Hans Zimmer ciągle w podróży i ciągle zajęty. Po czerwonym dywanie w Londynie, teraz przyszła pora na Toronto i tamtejszy prestiżowy festiwal. A z jakiej okazji niemiecki kompozytor zaszczycił swoją osobą to kanadyjskie miasto? Premiera "12 Years a Slave", które już zostało okrzyknięte "geniuszem" i ma ponoć szansę na bazyliard Oscarów i innych prestiżowych Nagród pomijając Filmmuzę.
I wychwycone z recenzji opinie o muzyce: Czy będzie BRRRRRRRAAAAAWWWWRWRRRMRMRMMRMRMMMMM!!!
? Oczywiście, że tak i czyżby "Inception" robiło za temp-track:
Hans Zimmer’s score combines with occasional religious music sung by the slaves to provide effective backgrounding, but students of the composer’s work will quickly realize that the main chord progression here is almost precisely the same as the central one he used on what may be his greatest soundtrack, that for Inception.
McQueen makes not a single misstep with the camera, many of the actors are turning in career-best work (or, in the case of surefire Supporting Actress nominee Lupita Nyong'o as a sympathetic fellow slave, building a career on the spot), and behind-the-scenes contributions from writer John Ridley and composer Hans Zimmer are simply sterling.
From Hans Zimmer's beautiful score, to cinematographer Sean Bobbitt's shots, to McQueen's direction and all of the performances within, this film is a grand achievement and should not be missed by anyone.
The embers of a burnt parchment winnow down to orange pinpricks swallowed by the dark, as Hans Zimmer's grave score – perhaps his most emotive since The Thin Red Line, but far more primal – whispers a dirge.
Hans Zimmer has produced a truly ominous and beautiful score
Plus fotka po pokazie, gdzie na pewno każdy z Was bez problemu odnajdzie Herr Zimmera:
Dziękuję uprzejmie za uwagę.