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.