![]() It is a very solid and thorough representation of the actual score in a single disc form and, quite unlike Hans Zimmer’s usual ‘suite’ album, it actually contains a chronological programme of how this material appears in the film. The standard single CD version (labelled as Star Wheel Constellation Chart Digipak) contained a 71-minute programme and that’s a regular commercial disc that is widely available everywhere: Especially the one coming from Christopher Nolan directorial oeuvre. The audience experienced it first within its context first, according to filmmakers’ wishes, and that’s probably the best way to promote this kind of music. While certainly a bit odd, it makes perfect sense. In a slightly unusual, but brilliant, move, Interstellar soundtrack album wasn’t out for more than a week after the film’s theatrical release. Let’s then take a look, shall we: Interstellar: Star Wheel Constellation Chart Digipak Understandably, fans became worried whether or not Watertower Music is forcing them into buying several items in order to collect all the music. This very situation dangerously recalled the one with Tron: Legacy back in 2010 where various presentation were released… with mutually exclusive contents. As it often happens with soundtrack releases these days, Interstellar score was “blessed” in terms of music promotion strategy. Now, that the film is approaching its home release date (on 15th of March) and the much delayed Illuminated Star Projection Edition is finally out in the UK (as of the 2nd of February), we thought it would be interesting to take a look and compare various products related to Hans Zimmer’s score in order to suggest the best possible purchase. And while it would be a bit foolish to say that the marriage of sound and picture reminds one of Kubrick in some respects, it is heading in a similar direction. Thanks to the composer and his talents, Interstellar becomes more immersive and epic. Regardless of one’s opinion on Hans Zimmer, we have to admit his work for this particular film helped to shape it in ways that scores rarely are allowed to these days. Such was the case with Inception and The Dark Knight Rises. This collaboration became so crucial and prominent that the score would sometimes take over the film. This allows for an easy integration of music and picture where the aural sphere is an integral element of shaping the bigger picture, instead of just one barely audible elements buried deep within the mix (as it happens very often these days). Instead of approaching them as normal projects, he often develops his idas in conjunction to filming. Hans Zimmer, now a regular Nolan collaborator, developed quite a unique and intimate way of working on those films. In fact, one might say it took this craziness to the next level. ![]() Interstellar, his last film, was no exception. To think that this quiet and soft-spoken gentleman, out of all people, would spark such a debate is quite strange. ![]() Ever since this independent filmmaker reached a worldwide audience with his Batman trilogy, the endless debate over his ability as a director spawned so much discussion that one grows a tad sick of it as this point. ![]() No one can quite polarise the mass audience and critics the way Christopher Nolan does now on a regular basis. ![]()
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