One of the most famous movie and TV composers working today is Hans Zimmer, whose credits include modern classics such as Gladiator and The Dark Knight, plus not-so-classics like the Robin Williams-starring Toys.
And, of course, Zimmer was responsible for Inception’s iconic “BWAAAHs.”
Well, the Oscar-winning composer is also a big fan of The Simpsons, hence why he was tasked with writing the score for their big-screen debut, The Simpsons Movie. “It’s such an iconic part of today’s culture,” Zimmer said back in 2007. “And I had to try and express the style of The Simpsons without wearing the audience out with too much attitude!”
Since 2018, the composer collective that Zimmer co-founded, Bleeding Fingers Music, has been responsible for the TV show’s score. As we’ve mentioned before, the show’s longtime composer, the late Alf Clausen, was fired in 2017 after producers “became dissatisfied with his work on a hip-hop themed episode,” Season 28’s Empire parody “The Great Phatsby.”
Clausen then sued Disney claiming they were guilty of “age discrimination,” but court papers eventually revealed that the show’s producers were “surprised and disturbed” to find out that Clausen “had been delegating some of the work of composing music for The Simpsons to others, including his son.”
As a recent article in The Los Angeles Times recounted, after Clausen’s unfortunate exit, producer and cartoon child-strangling advocate James L. Brooks approached Zimmer “about taking over the series.” Presumably because he’s very busy working on movies and playing concerts to stadium crowds…
…Zimmer instead suggested Bleeding Fingers for the job. “It was taken very seriously,” co-founder Russell Emanuel told the Times. “The first I knew about it was Hans calling me into his room and going, ‘We’ve got Simpsons. Don’t fuck it up.’”
The company was only given three weeks to come up with a score for Season 29’s premiere episode, the Game of Thrones parody “The Serfsons.” But after turning in their work, Groening complained that they used a synthesized theremin, rather than the real deal. “He could hear it immediately, and completely called us out on it,” Emanuel admitted. “We had to go back and redo that whole thing. There were two or three big issues for him — but, you know, that was part of us learning the language.”
Hey, at least Groening didn’t toss their demo tape in the gutter while speeding away in a stolen convertible.
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