In the year 2000, the sword-and-sandal epic was revived, with Russell Crowe trebucheted to international stardom as the star of Ridley Scott’s hugely successful film, Gladiator. But fame was also found for Hans Zimmer, today the biggest music man in Hollywood, but who along with Australian composer and singer Lisa Gerrard wrote some of the most influential film music in decades for Gladiator. In Episode 17, we take a look at what makes Zimmer’s sound so pervasive, how Lisa Gerrard’s voice intensifies the film’s emotions, and just where all that strength and honour comes from. Episode notes: 3:02 – Gladiator as the breakthrough Hans Zimmer score 5:09 – Some background on the significance of Gladiator, sword and sandal films, epics, and peplum 14:24 – Hans Zimmer style and the 1990s action film 21:00 – Hans Zimmer and the synth 23:52 – The unusual instrumentation of Gladiator 25:25 – A duduk demonstration 27:10 – The themes of Gladiator – Commodus’ theme 33:15 – The power of Lisa Gerrard’s voice 39:48 – Maximus’ hymn 43:00 – Maximus’ polyrhythms 45:32 – Zimmer’s Vangelis’ moment 48:01 – Once Upon a Time in Ancient Rome 53:11 – The Earth theme – Gladiator’s musical soul 1:00:56 – Lucilla’s theme 1:05:17 – The Gladiator waltz 1:08:15 – A Holst heist? 1:12:34 – Gladiatorial piracy 1:16:41 – The death of an emperor (or, Mozart’s Da Vinci Code) 1:21:02 – To Zuccabar 1:24:00 – Gladiator’s establishing music (and a surprise) 1:29:21 – Zimmer’s answering horns 1:31:43 – The Might of Wagner 1:39:18 – The Hans Zimmer Olympics 1:41:27 – Gladiator’s finale: Now We Are Free We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.