Craft-Talking the Sight and Sound of Interstellar

Composer Hans Zimmer, cinematographer Hoyte van Hoytema, sound mixer Gregg Landaker and costume designer Mary Zophres talk bringing Christopher Nolan’s space odyssey to life.

While Matthew McConaughey bends space-time in the black hole to get back home in Interstellar, Christopher Nolan bends the sci-fi genre to create his own visceral film about love and science. The experimental director encouraged his crew to push boundaries and take risks, with provocative results.

However, the sound mix has become more controversial for stepping on the dialogue, with the swell of Hans Zimmer’s organ-laden score and other sonic pressure levels. Nolan admits that it was intentional to better experience the roller coaster ride with McConaughey.

After nine years of developing a signature symphonic sound for The Dark Knight trilogy, Nolan and Zimmer needed to find something new. And so Nolan suggested the pipe organ. “And as soon as he said it, I immediately saw the shape of the pipe organ, which is not unlike some of the rocket boosters on a Saturn spacecraft,” Zimmer explained.

Visually, cinematographer Hoyte van Hoytema applied a similarly organic approach while re-engineering the bulky IMAX camera for hand-held shots. “I modified it to be lighter and more aerodynamic, and built grips for balance and support…”

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in Below the Line, Cinematography, Costume, Movies, Music, Sound, Tech, VFX, Virtual Production

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