<h1 class="pgc-h-arrow-right" data-track="1" > elaborates on how to score this great science fiction work</h1>
After five exclusive issues, IGN's "Dune Road" will come to an end this week. In this final issue, we'll interview Hans Zimmer, the soundtrack composer of Dune, to hear him elaborate on how to score a good sci-fi movie, how to find the right style for the film, and his preparations for the second Dune.
In our most recent conversation, Zimmer explained the basic qualities that any science fiction film score must achieve: "When composers score science fiction works, they actually have a lot of room and freedom to paint a world with different colors. Because in fact, you are asked to create a world, to create an audiovisual perception."
Zimmer said his favorite sci-fi soundtracks are Blade Runner, Alien, Star Wars and Forbidden Planet, in no particular order. He also shared his appreciation for the soundtrack of the film "A Thousand Guns and a Shot". But part of the reason he liked John Williams' score for Star Wars came from his observations as a child.
"I remember when I was young, I said this without any judgment, just from the perspective of a child. I ran off to Star Wars, looked at that distant galaxy, listened to the symphony of trumpets, cellos, and other traditional instruments, and wondered, "Shouldn't we highlight this as a distant galaxy with some more exotic and exotic style?" So I'm more inclined to keep the vocals pure in Dune. But in the end, I still didn't do it so purely, so I wasn't very satisfied with my work. But for me, the experience gave us the opportunity to build, shape, and remain committed to that vision. You know, the destination of our trip may have been untouched by no one before."
Zimmer said he worked closely with sound designer Mark Mangini to make sure the overall sound design of the soundtrack and the film fit in with director Dennis Villeneuve's Dune. Zimmer also specifically mentioned two other musicians who worked closely with him while composing Dune, Chas Smith and Gusley Goevan, who he called "one of the greatest guitarists in the few."
Zimmer describes the biggest challenge he and his partners face as "constantly hearing something indescribable and intangible in his mind." He added that the process of creating the soundtrack was "striving to explore the boundaries of infinite possibilities."
Zimmer's score incorporates a variety of percussion and some of the more obtrusive elements (such as bagpipes) that seem out of place with science fiction but have a miraculous effect in Dune. Bagpipes appear in a ceremony by the Ertridian family, reflecting the fusion of feudalism and futurism inherent in the Dune worldview.
Zimmer is a big fan of this far-reaching science fiction novel, and in order to find the right style for the film, he delves into the feeling and theme of the original book to determine the tone of the soundtrack.
"When I read this book, I always felt that Dune was a cleverly disguised novel, and the idea lingered. Everyone thinks the protagonist is Paul Ertridi, but in fact, the women in it are the most powerful characters." Zimmer explains, "So when I read this book as a teenager, I always heard women's voices. Dennis's films also lead me to this spiritual voice in a way, and although it has nothing to do with religion, it does have no lack of spirituality."
Zimmer allows himself to follow the Freymans, the Ertrids, and Beni Jesserett in search of "the spiritual core that secretly connected them." He felt that this was very critical, just like even if Mrs. Jessica didn't appear on camera, there would still be a female voice in the music, and she was always there.
Ultimately, it was Dune itself (the desert planet Erracos) that determined the style of Hans Zimmer's soundtrack. The wind wasn't so noisy, just whistled through the desert, and the breeze in the desert was, in a way, a great inspiration. "Everybody has to live in that environment, and everybody is going to be affected by the ecology of that planet."
Zimmer acknowledges that Dune's soundtrack isn't all about spirit and nature. "Of course, there will be a more uninhibited style here, as if barking at you, and it is not the kind of dog that can only bark, and even bite you." 」 In this original work, there are some pieces that will make people feel sharp and harsh, which is for the evil Haknnan family. Zimmer said: "This is basically the deepest, darkest and darkest derivative of my heart."
Although the sequel to Dune has not yet been finalized, Zimmer has already begun to work on it. It is said that "Dune" is actually the first part, which roughly tells the plot of the first half of the original book.
"I've made a new tune for an hour and a half. While Dennis himself may deny it, this good friend of mine desperately needs inspiration because he's working on the script for the second part. Although it may be useful for me to send him a few bottles of wine, it may be more inspiring and instructive to send him some songs directly. These tunes are just experimental tones to see if they resonate with the development of the plot. Dennis and I both loved the story and the book, and I was especially crazy, and when I read it as a teenager, I hadn't seen David Lynch's movie of the same name. I made up a movie on my own in the process of reading the book, and I have never seen a related film or television drama or other similar work, so I have never heard the relevant soundtrack. When Dennis talked to me about it, he described my brain patch, so our collaboration hit it off."
If you'd like to learn more about it, check out our Dune Review, as well as the previously released "Dune Road" exclusive information "Erridi Family Analysis", "Fremman Analysis", "Hakenam Family Analysis", "Gorm Thorn Test Plot Analysis" and "Villain Costume Road Design Analysis".
Dune will be released in the United States on October 22, in the United Kingdom on October 21, and in Australia on December 2.
This article is compiled from IGN US related content, the original author Jim Vejvoda, unauthorized reproduction is prohibited.