Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Hans Zimmer is known for his grand, immersive film scores, but when it comes to his tools, he keeps things surprisingly simple. In a recent interview with musician and YouTuber Rick Beato, Zimmer revealed that nearly all his compositions are crafted using just one software synthesiser—the u-he ZebraHZ.
Zimmer’s conversation with Beato was part of the promotion for his latest project, Hans Zimmer & Friends: Diamond in the Desert, a concert film and documentary blending live performances with behind-the-scenes insights. While the discussion covered various aspects of his career, from working on Inception and Dune to overcoming stage fright (with a little help from Paul McCartney), one of the most fascinating takeaways was his approach to technology in music production.
Despite having access to some of the best hardware synthesisers in the world, Zimmer has relied heavily on the ZebraHZ for years. The plugin, a modified version of u-he’s Zebra 2, was designed specifically for him and features a custom set of pre-sets called The Dark Zebra, which he used in The Dark Knight.
“I was one of the first to dive into computers for music, but constant updates and new operating systems became too much,” Zimmer shared. “So, I simplified things and focused on what truly mattered. Now, 90% of what I do is on this one software synth, and I still haven’t run out of ideas.”
Another key tool in his setup is Synapse Audio’s The Legend HZ, a customised version of the Minimoog-inspired virtual synthesiser. Zimmer praised its improvements, particularly the addition of a proper release function, making it more flexible while retaining the sound quality of classic analogue synths.
The Dune and Dark Knight composer shares his go-to synth for crafting Hollywood’s most iconic musicGetty Images
Though he owns several high-end hardware synths, Zimmer doesn’t get caught up in the analogue vs. digital debate. “If it sounds good, it sounds good,” he said simply. “I can close my eyes, reach for my instruments, and feel at home.”
Zimmer’s philosophy is a reminder that mastery isn’t about having the latest or most expensive gear, but it’s about knowing your tools inside out. By stripping away distractions, he’s able to focus purely on creativity, proving that sometimes, less really is more.
Production houses confirm three-way collaboration between Mehta, Pellissery, and Rahman
Film currently in casting stage with shooting planned later this year
Pellissery's track record suggests an unconventional take on the romance genre
Rahman returns to work with Mehta after their Gandhi series collaboration
Project marks Pellissery's first major crossover into Hindi film circles
Wait, read that again. Hansal Mehta's production is backing a romantic drama from Lijo Jose Pellissery. And AR Rahman? He's building the entire soundscape for it. The combination feels almost unreal, right? It's like three separate rivers of filmmaking talent suddenly crashing into one project.
Hansal Mehta teams up with Lijo Jose Pellissery and AR Rahman for a lyrical romantic drama. Getty Images/goodadsmatter.com
What's the actual plot of this pellissery film?
They're keeping story details locked down tight. The official line calls it a "lyrical exploration of love," which sounds nice but means very little coming from a director known for chaotic chases and funeral processions that spiral into madness. The script comes from Pellissery and writer Karan Vyas. Given Pellissery's history, expect something raw and unpredictable rather than rose-tinted. His approach to human relationships typically involves peeling back layers until things get messy.
Look at their backgrounds. Mehta built his name on biographical dramas and sharp social commentary. Pellissery operates in his own cinematic universe where conventional rules do not apply. Rahman's involvement guarantees the music will be another character entirely. Sahil Saigal from Mehta's production company called it "momentous" and for once that does not sound like empty producer talk. This feels like one of those projects that could actually shift how Indian films get made.
No confirmed release window yet; these things take time, especially with directors as particular as Pellissery. The production houses involved are Mehta's True Story Films and Amen Movie Monastery. This also marks the second time Rahman and Mehta have worked together after finishing their Gandhi series, which premiered at Toronto last year.
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