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Hans Zimmer talks about first North American tour dates in 7 years, the magic of composing for film

LOS ANGELES — For generations, German composer Hans Zimmer ‘s movie rankings have soundtracked witchcraft film moments in “The Lion King,” “Gladiator,” the “Dark Knight” trilogy, and most recently, “Dune” and “Dune: Part Two.” This fall, Zimmer will bring his award-winning scores to the live stage.

His “Hans Zimmer Live” tour, which sold out in Europe, will make its way to the U.S. and Canada this fall, marking the first time Zimmer has performed in North America in seven years.

The last time, as some fans may recall, was a 2017 Coachella performance.

Over Zoom from New York, Zimmer said he was inspired after “refusing to get onto a stage for 40 years” because of something his friends, The Smiths’ Johnny Marr and Pharrell Williams, told him.

“You have to look your audience in the eye. You can’t hide behind the screen forever. You know, you owe it to your, you know, audience,” he says they told him. And after Coachella, he realized: “I can do this,” he said.

Having done the run in Europe, “we’re at the top of our game at the moment,” he says of his orchestra.

Don’t expect a traditional, classical music setting or a piano concerto — at “Hans Zimmer Live,” there is no conductor, no sheet music in front of each musician, and not a single frame from any of the films he’s referencing.

“I come from rock and roll and I believe in putting on a show,” he says. “People stay with us because we give them an experience which they’ve never had before… Life is hard. Life is tough these days. And people worked hard to go to pay for these tickets, so we better pull off a show that is absolutely worthy of them coming and seeing us.”

“Hans Zimmer Live” kicks off on the Fuel South Area in Duluth, Ga. on Sept. 6 and can crash 17 towns around the U.S. and Canada earlier than concluding on the Rogers Area in Vancouver, British Columbia on Oct. 6.

The excursion contains stops in Hollywood, Florida; Raleigh, North Carolina; Pristine York; Baltimore; Boston; Montreal and Toronto; Minneapolis; Chicago; Fortress Utility, Texas; Denver; Las Vegas; Los Angeles; Oakland, California, and Seattle.

Zimmer says attendees can be expecting a numerous target audience. “I’ve looked out at the audience and there’s a mom with her grandson sitting next to a guy with a mohawk, sitting next to a man in a business suit, sitting next to another bunch of, you know, bikers,” Zimmer mentioned. “So, it’s not just multi-generational, it’s multicultural.”

In additional techniques than one: Zimmer’s orchestra is from Ukraine; “Two weeks after the invasion started, we managed to get about half of them out of Odessa,” he says. Lebo M, who sings “The Lion King” theme, used to be a political refugee from South Africa when Zimmer first met him. Pedro Eustache, his woodwind participant, is from Venezuela, “and he thinks he can probably never go back home,” says Zimmer.

“I have this very, very international group of players and … part of what makes them such emotionally committed musicians is that they all have a story to tell you.”

“Hans Zimmer Live,” which has been lately rearranged, contains works from “Gladiator,” “Pirates of the Caribbean,” “The Dark Knight,” “Interstellar,” “The Lion King,” “The Last Samurai,” and “Dune.”

“Each and every piece is hooked up with the journey of in reality developing it, the journey of in reality making that film, the journey of the collaboration, the journey of, you realize, ‘How did we get here?”, he says. “Where did this journey start? And how can we make sure that it never ends?

“Each one of those movies is painted in color and affected by what is going on around us. And they have all been extraordinary journeys.”

All of these films and their scores are vastly different, but Zimmer’s idiosyncratic approach and arrangements should be considered the connective tissue. That, and a certain je ne sais quoi that makes an effective — and affecting — score.

“You need to be committed. You need to be honest. You can’t be sentimental,” he says of a a hit rating. “The other thing is, it’s the people who are performing it. Because if you think about it, the last actors that really get hired, the last actors that perform in a movie, are the musicians. So, I’m very careful about picking the people I work with.”

Tickets for “Hans Zimmer Live” will transform available to buy at, creation at March 22 at 10 am native moment.

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