Unfortunately, such an appearance can never be unplugged for Hans Zimmer
After this unusual scene, Merkel later gave no concrete answer to the question of whether she had seen a doctor in a press conference with Frederiksen. But she let it be known that she had done this. Merkel did not shiver while seated during the ceremony.
She later said in response to a journalist question whether she had consulted her doctors: "You can assume that first of all I know about the responsibility of my office and therefore act accordingly – also when it comes to my health." The Chancellor added: "And secondly, you can assume that, as a person, I have a great personal interest in being healthy and taking care of my health." Frederiksen said she had Merkel "strong and competent" experienced.
Debate about corona vaccine: Merz: Vaccine skeptics have to take their fear away
Merkel had suffered tremors several times in the past few weeks when greeting other heads of government – always while standing still while playing the national anthems. This was most recently the case on Wednesday when she received the Finnish Prime Minister Antti Rinne with military honors. Merkel then assured her that she was fine: "You don’t have to worry."
This time there were two chairs with white fabric covers on a small platform in front of the Chancellery. The host and guest usually stand on this podium during the national anthems. The Chancellor, who wore a white blazer and black trousers, had her hands on her lap during the national anthems. Then she stepped off the Bundeswehr’s form of honor together with Frederiksen as usual.
For the first time, the Chancellor trembled violently in mid-June when she received the new Ukrainian President Volodymyr Selenskyj. A few days later, at the appointment of the new Justice Minister Christine Lambrecht (SPD) by Federal President Frank-Walter Steinmeier in Bellevue Palace, she suffered another attack.
Background: How other politicians dealt with their illnesses
Hans Zimmer is one of the most famous film composers of our time. He created the music to works like "pirates of the Caribbean", "The Dark Knight" or "The Lion King"which also became a global success off the screen. Now he’s going on tour for the first time – with around 70 musicians.
For some time now, Hans Zimmer has been planning to play his music live in front of a large audience. However, the busy composer and producer simply didn’t have the time. On April 6, 2016, Zimmer will begin his first tour that will take him through 32 European cities. The Frankfurt native will give a total of six concerts in Germany.
In his long career, Zimmer has been nominated ten times for an Oscar. He won an Academy Award in 1995 for "Lion King" take home.community service essay pdf We talked to him about his recipe for success, the upcoming Academy Awards on February 28th and of course about his tour.
t-online.de: Mr. Zimmer, are you nervous about your first big tour?
Hans Zimmer: I’m actually a person who lives in a room without a window. And suddenly I go to the arenas. It may well be my first and only tour. Mainly because I’ve had stage fright for years. But I am surrounded by musician friends who force me to go on stage just for fun. And you can’t spend your life being afraid to go on stage. At some point you just have to come out from behind the screen and look the audience in the eye. And hopefully the audience will be gracious.
You often use synthesizers in your compositions. Will you take them with you on stage, or will Hans Zimmer expect us there unplugged?
Unfortunately, such an appearance can never be unplugged for Hans Zimmer. I love my synthesizers too much for that. But the orchestra comes on stage too. And most importantly: the band is coming! This is the band I’ve been working with for years, who played on “Inception” or the “Dark Knight” trilogy, for example. The difference to studio work is that we don’t have to worry about the dialogues and can play as loud as we want. We’re much more rock’n’roll than discrete light music.
By the way, one of our readers who has tickets for the tour wanted to know whether they would play some of your quieter pieces on stage.
Of course, I play that too. For example, “The Thin Red Line” is one of the quieter pieces we play – or “The Da Vinci Code” (German “Da Vinci Code”). “Rain Man” is also one of those quiet pieces. There are parts in “Pirates of the Caribbean” that are also rather quiet.
What criteria did you use to select the pieces from your many compositions that you will now present live?
I made a list that you could read through in 90 seconds. Everything was fine. But then I sat down with all of my musicians and suddenly the list was nine hours long. Then we discussed each piece together for a whole week, and we came up with a list that the audience will hopefully enjoy and that we will enjoy. Of course, the whole music has also been rearranged.
You work with artists like Pharrell Williams or Junkie XL. How important is this closeness to pop music for you?
I actually come from pop music, and I come from a band milieu. And when I work with Pharrell Williams or Junkie XL or Johnny Marr, it’s because we all enjoy music and we enjoy experimenting. For example, what I enjoyed most last year was not writing music for a film, but playing guitar for Pharrell. When it comes to music, it just has to be played. And you never lose that you have to stay a little child and keep playing. In Germany there is a lot more distinction between light and serious music. With us musicians, however, it is like this: We just play music. I can talk to Pharrell for hours about Dmitri Shostakovich’s piano concertos. And he can talk to me for hours about the Temptations or Marvin Gaye.
You count Ennio Morricone among your great role models. Were you very pleased that he now has the chance to win a regular Oscar?
Naturally. That Ennio Morricone was overlooked by the Academy for his film music for “The Mission”, that he was overlooked for “Once Upon A Time In America” – for this fantastic music that he wrote, that bothered me. And to be honest, that’s why I can never take the Oscars that seriously. Unfortunately, it always takes two or three years after a piece of music like this comes out before people realize that it is a classic that they have overlooked.
With your second nomination you won an Academy Award. Then eight more nominations came without a profit. Did it then slowly become routine, or did you find yourself annoyed again and again that the second Academy Award didn’t work out?
No, I’ve never been angry. But that’s also easy to say if you already have an Oscar. One is enough, you don’t need more. When my score for “Inception” was nominated in 2011, “The Social Network” won. And Trent Reznor, the composer of the film music, wrote to me afterwards how he loves the music for “Inception” and how sad he thinks it that we were both nominated in the same year. We’re colleagues and we admire each other’s music. Last year, when I was nominated for “Interstellar” and Alexandre Desplat won the Oscar for “Grand Budapest Hotel”, it was important for me that it was finally his turn. He wrote so much good music. And I just don’t want composers to feel like Ennio Morricone for a long time. That work that is really valuable and that deserves an Oscar has not won for years.
But are you already keeping your fingers crossed for Ennio Morricone?
The most important thing is not the Oscar, but that Ennio Morricone is still relevant at 87.
Speaking of people who have been nominated for an Oscar many times but have never won it: Do you think Leonardo DiCaprio will finally get his first Academy Award this year?
This year he has his best chance so far, I think. It feels like it’s actually his year.
But back to you: Your works also work very well on their own, even without the accompanying film. Can you explain why that is?
I just try not to write music for a film (laughs). I always try to bring my own story into the music so that the music itself tells something. But this is not exactly the story that one perceives through dialogue and images. I rather try to write a subtext about it. I try that the music can stand on its own two feet and lead its own life apart from the respective film.
Soon you will hear your music in the blockbuster “Batman v Superman: Dawn of Justice”. Is the film as good as all comic fans hope it will be?
I’ve never seen a director translate the idea of a comic into a film as well as Zac Snyder. When you talk to Zac, you actually don’t talk to him at all. He draws what he wants to say. He is a director who knows like no other how to bring life into a comic. And the way this film looks now, I have to say: I’ve never seen anything like it. Fantastic!
Mr. Zimmer, thank you for talking to us, we wish you success for your concerts, and maybe at some point you will decide to do a second tour.
(Long pause) Let’s do this first and then see how we feel afterwards and whether we’re still alive at all.
The interview was conducted by Marc Thomé
Hans Zimmer live on tour in Germany
April 16: Mannheim – SAP Arena18. April: Hamburg – Barclaycard Arena20. April: Berlin – Mercedes-Benz Arena22. April: Oberhausen – König Pilsener Arena26. April: Munich – Olympiahalle28. April: Cologne – Lanxess Arena
Berlin (dpa) – Cities and municipalities fear high tax losses, a billion-dollar deficit threatens – the Corona crisis is also hitting the municipalities in Germany hard. The German Association of Cities is now calling for one "municipal rescue package".
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President Burkhard Jung told the German Press Agency: "The corona pandemic is causing serious financial burdens in all cities: income is falling, expenses are rising."
THE FINANCIAL CONSEQUENCES OF THE CRISIS:
Corona crisis: 22,771 new corona infections reported in Germany
The corona crisis has massive economic consequences, from the point of view of the federal government and leading economists, Germany will plunge into a recession. Many stores had to close to contain the spread of the coronavirus. A relaxation of the massive restrictions is currently not in sight. Many companies’ orders and sales have plummeted. This also affects the cities, whose most important source of income is business tax. In 2019, their volume totaled 54.6 billion euros.
According to an initial forecast, the City Council expects trade tax to fall by more than ten percent this year. "This decline will be much bigger"said Mayor Jung of Leipzig. "Because this is only a snapshot a short time after the severe shutdown of public life."
In addition, there would be expected slumps in income tax as well as declines in day care fees, loss of income at libraries, swimming pools and theaters – many events were canceled during the crisis, theaters closed. On the other hand, expenses rose – for example, the costs for recipients of basic security. The bottom line is that the Association of Cities fears a deficit of the municipalities in the double-digit billions for 2020.
WHAT THE LOCAL COMMUNITIES ARE NOW REQUIRING:
The federal government had decided to give the economy extensive aid to protect companies and jobs. Jung said that a rescue package for the municipalities must now be set up. Even after the crisis, people wanted to live in cities and communities that could provide their citizens with good services of general interest. There must be a joint effort by the federal and state governments to ensure the cities’ ability to act and the liquidity of the municipal coffers. In other words: there should be financial aid.
The President of the German District Assembly, District Administrator Reinhard Sager, called the situation of the local finances serious on Tuesday – but it can be kept under control by the federal and state governments through immediate immediate measures. Compensation for shortfalls in income and additional expenditure amounting to 11.5 billion euros by May is necessary. "If this does not happen, however, districts, cities and municipalities will quickly have their backs to the wall."
THE DEBATE ABOUT OLD DEBT:
Even before the Corona crisis, there was a debate about relieving local authorities. Finance Minister Olaf Scholz (SPD) had announced that he wanted to support around 2500 financially weak municipalities and transfer their cash loans into federal debt – this should give them more scope for investments in schools, streets and hospitals.
Jung said that the already critical situation is now worsening for structurally and financially weak cities. The problem of the old municipal debts must be solved.