Collider sits down with composer Hans Zimmer to talk about the scores to Widows, Dark Phoenix and Wonder Woman 1984.
One of the many fantastic films to world premiere at this year’s Toronto International Film Festival was Widows. Directed by Steve McQueen (12 Years a Slave, Shame) and co-written by McQueen and Gillian Flynn, the film is about four women that must execute a heist in order to pay off the debt their deceased husbands incurred. Furthermore, the women have to pull off the heist while both the law and criminals are bearing down around them. Loaded with fantastic performances, Sean Bobbitt’s great cinematography, an exciting score by Hans Zimmer, and a script full of complex characters, Widows is one of those special movies where everything just works. Trust me, you want to see this movie when it opens in theaters November 16th. Widows stars Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Garret Dillahunt, Carrie Coon, Jacki Weaver, Jon Bernthal, Manuel Garcia-Rulfo, Robert Duvall and Liam Neeson.
Shortly after seeing the film, I got to sit down with Hans Zimmer at the Collider studio at TIFF to talk about the film. During the wide-ranging interview he talked about how he first started working with Steve McQueen, what makes him an extraordinary director, how he worked on the Widows television series in the 80s before he was a composer, how McQueen and his team make films that feel like music, what was the toughest part of the doing the score, and a lot more. In addition, he talked about what it was like going around the world on tour, which city featured his “Spinal Tap moment,” why he decided to come back to superhero movies for Simon Kinberg’s Dark Phoenix after saying he was done with the genre, and why he decided to score Patty Jenkins‘ Wonder Woman sequel.