As Dune: Part Two prepares to conquer the big screen, legendary composer Hans Zimmer reveals the intricacies of his musical journey through Denis Villeneuve’s epic universe.
In an exclusive interview, Zimmer shares insights into composing the love theme for Paul and Chani, co-writing “Gurney’s Song” with Josh Brolin, and the anticipation for the next installment, “Messiah.”
When “Dune: Part One” concluded, Zimmer, inspired by Frank Herbert’s 1965 novel, persisted in composing, even against the director’s suggestion to pause. This dedication gave birth to the main theme of “Part Two,” creating a unique timeline of experience for the audience.
Zimmer and Brolin, driven by the essence of Herbert’s novel, collaborated on “Gurney’s Song,” a baliset-backed melody enriching the narrative. The composer emphasizes the importance of adhering to the book’s guidance in crafting this musical element.
The duo’s partnership extends beyond “Part Two,” with unreleased tracks from “Dune: Part One” waiting to be unveiled. Zimmer hints at an “unplugged version” in the works with Brolin, promising a treat for fans.
As the series potentially expands into “Dune Messiah,” Zimmer confesses, “Guess who hasn’t stopped writing?” The anticipation for the next chapter in the “Dune” saga is palpable, and Zimmer remains committed to weaving the musical tapestry for Villeneuve’s visionary storytelling.
Exploring the sonic landscape of “Dune: Part Two,” Zimmer highlights the fusion of unconventional instruments, including those crafted by musician-welder Chas Smith. From bowed metals to instruments from 1920s France, the composer aimed to build a sonic world as vast and unexplored as the galaxies portrayed in the film.
Notable is Zimmer’s emphasis on the role of the female voice in the score, a subtle yet powerful storytelling component. Even as characters exit the scene, the lingering echo of a female voice serves as a reminder of where true power resides.
Delving into the emotional resonance of the film, Zimmer sheds light on the creation of Paul and Chani’s love theme. Played across Europe ahead of the movie’s release, this daring approach allows audiences to connect with the theme in reverse, a testament to Villeneuve’s unique storytelling style.
As the conversation shifts to new characters like Feyd-Rautha Harkonnen, Zimmer details the process of capturing the character’s essence through music. Describing Feyd-Rautha as “less pure” and embodying a “cold metallic sheen,” Zimmer aimed to complement the exceptional acting and cinematography without overshadowing them.
Discussing the gladiator arena fight, Zimmer recalls the visceral nature of scoring such scenes. Denis Villeneuve’s courage to push creative boundaries allows Zimmer to craft bold and dark compositions, adding depth to the film’s emotional landscape.
The soundtrack’s inclusion of longer, darker tracks, like “Harkonnen Arena,” underscores Zimmer’s commitment to delivering a comprehensive musical experience. He acknowledges the delicate balance of cinematic allure and dissonant, challenging compositions, choosing to honor the audience with the darker, confrontational side.
In response to the query about his writing status, Zimmer’s unequivocal answer reveals an ongoing commitment to the “Dune” universe. With Villeneuve teasing “Dune: Messiah,” the composer’s passion and dedication promise a continued symphony of storytelling in this cosmic epic.
