The Oscar nominee (for Dunkirk) joined his collaborators to talk the score for Blue Planet II.

When I asked Academy Award-winning composer Hans Zimmer why he so often works with collaborators, as opposed to the traditional image of film composing being a solitary pursuit, he didn’t even need to think about it.

“For me, music has always been about that magical process of being with other people in a room, and looking into each other’s eyes, and somebody picks up an instrument and starts playing, and suddenly, a profound communication happens. And it’s fun. That word ‘play’ is really important,” he said.

I talked to Zimmer on the latest episode of my podcast, I Think You’re Interesting, about his work on the new miniseries Blue Planet II, for which he composed music alongside Jacob Shea and David Fleming, who joined the interview as well. For the podcast’s second half, I talked to several of Blue Planet II’s producers about their time spent trying to capture images from under the sea.

The three composers share a great love for finding ways to get orchestras to make new sounds, something that has made Zimmer an unlikely Coachella headliner, thanks to the “braaaaaaaaam” and “booooom” of his work with director Christopher Nolan.

One thing I love about Zimmer’s work is the way that it blends disparate influences, even if those pieces might not seem to fit together, and especially might not seem to fit together when played by an orchestra. So I asked him just how he manages this. But he thought that question missed the mark. Instead, he said, the most important thing isn’t the composer; it’s the musicians.

I’ll let him explain:

The great thing is musicians are musicians. Look, The Dark Knight is a punk score, without a Read More Here