(I asked a musician friend to describe the Hemsey braaam. In Hemsey’s trailer, they are weaved into the music. (“They’re a musical device, a technique that’s been used throughout the history of music.”) But he is willing to go so far as to take credit for how he uses them in “Mind Heist.” In Zarin’s teaser, the braaam is one part of a larger sound design. Hemsey thinks no one should take credit for inventing braaams. Press him any further for details and Hemsey starts to get a little vague, saying only that Warner Bros. Unlike other movie trailers that use his existing compositions ( Insurgent and Selma, to cite two recent examples), Inception was a case in which Hemsey was hired specifically to compose music for the final trailer. He says he rarely travels to Los Angeles and has never met Nolan or Zimmer. Hemsey is a soft-spoken guy with a thick New Jersey accent who lives about 70 miles north of Manhattan in the town of Stormville, New York. Inception’s second trailer, featuring Hemsey’s “Mind Heist.” With only one shot to work with - that of Leonardo DiCaprio riding on a bullet train - Zarin told Indiewire that he “hopped on the subway did a whole bunch of foley recordings, capturing this idea of being on a train.” That rumbling sound, Zarin claims, was the beginning of the braaam sound, which carried into the film’s first trailer.īut it gets even more complicated, as a second trailer, this one featuring a score by a composer named Zack Hemsey, refined braaams even further, placing them into a stirring piece of music called “Mind Heist.” Zarin had been hired in 2009 to compose music for Inception‘s first teaser. Then another, lesser-known composer, Mike Zarin, claimed Zimmer was unfairly taking credit for his own invention. And then I added a bit of electronic nonsense.” Zimmer added that he found it “horrible” that he had inadvertently created a “ blueprint for all action movies.” (Zimmer would not comment for this article.) Inception‘s composer, Hans Zimmer, has said in interviews that he is the godfather of braaams - an effect he stumbled upon as he tried to achieve a sound described in Nolan’s screenplay as “massive, low-end musical tones, sounding like distant horns.” In 2013, Zimmer told Vulture he made the sound by putting “a piano in the middle of a church and I put a book on the pedal, and these brass players would basically play into the resonance of the piano.
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