The model often relayed in the mainstream literature about Hans Zimmer, highlighting the masculinity and epic character of Zimmer’s music, the massive and powerful sound of his scores, and the omnipresence of a marked rhythmic pulsation tends to neglect an important part of Zimmer’s approach to film scoring, and proves to be inadequate for analyzing the composer’s most recent scores that do not correspond to this schema. This is the case, in particular, of Interstellar, which soundtrack largely exceeds this predefined general framework. I show how the treatment of the music places the human at the heart of the film, and in what ways Zimmer focuses his score on the relationship between Cooper and his daughter Murph. From the example of this film, my study also offers another approach of the composer’s aesthetics, which is complementary to the dominant model, inviting to rethink Zimmer’s filmography – including its epic side – under a rich and open angle.