In response to criticisms about the music being too overpowering and at times drowning out the dialogue, Nolan told The Hollywood Reporter: "Many of the filmmakers I’ve admired over the years have used sound in bold and adventurous ways. However, for those that stick with the album, they will see it 'not go gentle into that good night.' Zimmer's Interstellar rages!" and awarded a perfect five out of five stars.
The compositional technique on the album may turn off a few, as it is different than Zimmer's recent offerings. Ann Hornaday for The Washington Post commented, "Hans Zimmer's basso profundo organ-music score and pummeling sound effects." Steven Biscotti of too praised the soundtrack stating, "Hans Zimmer has created a close to perfect musical canvas for those extremely dedicated to the audio experience. American film critic Peter Travers at Rolling Stone noted, "thrilling images oomphed by Hans Zimmer's score, and you'll get the meaning of "‘rock the house.‘" For The Globe and Mail, Liam Lacey stated, "Throughout, Hans Zimmer's music throbs obtrusively, occasionally fighting with the dialogue for our attention." "As usual, Nolan's frequent collaborator Hans Zimmer has come up with a score that fits the impossible dimensions of the film, and the music adds tremendously to the excitement", said critic Rene Rodriguez, writing for The Miami Herald. Joe Morgenstern for Wall Street Journal felt that "At one point the orchestral churnings of Hans Zimmer's score suggest something epic under way". For NPR, Chris Klimek stated that Zimmer's gives a church-organ score. At The Irish Times, Donald Clarke wrote that "Hans Zimmer slumps on the biggest pipe organ in town". Anderson for The San Francisco Examiner writes, "rumbling and thundering sound effects and music". Jeremy Aspinall of Radio Times called the score subtle but evocative. But it relies less on Straussian majesty à la 2001 than something rather more pointed: the hypnotic, metronomically surging, and oddly sacred homage Zimmer gives us to Koyaanisqatsi, by Philip Glass." Todd McCarthy, reviewing for The Hollywood Reporter, praised it as, "soaring, sometimes domineering and unconventionally orchestrated wall-of-sound score" Richard Corliss of Time called it "pounding organ score". Time Out London 's Dave Calhoun exclaimed, "Listen to unnerving silence as well as Hans Zimmer's organ-heavy score!" Tim Robey of The Telegraph felt "With the vast sounds of a composer set loose on his grandest ever assignment. However, despite Interstellar's near-identical central melody and instrumentation, few have criticized Zimmer when drawing the comparison. Many critics have noted distinct similarities between the score and the work of Philip Glass, especially Koyaanisqatsi (1982). Reviewing for BBC News, Nicholas Barber felt, "Hans Zimmer's music makes the film seem even more colossal than it would otherwise: Zimmer invokes the original meaning of 'pulls out all the stops', rattling our teeth with reverberating pipe-organ chords." Scott Foundas, a chief film critic at Variety, stated, "Hans Zimmer contributes one of his most richly imagined and inventive scores, which ranges from a gentle electronic keyboard melody to brassy, Strauss-ian crescendos.
#Interstellar synthesia professional#
2.3 Illuminated Star Projection editionĬritical response Professional ratings Review scores.
0 kommentar(er)
