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Media Ventures

Santa Monica, California

Hans Zimmer
Jay Rifkin - Business Partner (produtor e engenheiro)
Rifkin criou o selo Mojo Music, sob o qual trabalhava o estdio Media
Ventures
Media Ventures - Msica para comerciais e filmes
Concomitante ao estdio Media Ventures, Zimmer chefiava o departamento
de msica do ento iniciante estdio DreamWorks SKG. Neste, uma das
tarefas de Zimmer era planejar as operaes das msicas de filme. Ele
compe para os dois primeiros filmes da DreamWorks (O Prncipe do Egito e
El Dorado) e supervisiona as gravaes das trilhas.
Muito trabalho!
- 5 COMPOSITORES NO ESTDIO MEDIA VENTURES, trabalhando para Walt
Disney e Warner Bros. ao mesmo tempo!
Aps os lucros de Rain Main, Zimmer disse que era a primeira vez que ele
no estava em dvida
O compositor recebe de 6,5 a 12% do lucro do filme, e servindo como
compositor, produtor e artista, ele recebe por tais funes. -> negcio
lucrativo!
O estdio era famoso por cumprir prazos impossveis e manter o alto padro
das trilhas. O staff experiente aperfeioou a arte de antecipar as diversas
necessidades da demanda de ps-produo dos filmes.
Zimmer possui apenas DUAS SEMANAS de estudo formal de piano

CNN: You have to be such a chameleon as a composer.


HZ: I love ducking and diving. I did "Black Rain" and "Driving Miss Daisy" in the
same month. I finished "Pirates," had one day off and got into "The Simpsons" and it's a
very different language. And I think that's what keeps it interesting; certainly for me.
Analisar essas trilhas!!!

These days, Media Ventures is home not only to Zimmer, but to several other
composers he's helped to bring into the business. These include Harry GregsonWilliams and John Powell, who worked together on films like Antz, Chicken Run and
Shrek, and Klaus Badelt, who assisted Zimmer on Gladiator and has recently
scored films like The Time Machine in his own right. Media Ventures is a unique
collective, providing film-makers with a one-stop shop for music production, and
composers with all the musical and technical support needed to complete a project.

Este trecho mostra a idia de que Hans Zimmer ajudou a trazer os profissionais que
trabalham com ele para dentro do show business.
Zimmer afima que enquanto trabalhava como assistente de Stanley Myers, este
permitia que ele compusesse os film cues, e nunca contava aos diretores dos filmes
que quem havia feito era Zimmer.

PERGUNTA: O QUE EXATAMENTE UM FILM CUE?

"My musical education is two weeks of piano lessons and anything else I picked
up on the way, so for me to orchestrate things and I like doing all the stuff
myself I needed to be able to hear it. And the other thing is, it's very hard to
tell a director when you're plonking around on the piano how it's all going to
sound with eight horns and 32 violins, because the emotional gulf between
tinkling on the piano and having the chaps sit there and giving it some is
enormous. So it seemed like a very simple idea: let's go and sample them, and
maybe we can shove the samples into, at the time, eight Roland S760s.

"After Lion King, we moved studios, and during that project we were actually working
on other projects and building out our first building in Santa Monica to house our
studios. The work increased, and also my passion to expand the concept and take the
process we'd developed; our assistants became composers in their own right and
the idea just started to take shape. We finished Lion King and we had five rooms
immediately busy working on one project and thought 'We're on to something here.' As
post schedules are more and more compressed, you just need to be able to throw a lot
of firepower at a project, or else really hurt yourself doing it, having a very small team
with just a limited number of workstations."

2
Film Music
Audiovision
Unheard Melodies

Discusso sobre a indstria.


J partir do pressuposto de que a produo de Zimmer feita com a
colaborao de outros compositores, mesmo que ele no assuma o fato.

To understand Dead Man's Chest, I suppose we need to go back over Pirates


1 ground a little bit. We last talked during The Last Samurai, which gives you
the reason why I didn't have the credit on the first one. I absolutely
promised both Tom Cruise and Ed Zwick that I wasn't going to moonlight on
anything else, and when I made the promise, I really, really believed it! But
then Gore got into a little bit of trouble and I said to him, 'I can't score this
movie, there's no way I can, but my friend Klaus [Badelt] probably can.'
Klaus is a wonderful composer, but I couldn't help myself from writing many
of the tunes, and then I sort of orchestrated the way those tunes would
sound as well, setting the tone. Klaus wrote some more tunes and with our
tunes wrote the score, and Blake Neely, Geoff Zanelli, and everyone else
went at it.

Zimmer se refere nesse trecho a seu trabalho como orquestrador em uma


trilha.

With the second film, Klaus' name doesn't show up anywhere on the score, and
people have wondered why this is the case if he had the main composer credit on
the first film. Would you have been allowed to have a 'Themes by Hans Zimmer'
credit on the first one?

Probably, yes, but we never thought about it at the time. Klaus' name isn't on the second
film because he didn't work on it, but I wanted Klaus to have the main credit on the first
one. I think he's immensely talented and he had put a lot of work into that score.
If I play you the demo for the themes of the first Pirates, it's an incredible demo where
everything that is Pirates, including the orchestration, is there. So the themes come with
orchestration, production and style attached to them, and that's the sonic world of this
movie, the palette. [Play "The Pirates of the Caribbean: Curse of the Black Pearl
Demo"]
It takes me a long time, but in a funny way it's more important that I spend the time
doing that instead of writing the transition between one scene and the other that uses the
same tune. But if someone writes that transition using my theme, or even just cuts and
pastes it in the computer, I think he's done more than just hang around because I like the
way things are very collaborative. And Klaus and the other composers did a lot more
than write transitions in Pirates 1, so I've probably ruined the credit of what 'additional
music' is supposed to mean, but I've done it very much on purpose.

Exploding into the world of film music after several years as a member of a
1980's rock band, Hans Zimmer has become a pioneer of the dynamic mix
between synthesized and orchestral styles. His scores are broadly thematic,
ethnically diverse, and immensly popular with a younger generation of film
music fans. His Los Angeles based music studio, Media Ventures, is, as he
deems it, a "School of Sound," and offers young, talented composers a place
to jump-start their careers in Hollywood. He has collaborated with many of
his friends, colleagues, and students for his scores after 1995. "I like
working in a collaborative way," he says. "I'm not very ego-driven
about being 'The Composer.' Whoever brings in great ideas should
be welcomed." These collaborations culminated into an award-winning
score for the blockbuster Gladiator in 2000, translating into one of the best
selling film score albums of all time.
Zimmer and his producing partner, Jay Rifkin, custom built the Media
Ventures studio complex in Santa Monica for the writing and production of
music for film, television, and commercials. Composers best known for
working with Zimmer are Mark Mancina, John Powell, Harry GregsonWilliams, Nick Glennie-Smith, Jeff Rona, Klaus Badelt, and Lisa Gerrard,
some of whom travel from around the globe to work on projects for
which Zimmer is the primary composer. In addition to his composing
work, Zimmer heads DreamWorks' film music division. His appointment
marks the first time that a composer has headed the music department of a
major studio since the days of Dimitri Tiomkin at MGM and Alfred Newman
at Twentieth Century Fox. So large is Zimmer's influence on audiences
and potential buyers of film music albums, some record labels put
Zimmer's name first and foremost on score albums for which he
only played a minor coordinating role.
Um ponto importante que o nome de Zimmer possui grande potencial de
venda de discos. Muitas trilhas que ele assume apenas o papel de

coordenao recebem sua assinatura, para que recebam a influncia que


seu nome possui.

Harry Gregson-Williams e Jim Dooley so exemplos de compositores que


fazem parte da equipe do estdio Remote Control mas que assinam muitas
trilhas como compositores principais, sem que o nome de Zimmer aparea nos
crditos. (Hans-Zimmer.com)

"I was working as an assistant for another film composer, Stanley Myers, and he would
just let me write film cues. He'd never tell the director what I'd written and what he had
written, and inevitably, in the beginning, everything I wrote was always chucked out and
had to be rewritten.
Eu estava trabalhando como assistente de um outro compositor de filmes, Stanley
Myers, e ele me permitia apenas escrever os film cues. Ele nunca dizia ao diretor o
que eu havia escrito e o que ele havia escrito, e inevitavelmente, no incio, tudo o que
eu escrevia era sempre jogado fora e tinha que ser reescrito.

Dvidas:

Dificuldade parar dizer que fato conhecido que Zimmer no escreve suas
trilhas. O que o professor me diz diferente do que conhecido na mdia, em
sites de entrevistas e tal. A nica evidncia mais forte disso at agora a de
um site que disse que, devido a questes mercadolgicas (sendo Hans um
bom vendedor de trilhas, colocam seu nome em muitos trabalhos em que ele

fez muito pouco.


Descobri que h vrias trilhas assinadas por outros compositores.
Como inserir a parte de anlise de filmes
Procurar bibliografia relacionada com questo autoral, definio de arte e

coisas do tipo?
Bibliografia mais especfica
Banco de artigos?
Utilizao de sites. Posso usar um site em que o artigo no possui autor

definido? Isso dar credibilidade ao texto? Citar caso mercadolgico.


Perguntar como so as outras partes do projeto

Rodrigo Gontijo -

Essa forma de produo colaborativa j comum na histria do cinema.


O prprio Hans Zimmer iniciou seus trabalhos em trilhas sonoras como
colaborador do compositor ingls Stanley Myers. Sobre esse perodo, Zimmer
descreve como era seu trabalho, em matria para o site Sound on Sound
(www.soundonsound.com):
Eu estava trabalhando como assistente de um outro compositor de filmes,
Stanley Myers, e ele me permitia apenas escrever os film cues. Ele nunca dizia
ao diretor o que eu havia escrito e o que ele havia escrito, e inevitavelmente, no
incio, tudo o que eu escrevia era sempre jogado fora e tinha que ser reescrito.

Este trecho revela que Zimmer realizava alguns trabalhos para Myers,
mas por ser iniciante e ainda no possuir credibilidade no meio das trilhas
sonoras, no recebia crditos por isso. Isso revela o quanto obscura a
questo da autoria em um trabalho to grandioso como um projeto de trilhas
sonoras, pois sabemos que ele no realizado apenas por uma pessoa, mas
por toda uma equipe. Zimmer possui uma grande equipe, composta por
compositores em todos os nveis de experincia. Como no estdio de Myers, o
Remote Control

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