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Old 04-25-2013, 01:30 AM   #665
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Join Date: Mar 2012
Location: NJ
Posts: 11,449
Default Re: Hans Zimmer Scoring The Man of Steel - Part 1

Well look, I know you're not too big on Zimmer's Batman scores so we're not going to agree on this. But to me even something like taking a diegetic sound from the movie (the prison chant), and incorporating that into the score is the type of outside the box thinking that worked well for that film, and it's not the type of thing that can't just be copied and pasted into other films as easily as a two-note underscore motif or soundscape stuff. And personally I thought the use of the chant in the film, as well as all the percussion based around that 5/4 tempo was really quite invigorating.

So to me, taking a pedal steel guitar, traditionally associated with country twang, and then using it as an orchestral accompaniment...okay, well that's something different. And it seems very specifically tailored to this character, given the midwestern upbringing and such. Same idea goes for the unique drum circle he put together for this movie, which from what we can tell sounds more like a marching band than the type of percussion you usually hear in action movies...especially ones scored by Zimmer. Time will tell if this "Americana on steroids" approach will actually work beyond being a neat intellectual exercise and everyone will have their own feelings on the results. But I do appreciate the effort of trying something new and injecting a bit of experimentation, even if it's something as small and subtle as having Johnny Marr play the guitar bits on the Inception score. There seems to be a method to his madness, and I think whatever his shortcomings may be as a composer, he excels at zeroing in on the right sound/texture for certain projects.

I don't think Zimmer is better off in "the box", because the more he stays in the box the more he sounds like all the music out there that emulates him. And I do believe that the MC/RV sound has indeed become mind-numbingly pervasive.

And also please know that I'm not saying all experimentation is good. I hate the Trent Reznor/Fincher model of scoring. That's the sound design approach taken to its appalling extreme and if that's where scores are heading over the next decade then I'm not a happy camper. But I think a few doses of experimentation in an otherwise "normal" score can go a long way in keeping things fresh.

Last edited by BatLobsterRises; 04-25-2013 at 01:39 AM.
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