After finishing the score for “Sherlock Holmes,” Hans Zimmer says he was overdue for a vacation, since he’d worked nearly nonstop on such films as “It’s Complicated,” “Kung Fu Panda,” “Madagascar 2,” “Frost/Nixon” and “Angels & Demons.”
“Right when I needed a break, just when I just couldn’t write another note, I ran into Chris Nolan at the ‘Sherlock Holmes’ premiere,” recalls Zimmer, who has scored more than 100 films during his nearly three-decade career, including Nolan’s “The Dark Knight.” “We were in the studio next day. Holidays never seem to work out the way we hope.”
The German-born composer — whose trophy chest includes an Oscar, two Golden Globes and three Grammys — began work right away on the trippy chords that accompany Nolan’s mind-bending pic.
After six months of toiling in complete secrecy (a prerequisite for everyone working on the project), Zimmer was ready for some feedback. “You get pretty insecure after six months of working under such conditions. You’re not sure if you’re working on most expensive art-house film ever.”