Instead, Zimmer was simply told the film was about a father leaving a child (leaving out the part that he’s the pilot of humanity’s last spacecraft flying off to find a new world), and the unimaginable sense of loss that would come with that. Speaking of – Interstellar is an epic science fiction film set in the near future, that tells the story of humanity’s desperate search for a new world to call home as Earth becomes virtually uninhabitable, and what’s really interesting about the score in particular is that Hans Zimmer was told precisely none of the above when Nolan approached him to start composing. It is in my opinion his greatest work, and just so happens to accompany one of Christopher Nolan’s best movies to boot. If wonder could be translated into pure music, then that’s basically what Hans Zimmer’s score for Interstellar is.
It’s just a bit of a shame that lack of chronology and absent film versions of cues spoil the experience slightly. Hans Zimmer’s Interstellar is a breathtaking work of musical wonder one that manages to both expertly capture the vastness and mystery of outer space and still keep the music small and intimate for its central theme of family.
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