Tag: Christoper Nolan

“Interstellar” Epiphany and Soundtrack Review: A 50th Anniversary at Virgin Galactic’s first space resort

I had an epiphany that my wife and I were stepping off a Virgin Galactic vessel into the first hotel of their design floating above the earth with the horizon spinning outside of a massive lobby window. It is Virgin’s first hotel in space established as a resort location rivaling the Atlantis vacation destination in the Bahamas complete with an indoor water park covered with large glass windows looking out into the vastness of space. The lobby was lush and expensive with exotic restaurants all offering outrageously epic views out every window. The moon is always full and casts a constant—haunting shadow through every object and mixed with the brilliant light shining off the earth is a bluish hue that has never been replicated by any light on the home planet. It’s our 50th wedding anniversary and we have a $5000 bottle of wine to mark the year of this writing to celebrate our first week-long vacation in space. We have worked hard and deserve to pamper ourselves with a very expensive outing that will mark many years of persistence. In the lobby is playing the old soundtrack to the classic 2014 movie Interstellar, which has by then become the standard of music referencing space. It was that award-winning Christopher Nolan movie that changed it all and set the tone for the second world-wide space race causing Hilton, Marriott and Virgin Galactic to build the first space stations catering to tourism. Virgin was the first to achieve it.

The majestic views out of the multiple windows demand the music of Interstellar because nothing else would be sufficient. The hotel operators just play constantly the old Hans Zimmer soundtrack to help alleviate the shock of being grounded so firmly to the floor as the view outside swirls around like a marry-go-round. It takes some getting used to for some people; some actually throw up with the disorienting effect of the earth’s horizon spinning around so rhythmically. There are trash cans stationed along the pathway toward the check-in counter large enough for visitors to dump their stomachs in the most graceful way possible. A cleaning crew quickly removes the contents so not to alter the smell of space—that rusty metal odor mixed with the fragrance of lobby vegetation that is intended carefully to greet guests as they step off the shuttle from their journey below.

We walk to the counter as track 7 on that enchanting soundtrack plays with organs chiming to the tempo of a clock’s second hand—the earth still swirling, the light from the moon and sun moving around the room casting shadows in all directions hauntingly. Bright overhead lights on the ceiling between more large windows cast stabilizing light so that the lobby looks to be the only stable element of a universe in chaos outside—which adds to the otherworldly sensation of a species raised on a planet where the sun rises and falls every 12 hours and the horizon is always fixed. Here, the sun is always out, the moon is always full, and the horizon never stills—it spins perpetually so to provide an earth like gravity for the visitors—some who are already in their swimming suits and heading for the massive domed Water Park behind the check-in counter.

My wife and I aren’t sick; the music brings our minds to ease with a familiarity that we know well. We have listened to that soundtrack every week for the last 25 years and know its notes by heart. Before checking in we just listen to it while we sit in one of the lobby seats and watch the Virgin Galactic shuttle pull away from the docking station and head back to earth with its navigational thrusters silently pushing it back into a declination orbit to Spaceport America—our home launch point. In another three hours that same ship will be back with more visitors and within 30 minutes another ship will arrive from Spaceport America and fifteen minutes after that, one from Space Port Japan, then one from Spaceport Europe. Because Virgin Galactic has brought the Internet to Africa—they now have one of the fastest growing economies in the world. Soon they will have their own spaceport in right in the middle of the Congo.

My wife and I head to our rooms and prepare for dinner. We spend five solid hours drinking our expensive bottle of wine sitting on our hotel bed watching the world turn—literally. And we cherish that this event has finally been made possible after many years of dreaming. The whole time we listen to our well-played soundtrack for the several hundred thousandth time—Interstellar, as we have always loved it and likely always will.

That soundtrack actually only came out a few days ago, on November 17, 2014, so my son-in-law rushed to Barnes and Nobel to get it for he and my daughter the moment it was unloaded from the delivery truck. They spent their evening listening to it while eating Chinese food from their favorite restaurant—and they gave me a copy. They have already seen the movie twice and are looking for ways to see it many more times. In what’s being touted as a first-of-its-kind promotion, Paramount and AMC Theatres are offering movie patrons in North America the chance to see Christopher Nolan‘s Interstellar as many times as they want, for one price.

As with any deal, there are rules. Those who want to participate must be members of the AMC Stubs program, which has an annual fee of $12.

The unlimited tickets will be available for sale to AMC Stubs members at 330 AMC theater across the country, including AMC Imax locations. The price will range from $19.99 to $34.99, depending upon the location (currently, the average cost of a movie ticket price in the U.S. is $8.08.

http://www.hollywoodreporter.com/news/paramount-amc-theatres-partner-unlimited-749512

Interstellar requires for most people many viewings just to understand everything that is happening. Many critics of the film on their first viewings were used to a more conventional film experience and didn’t know what to make of some of the sound issues. As I said in my review—I think I was the first and only one to date to point it out—the sound in Interstellar was entirely on purpose. Christopher Nolan wanted there to be times where the events overwhelmed the sound made by the actors—because in real life—that happens often.

“I’ve always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster, but I feel it’s the right approach for this experiential film,” Christopher Nolan said, speaking for the first time in detail about the use of sound in his new film.

http://www.hollywoodreporter.com/behind-screen/christopher-nolan-breaks-silence-interstellar-749465

It is because of this approach to sound that the Interstellar soundtrack was so exceptionally good—and is why it will become the inspiration for all that I described above. When my kids gave me the first copy of the soundtrack and I played it for much of the day on Tuesday and Wednesday listening to it many, many times—it was easy to conclude that it was a masterpiece. I remember the music being great during the movie, but listening to it by itself, it was simply phenomenal as it steps up and well beyond anything that’s ever been attempted. The closest that I can think of is Philip Glass—but the Hans Zimmer approach comes with a much bolder, and narrative link to the future by drawing so historically on the past.

Blasting through the track on the soundtrack titled “S.T.A.Y” all that I began this writing above occurred with the epiphany. Many of the world’s problems seemed so miniscule and the minds that made them that way even less relevant. I could literally reach out and touch that future space station/hotel as if I were there, as if I could smell it, taste it and walk across its vast floors with Richard Branson still alive and standing in the corner welcoming his guests with long flowing locks still beyond his shoulders with a smile from ear to ear.

At dinner in my epiphany there was a guest who played in the center of a vast dinning hall with a clear picture of the moon out the distant window—again spinning around with rhythmic precision upon a large glass piano lit from beneath with blue lights that made it look like it was made out of ice. That guest was an elderly Hans Zimmer playing the Interstellar soundtrack live with a deeply personal concert, graced too with a smile from ear to ear knowing that it was his soundtrack that helped build this palace of achievement in defiance of the earthly stupidity which attempted to shackle man’s ankles to earth forever. His music helped free those shackles to usher in this entirely new age of dreamers, fortune hunters and lovers of science and possibility. It was and would be the best dinner of our lives. Happy 50th Anniversary to us—and it was.

Rich Hoffman

www.OVERMANWARRIOR.com

Why Credentialed Respect Can Never Make Hans Zimmer: How to make music that matters

I am likely to continue talking about the new movie Interstellar for quite a long time—because it is the latest and most exciting philosophic/scientific endeavor aimed at a mass audience that I can think of, and is a vastly important film. Below is one of the first reviews from Variety and should be read by anyone on the fence considering seeing the movie. It will tell you everything you need to know about the film. But more specific to the film and an equal part of its majesty is the music by Hans Zimmer. The score is mind-blowing good and may well eclipse the iconic music of 2001: A Space Odyssey as instantly recognizable. So it deserves to be known that Hans Zimmer, one of the premier musical composers of our age and on par in history to be known among the giants of Straus, Beethoven, and Mozart did poorly in school and did not attend college. Listen to the man himself talk about his education—or lack thereof—and what he believes is the path to success that most should take.

https://movies.yahoo.com/news/film-review-interstellar-150003405.html

There isn’t a college in the country who can teach a student with tuition charges to be as good at conceiving and conducting music for films as Hans Zimmer is. There is not a band program out there who can teach an army of others to become another Hans Zimmer. The best way to become another Hans Zimmer is to get near him and start learning—then applying his techniques at decision-making and problem solving into the individual experience of the student. A school cannot teach those skills with memorization techniques. Only through natural aptitude and practice can one hope to become as proficient. There is no way to cheat the system by throwing money at a skill hoping that it can be purchased. The kind of skill that Hans Zimmer has is only obtained one way, through lots of hard work and dedication while maintaining his uniqueness on the curb of perception.

Yet government schools and colleges all across the world suggest that they can produce such people if tuition dollars are applied, and the results never come back with satisfaction. There are many who aspire to become like Hans Zimmer and they may even learn to play his songs at a high school football game through a band program, but they cannot teach a student to become a person equal to the skill of Hans Zimmer with just scholastic education methods. The aspiring artist if they have a hope of such lofty heights must apprentice themselves to someone equivalent to the value they wish to achieve and start with a total dedication of themselves to the craft. Advice is only as good as the person who gives it.

Once when I wrote an article about the failure of a band teacher from our local high school the parents of the students sent me many nasty emails about my opinions. It wasn’t hard to conclude that their vast anger was inspired by a deeply rooted fear that they had in realizing that money could not purchase skill for their children—as they wished to believe. When the famed band teacher fell from grace and was cast aside by the district as a vagabond it was feared that his students would fall as well—as if their success was attached directly to his star. Much to the terror of the parents the real answer was that their children were learning nowhere near enough about music to become anything but copycats in the music industry. They were learning to play the instruments, but they weren’t learning to make music that would play from them—which is a big difference. And these days, anybody can practice playing music with a software program. What needs to be taught are the ways that notes can be composed into new forms of music that reveals the inner sanctum of thought and all human possibilities.

It is for that reason that I seldom ever listen to any “pop” music. My iPod doesn’t have a single music track in eight gig of memory that is not a movie soundtrack of some epic intention. Over a third of my soundtracks on that iPod are Hans Zimmer scores. I still listen to Gladiator at least once a week which I think is one of his best pieces of work. Music should speak about possibilities and achievement, not just passive witnessing of the world around the listener. Band students and music classes in general are not learning about the epic scale of a subject matter, they are simply learning to repeat the work of Hans Zimmer.

If I were to attempt to teach such students I would not do so in front of a class in a stale government school with brick walls and blackboards with the smell of lunch drifting down the halls promising frozen pizza and tatter tots among several hundred other students emitting waves of pent-up rage at adolescent frustrations. I’d have them climb a mountain with sweat pouring off their foreheads then piping the Gladiator soundtrack into their tired ears as they sip for life-sustaining water from a canteen warmed by body heat. Then I’d ask them to compose the first notes that came to their minds based on their experience once the music had been silenced. That is how you learn to compose music, not just copy the notes of Hans Zimmer.

I can’t say how many times I have now listened to the Man of Steel soundtrack even in the minus zero degree temperatures on the back of a motorcycle as the snow was falling ever so ferociously—with my fingertips so frozen that they were in great pain. It has now been more than a dozen at least and each time brought the notes to a grand fortissimo inside my helmet that spoke of another world reality of possibility well beyond the grips of conventional manhood. While most men are first concerned in the morning with where they will use the rest room, what they will eat, where they will dispel their sexual appetites, and how they will earn the acclaim of their peers—such music under such circumstances dictate higher thoughts far more epic than the animal wants of flesh. It is only under those extreme conditions that Hans Zimmer can be understood as notes put upon a blank page as opposed to copied the way a band conductor of a local high school teaches students how to blow a horn and put on a show for their proud parents with their video cameras out to record the occasion—and a “yes” vote during levy time for the memory. On the way home from such concerts the parents foolishly declare that their child may become the next Hans Zimmer because they learned to play the Pirates of the Caribbean soundtrack. But the students never see the music as from the feelings of observation—they simply memorize the motions put in place for them by someone like Hans Zimmer.

Too many people believe wrongly that being “credentialed” equates to success. They believe that if a music instructor at a school somewhere says that a student knows something—that they know it. Yet they fail 100% of the time to create future Hans Zimmer types no matter how much money is spent on music programs and government school electives. Those good at music are still those with a natural appetite to take their skills to the next levels through extremely hard work and persistence. Credentialed these days has been regulated into being symphonious with security—and that is a path to average—which is not what Hans Zimmer’s music is about at all. His music is much more than that and is why I listen to it with great zeal and marvel at its uniqueness. That uniqueness is why it’s a joy to hear—and thus far, as admitted by Zimmer himself, is why schools cannot duplicate the efforts of the award-winning history making composer even with all the money in the world. That is because his music does not come from comfort, but experience, in a life lived and felt as opposed to copied and mimicked—and is why Hans Zimmer’s score for Interstellar will literally take people out of this world. Zimmer actually let his mind leave this world to write the music—and that is a grand achievement!

 

Rich Hoffman

www.OVERMANWARRIOR.com