Composer Benjamin Wallfisch — recently Grammy-nominated for his contributions to the Hidden Figures and Blade Runner 2049 soundtracks — has no fewer than three major projects being released in April: feature film scores for Shazam! (a big symphonic approach for the comic-book adaptation), Hellboy (a punk-infused score for the reboot) and Hostile Planet (a six-hour nature documentary for National Geographic). London-born, thoroughly trained in the classical world but relatively new on the Hollywood scene, he talks about his life and recent career in this story for Variety. And Hans Zimmer talks about their collaborations in this second story from the same issue.
For another in Variety‘s series of looks at this year’s Oscar-worthy film music, I singled out four films that might be characterized as either fantasy or science-fiction: Alexandre Desplat’s The Shape of Water, Rolfe Kent’s Downsizing, Hans Zimmer and Benjamin Wallfisch’s Blade Runner 2049, and Michael Giacchino’s War for the Planet of the Apes. All four are terrific, and while Desplat’s Shape of Water seems to have the best chance at nomination, I wouldn’t count out any of them!
With Blade Runner 2049 opening this weekend, and the colossal box-office success of It, I thought it was the perfect moment to talk at length with composer Benjamin Wallfisch about both scores — which, incidentally, couldn’t be farther apart in terms of style and execution. Wallfisch collaborated with Hans Zimmer on the all-electronic score for Blade Runner, and in this interview for Variety he discusses their intent to remind us of the sound of the original (composed in 1982 by Vangelis) while also making it fresh for a new story set 30 years later. Wallfisch also discusses his complex and frightening symphonic score for the Stephen King thriller It, which must rank among the finest orchestral scores of the year.
One of the most-anticipated movies of the fall season is Blade Runner 2049, and I was offered the opportunity to interview composers Hans Zimmer and Benjamin Wallfisch for a half-hour Facebook Live previewing not only the film but also the soundtrack album being released Thursday via Epic Records. Zimmer and Wallfisch talked about their collaboration with director Denis Villeneuve, about their admiration for the iconic Vangelis score for the 1982 Blade Runner, and how they managed to evoke that sonic world for the new film while also extending it into new musical realms as appropriate. Joining us later in the conversation was singer-songwriter Lauren Daigle, who contributed a song, “Almost Human,” to the soundtrack. Scroll down to the Oct. 3 videos on the Facebook Blade Runner page for the 28-minute conversation.
It’s a rare treat to be able to sit down with two of the towering figures of pop music and film music to talk about a collaboration for film. In this case it was songwriter-producer Pharrell Williams and top Hollywood composer Hans Zimmer — along with their friend and musical colleague Benjamin Wallfisch. The three of them produced the score and songs for the new film Hidden Figures, the remarkable untold story of three African-American women were part of the American space program in the early 1960s. Williams served as one of the film’s producers and wrote the songs, which in turn inspired the score penned by Zimmer and Wallfisch. It has an undeniable ’60s vibe infused with gospel sounds, and this story for Variety‘s Music for Screens issue discusses their collaboration.
Last night I moderated a Q&A with top film composer Hans Zimmer, top songwriter-producer Pharrell Williams and their talented collaborator Benjamin Wallfisch, whose combined talents resulted in the score for an upcoming film, Hidden Figures. It’s the amazing untold story of three African-American women whose math and engineering skills helped catapult the United States into the space race in the early 1960s. I think it will stun a lot of people when it opens at Christmas. The Society of Composers & Lyricists sponsored the screening, and the lively discussion that followed featured Williams discussing his original songs, and Zimmer and Wallfisch talking about how they were further inspired by both the story and Williams’ ’60s-style sounds.