“I consider myself a permanent student”, recounted a few years ago the German composer Hans Zimmer to whom he signs this text.
"An artist?
In any case, he would be one with a small a.
In France, for example, making music for movies is considered entertainment, which puts me very close to
strip
clubs .
I prefer to think of myself as someone who connects with people, instead of being in an ivory tower,” he said.
Good part by
Hans Zimmer.
The Hollywood soundtrack
,
a BBC documentary that can already be seen on Movistar Plus+, delves into that idea.
The musician has built a legend of an earthy and minimalist genius that makes many spectators fall in love with melodies sometimes made of only two notes;
he is the man capable of applying several layers of psychology to the mathematics of a score.
In this film, which is placed a few steps from the audiovisual autobiography, Zimmer defines himself as a German who never liked the discipline.
He reveals what he considers one of the secrets of his success.
Moving in his youth to a United Kingdom in deep depression, drowned in the iron hands of Margaret Thatcher, was paradoxically liberating for him.
That's where he started writing with Doris in mind.
His muse is not someone real.
This fictitious woman, whom he imagines working a slave job that barely allows her to support two troubled children,
he finds comfort in his compositions;
among other things, because he understands them.
As commercial cinema achieves that the crossroads of Batman or
The lion king
.
And there it is to illustrate the sound canon of Zimmer, between the symphonic music of his ancestors and the modernity of the electro and pop of his youth.
If the documentary can boast of anything, it is exclusive access to Zimmer's different ages.
He himself opens the doors of the old west London garage where he started tinkering with his first synthesizers.
Also those of the large complex of recording studios that he currently owns in California.
The portrait of his life and work is also built with brushstrokes from others.
But they are strokes without big surprises.
Powerful names in the industry (Christopher Nolan, Steve McQueen, Denis Villeneuve) parade before the British channel's camera to praise their regular collaborator.
Despite how canonical its approach is, the film gains in interest when it explores the work process of its protagonist.
BBC accesses two of the most intimate corners of Zimmer's life: his recording studio and his creative mind.
His most interesting confessions are the ones that explain what he thinks (and what he feels) while constructing the melodies, which, first of all, have to seduce the unartistic souls that finance Hollywood.
It is at that moment, when he deconstructs himself as a creator, and not in the accumulation of his childhood and youth memories, when the documentary reveals the enigma surrounding Zimmer.
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