We’re just over two months away from the release of the highly anticipated “Blade Runner 2049,” but it looks like a pretty major creative component has been tweaked.
Studio Cine Live reports that Hans Zimmer and Benjamin Wallfisch have boarded the project, and will collaborate on the score and theme for the film, with Denis Villeneuve‘s longtime composer Johann Johannsson still involved. It was nearly a year ago that we learned Johannsson would be working on the sci-fi sequel, but it’s clear that the vision for the soundtrack has changed along the way.
READ MORE: Original ‘Blade Runner’ Sequel Would Have Been John Le Carré-Esque
“… Johann Johansson composed the main theme as planned,” Villeneuve said (via rough Google Translate). “But, given the magnitude of the task, Benjamin Wallfisch and Hans Zimmer joined the team to help Johann. It’s hard to [follow original ‘Blade Runner‘ composer] Vangelis! We had some astonishing atmospheric [pieces] by Johann, but I needed other options, and Hans helped us.”
Zimmer’s name you already known from a plethora of great soundtracks, mostly notable for the films of Christopher Nolan. Wallfisch may be less familiar, but he’s actually featured on three tracks of Zimmer’s “Dunkirk” score, and gets sole billing on the song “Home.” He also recently tuned up “A Cure For Wellness,” worked with Zimmer on “Hidden Figures,” and scored the upcoming horror film “It.”
All around, there is some huge, heavyweight talent now following in the footsteps of Vangelis for “Blade Runner 2049.” We’ll hear the result when the film opens on October 6th. [via Film Music Reporter]
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There is no art anymore, everything needs to be fixed by 20 people before it gets released that is why nothing is ever good. The film looks like garbage, what a difference with the original where you actually got sense of a real city as opposed to digital garbage, and now with hanz zimmer it will just sound terrible.
What “digital garbage”? You do know that the vast majority of this was shot practically, right?
using film doesn’t matter if it’s going to be color corrected and processed digitally.
It probably does matter, being shot by Roger Deakins, arguably our finest living cinematographer, certainly one of the greatest in the history of cinema. He might know what he’s doing? You keep digging yourself some big holes!
If that is so then why does the new Blade Runner is just blue and orange and pasty like every other z list digital film out there?
by original are you talking theatrical or dvd final cut
I was referring to the original Blade Runner
Oh so you mean the theatrical cut the studio forced to be fixed and released against Ridley Scott’s wishes? Not Ridley’s director’s cut from years later? Or the final cut Ridley got the money for re-shoots recently? Not the like, 6 other versions? Few movies get messed with more than Ridley Scott’s and none of his more than Blade Runner, so your comment is pretty funny.
No your comment and ignorance is pathetic. It doesn’t matter which cut because all of the cuts were shot in film sets and real locations giving a sense of weight and reality to the film which is impossible to achieve with digital and which the new film doesn’t have, no matter how many digital apologists are they yelling to the contrary, the results speak for themselves.
I’m not the one who didn’t know there were multiple iterations of Blade Runner, so I’ll take your claims of my ignorance with a very large grain of salt.
I know full well the 5 version of Blade Runner and I’ve seen them all, you are an imbecile.
There are 7 versions, Serpento. Seven. Go back and watch the other two, then come back and start crying again about the practical production design and cinematography on 2049.
doesn’t relate to my point.
it’s like a story with Clint Mansell’s ‘Ghost in the Shell’..
Good to note this interview was conducted two months ago. So Hans Zimmer was already on board then and already working on the film, so, he probably joined even earlier than that.