Recently I had the pleasure of interviewing noted composer Zack Hemsey, even if you are unfamiliar with his name you have assuredly heard his music. His original anthems have been featured in dozens of film and TV trailers over the years. Two of the songs that Zack Hemsey is best known for are Mind Heist used in the trailer for the blockbuster hit film Inception and Vengeance used for the Denzel Washington movie The Equalizer.
Zack Hemsey is however so much more than just the songs from a movie trailer. His albums and songs delve deep into the philosophically driven ideas of self and the journey of life. So pull up a chair and listen to the following conversation. I hope you enjoy it as much as I did conducting it.
Can you tell me a bit about yourself?
I am a human being that has spent a lot of time creating music
What made you get into music as a musician and composer?
It wasn’t the result of any in-depth planning. I was simply fascinated with music, and naturally spent a lot of time immersed in it. I didn’t start learning an instrument until I was 10, and I wouldn’t even consider myself a musician. I have enough musicianship to compose and effectively communicate/record my ideas, but real musicianship is a skill I was not compelled to cultivate. I was more drawn to composing and songwriting, which I began doing as a teenager. Despite the fact that everything I initially did was probably objectively awful I’m sure, it was subjectively rewarding, so I just kept doing it and continued learning about it, with no real intention of a career in music. By the time I went to college (in which I majored in music), I was open to the possibility that maybe this could actually turn into something, although I still had no firm expectation that it would ultimately lead anywhere. Fortunately, it did.
You have composed or had music appear in many trailers (I think 20 is the last count) for large and popular movies, how does it feel to have your work appear in so many films and television programs?
I have no idea what the count is, but it’s definitely satisfying to have one’s work resonate with others, to the point where people take notice of it and/or seek it out.
How did you get involved in creating music for movie trailers?
I don’t actually create music for movie trailers. I create music which happens to have gotten used in trailers. I’m an artist, so I’m always pursuing whatever creatively speaks to me, regardless of whether it will end up having any practical applicability or exploitability.
Your album “Ronin” is one of my favorites, can you tell me a bit about the thought process behind the creation of the album?
Very little of my work is premeditated. It’s usually an organic process of exploration and discovery, musically and lyrically. So I’m figuring things out as I go. RONIN exemplified this. I didn’t work it out conceptually until the album was already underway. Historically there are certain connotations associated with ronin, but at its core, a ronin is simply a samurai with no master. That is a powerful symbol, and that is what I’m metaphorically tapping into on the album.
Both your albums “The Way” and “Ronin” seem to have overtones of Samurai culture, was that intentional?
No, I was drawn to those concepts philosophically. The cultural or geographical origin of ideas doesn’t matter much to me. But there is a deeper connection between Empty Room, The Way, RONIN, and NOMAD. They reflect a progression or evolution of self. They are each chapters in a life’s journey. Beginning in obscurity and feeling disconnected from everyone and everything, seeking to find one’s self and their place in the world, discovering who you are and being who you are, etc.
When you compose a song where do you go for inspiration?
Ha, I would say you’ve got it backward. If I’m composing, it’s because I’m already inspired. So if I’m not inspired, I’m not composing. But I don’t actively seek out or attempt to foster inspiration. When it comes, it comes. I don’t pretend to understand it. I simply embrace it when it manifests.
Your latest project “Goliath” is as you said a soundtrack for a non-existent film, what brought about the creation of this album?
It’s no different than any other album…a confluence of circumstances that come together in which I find myself with something to say creatively.
When you crafted “Goliath” did you envision film scenes for each song?
Yes and no. Yes, in that there is a specific narrative being told, and a sequencing at work. But no, in that I don’t have an imaginary shot list or anything like that.
Who are some of your favorite music composers?
There are lot of great composers. Some whose music I love, and some whose music doesn’t necessarily speak to me but whose passion and mastery I can still very much appreciate. And in the realm of film score, of course, depending on the film and what was required, you may or may not end up with standalone music that resonates with you, regardless of how incredible the composer may be. In general, I’m a big fan of Thomas Newman. And two examples of specific film scores that I think are magnificent are American History X scored by Anne Dudley, and Munich scored by John Williams. Of course, there are many many others.
If you could compose the soundtrack for any film past present or future, which would it be?
Well that’s sort of a trick question, because the past films I would want to score already have amazing soundtracks that I love and wouldn’t dream of replacing. And I certainly can’t sign up to score a future film I know nothing about, as I’d only be interested in scoring that which resonates with me. Which leaves the present – and yet the present is an ever moving boundary between the aforementioned – if I’ve seen it and liked it, it probably already has a great score that I’d want to leave intact – if I haven’t seen it, I can’t know if I’d be willing to score it. I guess I’ll stick to making albums as an artist!
I would like to thank Zack for taking the time for this interview. To follow Zack Hemsey and purchase his music check out his website here!
