“My focus has always been on creating good music,” Bergersen wrote in an email. Bergesen didn’t write “Final Frontier” for Two Steps From Hell to be used in a film trailer, but simply as one track on his own album, Sun, which he insists was not created to be shopped for trailers. Yet Bergersen - the co-founder of a production company, Two Steps From Hell, that has scored trailers for Interstellar, Star Trek, The Dark Knight, No Country for Old Men and Lincoln - does not consider himself a trailer music composer, and strongly dislikes being lumped into a specific genre. Their social value is understood: film fans trade trailers like sports fans trade highlight reels. In a recent report, Variety pegged the average budget for a trailer between $5,000 and $2 million. He’s doing it at the right time: in 2014 the average marketing budget for a Hollywood film approached $200 million, according to The Hollywood Reporter. This is all to say that the 35-year-old Norwegian makes a hell of a trailer score. Zimmer and Nolan handpicked Bergersen’s music for the trailer. It’d be easy to mistake it as the Oscar-nominated score for the film composed by Hans Zimmer - not in style, per se, but in ability to jar the moment loose and keep it floating around in your head, stirring up your perceptions just like the galaxy-spanning movie does. But its drumstick-clacking tempo, spindly electronica arpeggios and simple, soaring five-tone piano melody leave an impression. It backs - and helps create, really - two and a half minutes of intense emotion, encapsulating Christopher Nolan’s three-hour space epic in one hundredth of the time. That music you heard was the song “Final Frontier,” featured prominently in Interstellar‘s third and final trailer, which has 16 million views on Youtube. Enough to convince you to spend an evening and $14 on a film that grossed $675 million worldwide. Enough to understand the intensity of a vast space odyssey to save the human race. Just a sliver of it, but that was enough.
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