music school functions almost as an institution for the suppression of certain musics. Its library may avoid the purchase of popular music, and in decades past some music deans forbade students to play popular music or jazz in their spare time. . .” Nettle continued to discuss how music schools understandably are out to decontaminate music students of wasteful music such as popular music. He said, “In its judgment of the interrelationships of musics in its community, the music school is very much concerned with the concept of pollution.” Even though Nettle pointed out these issues within the musi...
believe the film is saying, and what effect music has had on projecting the films overall message.
During this film, the first thing noticed that classified this film as an art film was the very first scene, when the music is playing and the earth slowly rises with the sun in the background. This goes on for about 3 minutes ...
For this essay I will be looking at the work of Hans Zimmer to discuss how music in film engages the viewer and evokes emotion and pulls the viewer toward the film. Hans Zimmer is a German born music composer. Hans Zimmer’s love of music stems from his childhood when he learned how to play various instruments. Before Zimmer began composing music for films he was in a well-known band. The band was called The Buggles whom were famous for their song Video Killed the Radio Star. After the Buggles Zimmer played in other bands but never had another hit. As Zimmer has progressed as a film composer so has his list of nominations and awards. Zimmer has won 4 Grammy Awards and 2 Golden Globes and many more for his outstanding film scores. The reason I chose to write this essay on Zimmer was that his genres and music score are extremely versatile ranging from animations to comedy to dark thrillers. This is important to highlight as it shows Zimmer can create almost any atmosphere with his music whether it be sad or creating tension that all cause us to engage with the film. Zimmer's use of themes and introduction of different instruments allowed him to create these wonderful engaging film score. In this essay I will look at three films by Hans Zimmer these are The Holiday Rush and Rain Man.
The film begins with a title card sequence upon a static backdrop of shrubbery, mountains and distant clouds; a lingering sight that doesn’t truthfully establish forthcoming events in Vienna’s saloon. Her saloon may be quiet, but it is always occupied, and whilst the opening sequence, in which we are introduced to Johnny Guitar, is filled with a bravado of horns and orchestral accompaniment, the saloon itself is inversely populated by the sound of wind, tumbleweed, and stark silences - something perhaps more associated with the western expanse in which the story takes place. Yet for this dichotomy in sound, the initial visuals after the credit sequence foreshadow the destruction of locale, and the audience takes the place ...
... like Szpilman is gradually getting into that becoming a pianist phase and how the film overall has increased his confidence. The camera then zooms into his hand playing the piano showing the audience what to focus on. One hand has a lot of light towards it whilst the other hand is dark, which could mean that maybe his other hand will be in the light as he continues to play the piano, which is his lifelong dream. Then the camera zooms out showing us what else is in the frame. The director does this to show the audience that we should focus on where the light is coming from. The curtains have quite a detailed pattern on them which suggests that the room might have belonged to a professional and wealthy pianist. This might suggest that Szpilman is almost as if he is bringing the room back to life. This is shown with the different parts of the room covered with light.
The setting of Inception is idiosyncratic for it divides each section of its dream world into distinct sceneries to help the audience differentiate location and tone. Cinematographer Wally Pfister designed the film’s location with diverse color hues and modern decor. Each dream level portrays an exclusive appearance from cool blue mountain peaks to warmly lit hotel floors. This separates the worlds allowing the audience to appreciate each setting in its entirety. Likewise, these settings provide insight into the tone of the narrative structure. The film exhibits expansive, sleek dream environments to contrast with angular, warmly lit locations paralleling a contemporary psychological thriller with science-fiction. The pressure for Cobb to complete his mission progresses from the tonality of each setting in v...
... music is played as a hypnotising music into the silence and beauty of the night. Similarly, these two scenes use the same style of cinematography in filming the unreality. Long shots and extreme long shots are commonly used allowing the audiences to get a big picture of the fantasy and get indulged in the imaginary world. The simplest yet appropriate costumes and make-up are applied to reflect the pure intentions insisted by the characters and their genuine expressions in their fantasy. Both of the films selected have different or similar filming techniques in depicting the characters’ fantasy world, but they consist of the same meaning of creating the fantasy diegesis: that is the portrayal of desire, happiness, innocence and pursuit of dream.
Inception is a movie following a man named Dom Cobb who is a thief who steals
This film takes advantage of lots of short quick cuts in all of the action scene to keep the audience 's attention. The most used shot the tight shot to show character reactions and thought and decisions help convey a characters thoughts without having to state it outright. Most of the images on film are open, setting up the next shot for the camera to move next. They also use pan shots to show entrances and changes in location and create the illusion of motion in Matrix with it. The structural rhythm of the film is very quick helping with that action feeling. It play with the juxtaposition of the Matrix and real world. The film also frequently uses match cutting to drop in agents where people used to
He is limited and constrained by society and feels the need to reassure himself that life offers so much more than just what he is experiencing. The film is shot as though its seen through the eyes of a child. The music - a tune of untainted straightforwardness over which a flood of sentimental strings infrequently wash, similar to the ocean in the last shot - surely suggests as much. Furthermore, the flexibility suggested by the movement of the opening appears constrasting in relation to the movement of the last shot, which tracks Antoine Doinel to the edge of the sea, and afterward zooms into a freeze-frame when the kid has come up short on space to