This document provides a transcript for a presentation exploring film composer Hans Zimmer and how he fits within the framework of auteur theory. It discusses Zimmer's collaborative work with directors like Christopher Nolan and how his scores have significantly influenced films like Interstellar and Gladiator. While Zimmer works closely with directors, his recognizable style and ability to manipulate sound through memorable themes and scores has led some to identify him as an auteur in his own right. The presentation analyzes scenes from Interstellar and Gladiator to demonstrate Zimmer's strong creative voice and influence over how audiences experience and connect with films through music.

1. Georgia Holloway Candidate Number: 2204 Centre number:15163
FM3 ResearchProject
Hans Zimmer:An explorationinto the creative influence offilmcomposers,and how theyfit into
the expectationsofauteur theory
Presentation Script
AUDIO: Hans Zimmer Medley - Approx. 07:00 (Selections from the music of Interstellar, Inception, Gladiator
and Pirates of the Caribbean: Interstellar – ‘First Step’, Inception – ‘Time’, Gladiator – ‘Honour Him’, Pirates of
the Caribbean: ‘He’s a Pirate’, Interstellar – ‘No Time for Caution’ – ITEM 14).
1. PROJECTOR:
TITLE SLIDE – HANS ZIMMER: AN EXPLORATION INTO THE CREATIVE INFLUENCE OF FILM
COMPOSERS, AND HOW THEY FIT INTO THE EXPECTATIONS OF AUTEUR THEORY
PRESENTER:
Well-crafted sound design is essential to the creation of a film.It’s easy to say you’re going to see a
film,when in fact you’re going to hear itas well. Fundamentally;you’re experiencingit. One of the
essential parts of film,which immerses the spectator is the music.
Music has been an essential partof filmsincethe beginningof motion pictures. “Originally havingthe
practical useof dullingthe sound of noisy projectors.Even today, it could be said thatit’s simply there
to keep the audiencefrom being distracted”(ITEM 12). However, music serves a greater purpose, it
adds emotional quality to a film.It is a universal languagethatall audiences can connectwith. What
would the Star Wars opening be likewithout the music?
2. PROJECTOR:
STAR WARS OPENING (ITEM 6 01:24) – PLAY WITHOUT AND WITH MUSIC
PRESENTER:
The music for star wars was written by John Williams.
3. PROJECTOR:
Image of John Williams and films hehas composed for.
(Images sourced from IMDb. Image Selections from the films of Jaws, E.T. Indiana Jones - Raiders of
the lost Arc, Star Wars – Return of the Jedi, Jurassic Park, Schindler’s List and War Horse).
PRESENTER:
Williamsis oneof the most influential filmcomposers of our time. Steven Spielbergfamously edited
the chasescene in E.T to match the music written by John Williams.
4. PROJECTOR:
‘The Music of E.T a discussion with John Williams 01:30 – 06:33’ (ITEM 4)
PRESENTER:
He explains Spielberg was worried that audiences wouldn’t receive E.T. well, as he’s “not really
beautiful,he’s an odd lookinglittlecreature” (ITEM 4). It’s suggested that the music was key in
helpingthe audience relateto E.T. The music is beautiful,which helps audiences connectwith the
character on an emotional level. I find this idea intriguing,especially consideringthis quotefrom
Spielberg (ITEM 9):
5. PROJECTOR:

2. Georgia Holloway Candidate Number: 2204 Centre number:15163
FM3 ResearchProject
‘Johnny Williams I havevery littlecontrol over, except we listen to music together and I’ll showhim
my filmand try to talk itthrough and give him a sense of my taste in musical atmosphere.But once
Johnny sits down at the piano, it’s his movie, it’s his score.’
PRESENTER:
It could be said thatWilliams istheembodiment of a filmauthor. Or an auteur.
Auteur Theory arosein France in the late 1940s.“It is a theory of filmmakingin which the director is
viewed as the major creativeforce in a motion picture” (ITEM 12). Not all directors will,and can be
considered auteurs. A director will leavetheir stamp on a successful film,and have a distinctivestyle
which grants them to be considered the ‘author’ of a film. If directors can be defined by this signature
styleor the repetition of themes and techniques in their work, when consideringan extensive
discography and identifiablesimilarities in scores.It could be argued that that filmcomposers could
too be considered auteurs.
PRESENTER:
There are many instances where renowned composers collaboratewith directors,which create
fruitful partnerships.Spielbergand Williams,Cameron and Horner, and more recently; Christopher
Nolan and Hans Zimmer.
6. PROJECTOR:
Hans Zimmer (Image of Hans Zimmer sourced from IMDb)
PRESENTER:
German born composer, Hans Zimmer is one of the filmindustry’s mostinnovativefilmcomposers.
Havingapproximately 176 credits for composing,an extensive discography and distinctive sound,
which potentially makes himidentifiableas an auteur.
Professor David Osbon of the University of West London, thoughts on the subject confirmmy initial
ideas:
7. PROJECTOR:
“Auteur theory has,in my opinion,become a much more importantfactor in a John Williams/Hans
Zimmer world and the wider dissemination of filmas media.”
PRESENTER:
When considering Christopher Nolan’s latestfilm-
8. PROJECTOR:
‘Interstellar’(FilmPoster sourced from IMDb)
PRESNTER:
-Interstellar;the music has an immense impacton an audience’s spectatorship.Itis bold and dynamic.
It is very prominent throughout the film,and drives the narrative.In fact, to a certain extent, the
music was key to the conception of the film.
9. PROJECTOR:
‘Hollywood Reporter Videos’ – Hans Zimmer on composing the music for Interstellar 01:43 (ITEM 8).
PRESENTER:
As Zimmer explains,hehad no idea what the narrativewas when he wrote the main theme for

3. Georgia Holloway Candidate Number: 2204 Centre number:15163
FM3 ResearchProject
Interstellar.Nolan had simply given hima typewritten letter containing a shortstory about “a father
who leaves his child to do an importantjob. It contained two lines of dialogue — "I'll come back"
"When?" — and quoted something Zimmer had said a year before, duringa long conversation with
Nolan” (ITEM 13).
Zimmer went on to write this very personal theme.
10. PROJECTOR:
‘Interstellar Soundtrack’(ITEM 15 - Track 5 06:23).
PRESENTER:
There was no movie to discusswhen Nolan had initially approached Zimmer,
after hearingthis theme, Nolan said:“I now know where the heart of the movie is”(ITEM 13). This
suggests to me, that before Nolan could make the film, he had to hear the music first.For me, this is
one reason I would identify Hans Zimmer as an auteur.
11. PROJECTOR:
‘How Hans Zimmer Made Interstellar Brilliant Score’ (ITEM 7 - 04:53).
PRESENTER:
Nolan talks abouthow he wanted the music to not reflect the genre of the film.Zimmer has created
an ethereal tone, which transcends the brain buster genre, and truly reflects Nolan’s ambitions and
intentions. Zimmer has “musical voicethatcan riseabove the film” (ITEM 9). However, his work is
very much collaborative.Makinghim possibly moreof a collab-auteur than compos-auteur, for this
particularwork.
“It would seem that an author composer requires an existent reputation” (ITEM 9). Considering
Zimmer’s extensive discography,itis clear thathe has an existent reputation. One of the scores which
firstbares his personal stamp of recognition that is embedded through his work, is Gladiator.
Like how Spielbergedited the chasescene in E.T to match the music written by John Williams,the
editor of Gladiator, Pietro Scalia,began editingthe opening action sequence to the music Zimmer had
started to write. This is an indication of Zimmer’s influential musical voice.Zimmer states: “It was nice
how the music and the images kept coming together. Even before they had finished shooting,and
how we could inspireeach other” (ITEM 5). I find itinteresting how Zimmer approaches composing as
very collaborativeprocess. When discussingthematter with Professor Osbon he went on to say:
12. PROJECTOR:
“WhilstI am pretty convinced that composers and their music fitinto all of the pre-production
decisions –their role in the actual production fallsatthe end of the process and is highly dependent
on the director/producer decisions and –significantly –the editor’s decisions.No doubt some of the
really significantplayersin thegame have a greater influencebut generally it is to appear late in the
game.”
PRESENTER:
Composers have a task to “create a memorable scorethat resonates with an audience, but isn’t so
effective that itsteals the show” (ITEM 8). In order to do this,they work closely with significant
members of the production team. But when consideringthe views of professor Osbon,Zimmer is so
influential thatdespitehis collaborativeapproach,hestill has power to manipulatesound and
underscore the film.

4. Georgia Holloway Candidate Number: 2204 Centre number:15163
FM3 ResearchProject
13. PROJECTOR:
Hans Zimmer – makingof GLADIATOR Soundtrack (ITEM 5 – 05:36-07:09).
PRESENTER:
The way in which Zimmer approaches writingthe music for the film,is particularly interesting. Talking
about elements of the scene, the characters,lighting,mise-en-scene, the cinematography and how
doingone thing will affectsomething later on, and what they are tryingto accomplish.But not
specifics of the music. Almost as a director would.
The interview then goes on to talk about the musical themes, particularly the‘earth theme’ and how
it could be adapted throughout the film.Zimmer stating: “It was fun to take this very humble theme
and turn itinto a thousand different emotions” (ITEM 5). Made me think more about how he has
utilised the theme throughout the film. The scene where his music and repetition of the main theme
shows his compositional potential and reflects himas a true auteur of filmscoringand composition,is
the narrativeresolution.
14. PROJECTOR:
GLADIATOR 02:18:46 – 02:23:22 (ITEM 3).
PRESENTER:
This scene made me appreciatethe importance music has to evoke an audience response.The
repetition of the wheat theme and use of similarharmonies helps spectators to connect with the
protagonist,Maximus.This made me consider how Zimmer has done this in other films.
15. PROJECTOR:
INTERSTELLAR 02:00:15 – 02:06:07 (ITEM 1)
PRESENTER:
This scene in interstellar is effectivewith regards to the music as partof sound design. The constant
non-diegetic undertone at the start of this sequence adds tension, in conjunction with the sound of a
fasttickingclock, which indicates timeis runningout. The instrumental forces build up gradually until
it stops- the eerie silenceas the Endurance explodes, highlights the complete isolation the
protagonists arein.This is where the initial cuefor the music comes in,a high pitched drone. A strong
drum beat sets in as the protagonist,Cooper makes his decision.Thetexture builds up, the non-
diegetic sound of a tickingclock is reintroduced,a pinnacletheme within the film.When Brand asks
“Cooper what are you doing?” (ITEM 1) Cooper’s answer is “Docking” (ITEM 1).This one word sets off
the next stage of the music.This is a dramatic variation of the initial theme Zimmer wrote. The
harmony and tonality is very similar,theessence of the main theme is present throughout.
Where the initial theme Zimmer wrote, is very personal,and reflects Cooper’s relationship to his
daughter Murph, as her father and role model. This variation almostreflects Cooper as a father and
protector of humanity, as their future rests upon whether Cooper can dock and stabilizethe
Endurance. The music has an ethereal quality to it and immerses the spectator. It’s intentionally bold.
The way in which Zimmer has manipulated his initial theme to have this affect, bares an authoritative
stamp. But the way in which it was mixed, perhaps renders Zimmer as more of a collab-auteur.
16. PROJECTOR:
‘Hollywood Reporter Videos’ – Hans Zimmer addresses the sound controversy on Interstellar 02:40
(ITEM 8).

5. Georgia Holloway Candidate Number: 2204 Centre number:15163
FM3 ResearchProject
PRESENTER:
Nolan comments on the matter, statingthat he doesn’t “agree with the idea that you can only
achieveclarity through dialogue.Clarity of story, clarity of emotions” (ITEM 10). He tries to “achieve
that in a very layered way usingall the different things athis disposal—pictureand sound”(ITEM 10).
Einstein had insisted “that music must never serve merely as accompaniment: It ought to retain its
own integrity” (ITEM 17).
It could be said that “Music must even be allowed to dominate the image on occasion”(ITEM 17). This
can be observed in Nolan’s 2010 film, Inception. Nolan says thathe “Likes Hans to be ableto write
freely, and not be trying to hit cuts,not be tryingto squeeze things into the tightest edits” (ITEM 6).
This is evident in both Interstellar and Inception. The music in Inception creates suspense.Audiences
are ableto feel when the characters arefearful or hesitantthrough the music,particularly in this
scene.
17. PROJECTOR:
INCEPTION 08:00 – 11:00 (ITEM 2).
PRESENTER:
Music is prevalentthroughout Inception.Often in the background, itgives an epic feel to small
gestures. Things which appear insignificantareenhanced when the music comes on. This can also be
experienced in Interstellar.An indication of Zimmer’s creativeinfluence as composer.
18. PROJECTOR:
Hans Zimmer: Collab-auteur or Compos-auteur?
PRESENTER:
“The auteur theory leaves us,as every other theory does, with possibilities and questions”(ITEM 16).
The underlyingfactor being that the “author of the filmdespite the fact that a film’s production is
dependent on a largenumber of people with specific skills and talents workingcollaboratively”(ITEM
16), will havea significant“contribution to a films styleand theme” (ITEM 16). This identity will be
established across“a body of films which can be seen to bear a distinctivesignature” (ITEM 16). It is a
composer’s job to emphasiseimages on screen, to “translatethese dramatic needs into musical terms
(ITEM 17)”. This is a significantcontribution to a films styleand theme. The medley atthe startof my
presentation, takes themes and motifs from a number of films.They all flowinto each other, and
sound likea continuous overture. Hans Zimmer’s musical identity has been established across “a body
to films which can be” (ITEM 16) heard “to bear a distinctivesignature”(ITEM 16).
Alexandre Astruc stated that “Only those who leavethe mark of their personalities or a coherent
body of signifiers (themes, style,motifs) are admitted to the ‘brotherhood’ (and very occasionally
‘sisterhood’) of auteurs” (ITEM 16). Undoubtedly, Zimmer leaves a mark of his personality acrossall
his work, especially in Interstellar- a very personal project. But is this enough to consider him,an
auteur? A compos-auteur? Arguably Uniqueness of his style“serves as a stamp of authorship.
Similarly,the prominence of music within a filmand the creativefreedom extended to a composer
can also appear as a sign of authorship”(ITEM 9). However, after conductingmy research, I fi nd that
auteur theory seems to be a very visual concept,in the sense that, a films styleis based on how it
looks,not how itsounds. Professor Osbon’s thoughts on the matter: “I do think that the vast
majority of composers in film/TV remain part of the overall team and the attribution goes to
directors,producers,editors and (quite often) actors”(ITEM 15).

6. Georgia Holloway Candidate Number: 2204 Centre number:15163
FM3 ResearchProject
Whilstarguably,Zimmer doesn’t have an effect on the look of the film.On balance,I find that his
influenceis great enough for himto be considered an auteur. In that he is,singular,distinctiveand
impressive.Obviously moredirectors areconsidered auteurs based on the factthey have a far greater
influenceover film- the visuals.Butcomposers are tied to the emotional quality of a film. Itis
important to remember and respect the power and creativeinfluence composers have.
19. PROJECTOR:
“Music touches us emotionally,where words alonecan’t” – Johnny Depp (Imaged sourced from
google)
Word Count:
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