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Inception? That's what has seemed to me to be most influential in recent years....
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Posted: |
May 6, 2018 - 6:19 AM
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By: |
johnbijl
(Member)
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Zimmer claims he invented the Braaam, but that's a mistake.
It's arguable that the musical devise dated back to perhaps Beethoven or most certainly Orff, but it was trailers form the first decade of this century that are responsible for it's recent popularity.
The origins of the Horn of Doom date back as far as the trailer to District 9 in 2009 (https://www.youtube.com/watch?v=DyLUwOcR5pk). That trailer created quit the buzz. From then on, other trailer-composers started using it often, including Mike Zarin when he used it for the enigmatic first teaser to Inception.
When Zack Hemsey was asked to compose the music for Inception's first full trailer, he also used the Braaam to the point it was overuse (the track is called Mind Heist). That's the point where the Braaam took off and even got parodied.
Zimmer incorporated the Braaam into the score of the film, arguing that the Braaam was recreation of the slowed down first notes of Non je ne regrete rien. In his words 'I put a piano in the middle of a church and I put a book on the pedal, and these brass players would basically play into the resonance of the piano. And then I added a bit of electronic nonsense' (http://www.vulture.com/2013/11/hans-zimmer-on-the-classic-films-hes-scored.html). That explanation sound credible enough, but doesn't address how the Braaam got to be in the trailer music, which Zimmer had nothing to do with.
Also, you can't underestimate the importance of the Braaam in modern film music. It is the high point of a new approach in film scoring: confusing the moviegoer, rather than comforting him. This essay explains this wonderfully. https://longreads.com/2016/12/08/braaam-inception-hollywood-soundtracks/.
It matches the way both Nolan and Zimmer have been breaking the rules of traditional filmmaking and -scoring the last couple of years. One of the reasons I'm enjoying Nolan/Zimmer-films is their expirental and even groundbreaking use of music. They did it with this on Interstellar (1) where the music seems almost separate from the action, and with Dunkirk (2), which used another old musical devise: the Shepard glissando.
(1) This thread on Interstellar is a quite enjoyable read: http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=2&threadID=106860&archive=0
(2) 'The movie was 'stripped' (or rather, it was omitted) of a part of filmmaking we usually need to cling to. The same way some of us here complain that Zimmer's music lacks themes or let alone leitmotivs, Dunkirk doesn't use a narrative to bring us this film.'
You can read the rest of my musings on this film here: https://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=8&threadID=113291&archive=0
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