Hans Zimmer singles out ‘Interstellar’ as his favorite among his many scores

Hans Zimmer, the Oscar-winning composer of scores for the films “Dune, Part 1” (2022) and “The Lion King” (1994), has created works for an array of movie genres, including “Dunkirk” (2018), “Gladiator” (2000) and “Rain Man” (1989). Like a proud parent, he once claimed he couldn’t choose his favorite among his many offspring. After the release of the double disc “Hans Zimmer Live” (2023), he changed his mind. 

Recorded during Zimmer’s 2022 European tour by Sony Masterworks, the set features more than two hours of reimagined, live arrangements of his iconic film scores, such as “Dune,” “The Dark Knight” (2008), “Interstellar” (2014) and “The Lion King.”

On Facebook, Zimmer said: "I thought I’d never admit my favorite score, but it might be this one: our new Interstellar Suite from the ’Hans Zimmer Live’ double album."

As part of the CSO Chamber Music series, the CSO Brass Quintet will perform Suite from Interstellar (in a chamber ensemble arrangement) on June 16. The group consists of CSO trumpets Esteban Batallán and John Hagstrom, horn David Griffin, trombone Michael Mulcahy, tuba Gene Pokorny and guest organist Patrick Godon.

Speaking of organs, British organist Anna Lapwood has observed: "I think the ’Interstellar’ soundtrack has done more to popularize the organ than anything or anyone else."

Zimmer’s publisher composed this note about Interstellar Suite (in its arrangement for full orchestra; it also has been arranged for solo piano). 

Hans Zimmer’s “Interstellar” soundtrack is a deeply atmospheric and emotional score that perfectly complements the film’s exploration of time, space, and human connection. Zimmer employs a distinctive combination of traditional orchestration and the unique sound of the church organ, creating a soundscape that feels both grand and intimate, cosmic and personal.

In “No Time for Caution,” Zimmer builds immense tension through a repetitive organ motif and pulsating strings, with the intensity steadily rising as the music swells. The piece is characterized by a driving rhythm, complex layering of orchestration, and dramatic crescendos, creating a heart-pounding sense of urgency and stakes as it mirrors the film’s critical docking scene.

“Cornfield Chase” is lighter and more nostalgic, with a simple yet poignant piano melody accompanied by delicate strings and soft synths. This music evokes a sense of longing and innocence, capturing the emotional connection of Cooper [Matthew McConaughey in the film] to his family and the simpler life he left behind. The music gradually builds in scale, suggesting both the beauty and the vastness of the unknown, but always rooted in human emotion.

“Stay” is probably the most popular piece in the score. It features Zimmer’s signature minimalist approach, where repeating motifs slowly evolve to build emotional depth. The use of the organ, layered with strings and a soft synth backdrop, creates a haunting, melancholy atmosphere that mirrors the pain of separation and the passage of time. The swelling intensity reflects the heartache of Cooper’s message to his daughter, culminating in a powerful, tear-inducing crescendo that encapsulates the emotional core of the film.

This suite perfectly reflects Zimmer’s ability to blend emotional depth with the awe of cosmic scale, making the “Interstellar” soundtrack a timeless, cinematic masterpiece.