I was so struck by the use of a pipe organ in Hans Zimmer’s huge score for Interstellar that I decided to investigate further — so I got in touch with the fellow who actually played the instrument, London Temple Church music director Roger Sayer. In this piece, he talks about working with the composer, with director Christopher Nolan, the recording process, and how he feels about the final product.
My latest interview with one of film’s most sought-after composers: Hans Zimmer talks at length about his score for Christopher Nolan’s universe-spanning sci-fi epic, and why a London church pipe organ is its central voice.
Variety started a series several years ago — most of which I’ve written — called “Billion Dollar Composer,” a way of acknowledging how successful some of today’s top film scorers have been. For our Hans Zimmer section, out today, the editors were so bowled over by the numbers they retitled it “20 Billion Dollar Composer.” Can’t say as I blame them.
The section consists of a main story, that looks at his recent work and includes interviews with Hans and such filmmaking luminaries as Jerry Bruckheimer and Christopher Nolan, as well as former proteges Harry Gregson-Williams and John Powell; his newly revealed plans to return to live performing; his own thoughts (accompanied by colorful images) on six classic scores; and a look at his Remote Control studios, home not only to Zimmer but to more than a dozen composing colleagues.