Nate Richard is a Resource Editor for Collider, a film and television critic, and a part-time amateur filmmaker. He graduated from Ball State University in December 2020 with a Bachelor's degree in Telecommunications. Nate has been with Collider since August 2021 and became a Resource Editor in March 2022.
The Big Picture Tom Holkenborg, also known by his stage name Junkie XL, has what is easily one of the most exciting resumes of any composer in Hollywood. After working as Hans Zimmer's assistant on movies such as Man of Steel, he made the leap into composing the scores for popular movies such as Deadpool, Zack Snyder's Justice League, Godzilla x Kong: The New Empire, and Sonic the Hedgehog.
TOM HOLKENBORG: Yeah. I did miss the very first one. For the longest time, I thought that Road Warrior was actually the first Mad Max and Beyond Thunderdome was the second. It was not until probably the late ‘90s I discovered there was actually a first one. They've really been part of movies I cannot get enough of, watching them over and over again. Weirdly enough, also part of that is the very first Dune done by David Lynch.
HOLKENBORG: George already recorded the guitar. There is a talented Australian metal guitar player, and he's playing on this nonexistent real guitar instrument that was designed. He was playing whatever he was playing, sitting in front of that truck, and then George said to me, “Tom, when you're gonna work on the guitar, you have to make sure that whatever you play matches what his fingers do.” I said, “Well, George, normally, that's the other way around.
That’s the second thing: he actually sees and hears in his head what the final results would be. While I was working on it with everybody on the movie, we're all guessing what the end result would be, but he just knows. That's another thing that makes him very special. Plus, he's the nicest guy on the planet. He treats the 16 year old coffee boy who is an intern with the same, “Thank you. Oh, would you mind, please?” He does the same thing with executives of Warner Bros.
It's one of the things I've been explaining, also, to friends and colleagues, that from the very first inception of sounds in 2013, what the Wasteland world would be all the way up to the end of Furiosa, literally two and a half weeks before the premiere went on, I was still tweaking the very last bits of audio to make sure it was exactly as it was intended. To be in charge of that whole process from beginning to end is incredible.
How were you first introduced to Hans Zimmer? I read that you worked with him on some of the Christopher Nolan movies, as well, like The Dark Knight Rises. HOLKENBORG: We would inspire each other with ideas. I remember even when he was working on Interstellar, which I had nothing to do with on any level, he would just call me in, and he would play me music, and he would ask me, “What do you think? What do you feel?” And I would do the same thing. I would be working on a movie, and then I said, “I'm working on this theme. I'm not quite sure. What do you think?” Then I would play something to him.
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