And Hans actually got me another feature, Chicago Joe And The Showgirl, which again is a shared credit. I had a lunch meeting with him and his partner and we all hit it off, and we had a glorious span of projects there for quite a few years.
Shirley’s take on it from Soundtrack Magazine: “My association with Hans Zimmer, which lasted a good many years, came about because right at the time he was coming over here from England, he was with the same agency that I was with, and he wanted an orchestrator and somebody to conduct for him. Drums, metallic clanks, buzzy noises it’s a score that sounds different and exciting in good old electro-Carpenter fashion but it’s easy to imagine some of the music’s unpredictable character coming from that precise offbeat quality Walker worked with back in her Danny Elfman days. (1996)Ĭarpenter obviously liked what Walker had delivered: he hired her again four years later to co-write the music for Escape from L.A. The gong and the brass section are having a ball, while she also knew how to create quieter moments a gorgeous helping of muted trumpet on In A State of Molecular Flux coupled with a supernatural wave of strings manages to be both sad and suspenseful. Like most of Walker’s stuff, it’s a fun listen, with a great ear for percussion and timing. I had to ask somebody why all those people were here, and when they told me it was just incredible.” “The first two days of that score, there were a lot of people who had come to visit the scoring stage because they were here to witness this event,” Shirley said in an interview in a 1998 issue of Soundtrack Magazine. Walker’s conducting was enough to impress producer Chevy Chase, who suggested Shirley for John Carpenter’s Memoirs Of An Invisible Man when working with Jack Nitzsche fell through – a landmark decision, not just because Carpenter likes to do his own scores, but because it was the first time a female composer had a solo credit on a major studio picture. Shirley Walker, on the other hand, tended to do all three.) Not unseen – Memoirs Of An Invisible Man (1992) (It’s interesting to note, incidentally, that like orchestration, Danny doesn’t tend to conduct his own music. Try doing that without someone waving a stick in front of you. In 1990’s Edward Scissorhands, the swelling volumes and delicate silences are what make the main theme and the heartbreaking Ice Dance so beautifully moving. In 1989’s Batman, it’s the fast fanfares and deliberate beats of the brass that create the menacing tone, coupled with the carefully timed percussion. For Elfman’s scores, with their precise, offbeat quirky rhythms, that role is even more important.
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