For Hans Zimmer, scoring “Ridge” was a blessing from heaven. He read Frank Herbert’s huge science fiction novel when he was 18 and has returned to it frequently, envisioning the hints of the desert planet Arrakis, the sandworms and the significant flavor that makes interstellar travel conceivable.
“The primary individual I conversed with was Hans,” Chief Denis Villeneuve reports. The two were completing work on 2017’s “Edge Runner 2049” at that point, and the arranger became “fixated on attempting to make music from a different universe, from some other time.”
Nothing in the 11-time Oscar candidate’s 37-year, 140-movie vocation seems like “Rise.” Eerie, inauspicious and sensational, it is an exceptional blend of choral, world-music, rock and electronic sounds made by companions and associates on three landmasses.
Villeneuve needed the score “to be a profound one,” and simultaneously “be pretty much as female as could be expected,” mirroring the impact of the Bene Gesserit, the strong sisterhood addressed by Lady Jessica (Rebecca Ferguson), whose child Paul Atreides (Timothée Chalamet) might be the hotly anticipated savior for the Fremen, the baffling locals of Arrakis and guardians of the flavor.
Zimmer went through more than a year exploring different avenues regarding ladies’ voices, eventually choosing New York-based Loire Cotler and his “Warrior” co-author Lisa Gerrard in Australia as his essential soloists, alongside a L.A.- based group of four drove by his “Lion King” partner Edie Lehmann Boddicker.
Serenades, murmurs and shouts all figure in the score, albeit exactly the thing they are singing is its own secret. “It is a made-up language, yet it feels exceptionally real,” says Zimmer.