Table of Contents
Hans Zimmer (Sheet Music collection in the smlpdf)
Best Sheet Music download from our Library.
Asking you (Green Card OST) Hans Zimmer
Chevaliers de Sangreal (Hans Zimmer)
Equation (Le Petit Prince OST) Camille – Hans Zimmer
Gladiator – Now we are free (Hans Zimmer)
Hans Zimmer Paul’s Dream From Dune (Piano Solo)
Hans Zimmer Batman Begins
Hans Zimmer – Davy Jones (Pirates of the Caribbean) Piano Solo sheet music
Hans Zimmer – Davy Jones Theme from Pirates of the Caribbean Piano Arr.
Hans Zimmer – Discombobulate from Sherlock Holmes (Piano solo sheet music)
Hans Zimmer – Dune (Sheet Music Piano)
Hans Zimmer – Gladiator – Now We Are Free (Original)
Hans Zimmer – Gladiator Suite
Hans Zimmer – Interstellar – Main Theme Piano Version
Hans Zimmer – Interstellar Our Destiny Lies Above Us
Hans Zimmer – Interstellar Piano Solo
Hans Zimmer – Interstellar Suite Solo Piano
Hans Zimmer – King Arthur
Hans Zimmer – Pearl Harbor
Hans Zimmer – Pirates of the Carribean – At World’s End
Hans Zimmer – Spirit – Stallion Of The Cimarron
Hans Zimmer – The Da Vinci Code
Hans Zimmer – The Holiday (Piano solo sheet music)
Hans Zimmer – The Ring – End Credits (Piano Solo)
Hans Zimmer – TIME From INCEPTION
Hans Zimmer – Youre So Cool Piano
Hans Zimmer and Klaus Badelt – Pirates Of The Caribbean Medley (piano)
Hans Zimmer Angels & Demons Songbook
Hans Zimmer Beyond Two Souls Main Theme
Hans Zimmer Childhood Memories
Hans Zimmer Gladiator
Hans Zimmer Inception
Hans Zimmer Interstellar Main Theme
Hans Zimmer Interstellar-Suite – Hans Zimmer
Hans Zimmer Pirates Of The Caribbean 3 – One Day
Hans Zimmer Prince Of Egypt
Hans Zimmer Tennessee from Pearl Harbor
Hans Zimmer The Dark Knight
Hans Zimmer The Kraken (Piano solo sheet music)
Hans Zimmer The Last Samurai Sheet Music
Interstellar Hans Zimmer
Nyah – Mission Impossible 2 (Hans Zimmer)
One Day – Pirates of the Caribbean 3 – At World’s End (Hans Zim
Suis-moi – Le Petit Prince OST (Hans Zimmer – Camille)
The Ring – End credits (Hans Zimmer)
Waters of Irrawaddy (Hans Zimmer) from the movie Beyond Rangoon
Hans Zimmer – Time (Official Audio)
Hans Zimmer, the musician who “psychoanalyzes” directors to compose the best soundtracks
The Lion King, Pirates of the Caribbean, Rain Man, 12 Years a Slave, Gladiator, Driving Miss Daisy, The Thin Red Line, Interstellar… Listing the films that have soundtracks by Hans Zimmer shows why the German is one of the best composers in the history of cinema. An artist who has broken all the rules to innovate in his creations, and who continues to do so today.
My beautiful laundry, a feature film directed by Stephen Frears in 1985, was the starting signal for a prolific career that Francis Hanly reviews in the documentary Hans Zimmer: The OST of Hollywood, now available on Movistar Plus+. A valuable film that reveals his working method through the testimony of his protagonist and several of the directors with whom he has collaborated.
“He doesn’t want to read the script, what he wants is for you to tell him what the film you’re making really is. It’s like he psychoanalyzes you. He wants you to explain the story and why you want to tell it,” says Gore Verbinski, director of Pirates of the Caribbean (2003), “he asks you all kinds of questions and suddenly, he has it.” “At first he told us that it was materially impossible for him to accept the assignment. “I honestly think he thought it was going to be a failure,” he recalls, laughing, “but when I took the montage to him he saw it differently. We had three weeks to finish. He went home and that night he composed all the songs.”
One of the most striking parts of the documentary is seeing Zimmer himself describing his creation processes. In this case, he comments that the grades that accompany the character of Jack Sparrow (played by Jonny Depp), “always go up because he is fun and innocent. He has some naive hope. Also a malicious touch, like a chord out of place.”
The visit that changed everything
Music has always accompanied him. The artist was born into a Jewish family in Germany in 1957. “I knew what the Nazis had done to the Jews and there was a lot of talk about the fear that if you told your neighbors, even your best friend could become against you,” he says of his childhood. His father died when he was six years old, the same age at which his mother suggested he learn to play the piano. That experience lasted two weeks, but he lit the fuse forever. He was expelled from up to eight schools for not respecting the discipline he demanded. “A music teacher threw a chair at me,” he says. In search of a solution, the family moved to England where after graduating, he joined a group with which he played in social clubs.
“We were very bad, the number that no one paid attention to,” he recalls about that period that coincided with the 80s in which there was a revolution in the world of music, video and film production. Computers and synthesizers changed the way we composed. Zimmer decided to become an expert in new technologies and set up his first studio with Stanley Mayers.
At the end of the decade his reputation thanks to his contributions to British titles led to a visit that changed his life forever. Barry Levinson wanted him to compose the soundtrack for his next film: Rain Man. And with it came his first Oscar nomination in 1988. He received his first statuette in 1994, for the soundtrack of The Lion King. He has been nominated nine other times and in 2022 he was awarded again for the music of Dune.
The well-known opening of the Disney film arose by mistake. Zimmer had been instructed that the Elton John song would play for twenty seconds and that when it finished, a scene with dialogue would enter. “I forgot,” the composer admits, “I got excited about everything he sang and I even made an arrangement. I didn’t realize it until the moment I showed the result to the producers and directors. They went to a corner to talk and I was convinced that they would replace me. I asked for their forgiveness but they told me no, that they were going to redo the entire animation. That recording was an experiment but it is what finally came out in the film.”
The room designed by “a crazy German”
Although what prevailed in the industry was for composers to teach their songs by playing them themselves on the piano, Zimmer proposed—and agreed—to present versions previously recorded with synthesizers. “I wasn’t a good pianist and I realized that this way we would better understand what it was going to sound like,” he argues. By the arrival of the 2000s he was already one of the most sought-after composers and a new studio was built in Santa Monica, California. “The room I work in looks like it was designed by a crazy German,” he jokes, “I was going to spend 90% of my time there and I wanted it to be fun.” “That place disconnects you from the world,” says Samuel L. Brooks, with whom he worked on As Good As It Gets (1997). “It has something like a Buddhist temple,” adds Steve McQueen.
The director of Shame (2011) had been inspired by Zimmer’s style for the sound of his feature film and, after releasing it, he received a call from the composer asking him why he had not directly proposed working together. “I didn’t think he could,” the filmmaker replied, pleasantly surprised. At that time he was immersed in 12 Years a Slave and the German agreed to join the film even though they had no budget.
“We were broke and he started bringing people on planes. Top-notch musicians,” says editor Joe Walker. “I really liked working on that film. It seemed important to me but no one believed in it,” claims Hans. Of course, it ended up winning three Oscars for Best Picture, Adapted Screenplay and Supporting Actress for Lupita Nyong.
The symbiosis with Christopher Nolan
Hans Zimmer’s talent works as if he were part of the DNA of Christopher Nolan’s cinema since his participation in Batman Begins (2005). “I have never liked music that seems superimposed on the film like someone putting sauce on a steak,” defends the director, “it has to be integrated and he is fully committed to that process.” Then came The Dark Knight (2008), Inception (2010), The Dark Knight Rises (2012), Interstellar (2014) and Dunkirk (2017).
Among them, the one starring Matthew McConaughey was key in his way of working. “I only gave him a letter explaining the feelings of the kind of fable on which the film would be based. He was still writing the script,” notes Nolan. “He made me work on the music without seeing the image. I was able to compose with complete freedom without being conditioned by the visual montage,” describes the musician.
Denis Villeneuve is another of his main supporters, with whom he signed his most radical reinvention to date, Dune. The objective was to create what the director described as an “alien soundtrack.” “It had to be done with unknown instruments. That it was a sound from another time and another place. It was also important that it had some kind of spiritual content, because one of the main elements explored in the film is religion and the danger of mixing it with politics,” he argues. “We drove the software creators crazy,” Zimmer confesses, “it was very provocative.”
At 65 years old, the composer continues to chain feature films. The last two, Top Gun: Maverick and The Son. He is also continuing his tour of Europe, in which he will make two stops in Spain: May 11 in Bilbao and May 16 in Madrid. “Before I was afraid to go on stage and now it’s like going to a dinner with 12,000 people,” the composer assures that he keeps his drive to learn intact. “I want to use it all. Playing with my synthesizers, telling stories and working with many directors,” he concludes, “everything goes very fast. Life is not as long as it seems and you have to choose. “It’s okay to stir things up a little and have a laugh.”