Hans Zimmer Scoring The Man of Steel - Part 2

[BatLobster]

It is, but "Chevaliers" has this huge, harmonic and wondrous sound that "A Dark Knight" can't quite attain.

I personally think Zimmer peaked in 2006-2007, and he hasn't really hit the highs he achieved with POTC 3 and Da Vinci Code. Ever since BB, his Batman scores have been underwhelming.

Gotta disagree with you there as I increasingly enjoyed the subsequent Batman scores more and more peaking with TDKR. I respect your opinion though.

At World's End was definitely an awesome score, I agree on that one.

 

[Zorex]

It is, but "Chevaliers" has this huge, harmonic and wondrous sound that "A Dark Knight" can't quite attain.

I personally think Zimmer peaked in 2006-2007, and he hasn't really hit the highs he achieved with POTC 3 and Da Vinci Code. Ever since BB, his Batman scores have been underwhelming.

"Chevaliers" is one of my absolute favourite score cues. I could make a claim about it being one of the best score cues of the last 10 years, but I won't. I do think his POTC3 score had some great moments and themes. The love theme, in particular, is astoundingly beautiful. Romantic, sweeping, slightly melancholy yet with a sense of exhilaration. I don't yet hear that kind of emotional complexity in the MOS score, which is disappointing. Part of me wonders, though, how much of that is intentional, to emphasize the toughness and epic action over emotion.

 

[BatLobster]

I don't yet hear that kind of emotional complexity in the MOS score, which is disappointing. Part of me wonders, though, how much of that is intentional, to emphasize the toughness and epic action over emotion.

Could be. They definitely seem to be aiming to emphasize the "Man" in "Man of Steel" with this film.

 

[TheFlamingCoco]

I personally think Zimmer PEAKED in 1999. Both the Thin Red Line and Price of Egypt are great.

As for "Chevaliers," goes, the melody is simplistic, and the tune feels like someone played around with the Arpeggio settings on a modern keyboard.
I hate to be that blunt, but it's hard to think that the composer of The Lion King wrote the same music.

As for MOS, I'm surprisingly happy with some of the music. "Flight" has a sense of wonder to it. The "Clark Kent" is suitably gentle. The Krypton's Last music is very somber and emotional. Some of the action music reminds me of Elfman, who I think is the best overall composer in the superhero genre.

 

[sef]

One other thing - does anyone know what to make of that weird "Uh-oh" sound at about 17 seconds into Track 02, "Oil Rig"?
If I wouldn't know better, I'd say it sounds like directly sampled from either Tinky Winky, Dipsy, Laa-Laa or Po.

No one else bothered by that?

 

[AnneFan]

No one else bothered by that?

No. It's deliberately there for atmosphere.

 

[Marvolo]

"Chevaliers" is one of my absolute favourite score cues. I could make a claim about it being one of the best score cues of the last 10 years, but I won't. I do think his POTC3 score had some great moments and themes. The love theme, in particular, is astoundingly beautiful. Romantic, sweeping, slightly melancholy yet with a sense of exhilaration. I don't yet hear that kind of emotional complexity in the MOS score, which is disappointing. Part of me wonders, though, how much of that is intentional, to emphasize the toughness and epic action over emotion.

I still think Zimmer has a score like AWE in him, but his work on On Stranger Tides was damn near atrocious compared to AWE. It was loud, abrasive, repetitive, and downright lazy in places. Its easily my least favorite Zimmer score, and as long as he never sinks to that level again I will be happy with him.

 

[BatLobster]

I still think Zimmer has a score like AWE in him, but his work on On Stranger Tides was damn near atrocious compared to AWE. It was loud, abrasive, repetitive, and downright lazy in places. Its easily my least favorite Zimmer score, and as long as he never sinks to that level again I will be happy with him.

For a guy who takes on as many projects a year as Zimmer does, some of them are inevitably going to lean more towards the "paycheck" side.

Thankfully, his superhero scores seem to be projects he puts a lot of effort and innovation into.

 

[Marvolo]

For a guy who takes on as many projects a year as Zimmer does, some of them are inevitably going to lean more towards the "paycheck" side.

Thankfully, his superhero scores seem to be projects he puts a lot of effort and innovation into.

One thing with Zimmer is if he doesn't have good director input and a certian material his scores flounder. With On Stranger Tides I just don't think his heart was all in it, and I get the feeling the Rob Marshall wasn't in the booth with Zimmer with a clear idea of what musical signature he wanted the film to have which is probably why the score sounds like a patchwork of Zimmer's worst traits and the scores of the previous POTC films with half-assed new material layered on top. Give Zimmer a powerful film, and a director who wants something unique or distinct and Zimmer shines.

God does he shine:

[YT]jHpFm8dKrKY[/YT]

 

[BatLobster]

^ I would agree. Certain scores he coasts by on (like many composers), but give him the right material and the right director and it can be a very beautiful marriage.

 

[Art Damage]

I don't know about anyone else but I actually prefer the Zimmer and Howard Batman score over Danny Elfman's. I get more goosebumps when I hear the Nolan theme.

I'm thinking I might feel the same way about Zimmer's Superman score.

This thing hasn't leaked yet at all? Shocking!

 

[Sharkboy]

Inception is the best thing that Zimmer has done in the past 5 years, thank god he's working on Interstellar...it seems him working with Nolan in any capacity definitely brings the best out of him.

 

[Strafer]

Not out yet in the wild?

 

[InJustice]

What is the music playing in Trailer 4 after Zod says "To Kal-El I say this, surrender yourself within 24 hrs, or watch this world suffer the consequences"?

 

[sef]

What is the music playing in Trailer 4 after Zod says "To Kal-El I say this, surrender yourself within 24 hrs, or watch this world suffer the consequences"?

That's a recurring theme that can be heard first at the end of Track 10, "You die or I do" and then is reprised at the end of Track 12, "Ignition".
The version of that theme used in the "Fate..."-trailer (right after Zod's ultimatum) is from the end of Track 13, "I will find him", I think.

 

[mclay18]

As for "Chevaliers," goes, the melody is simplistic, and the tune feels like someone played around with the Arpeggio settings on a modern keyboard.
I hate to be that blunt, but it's hard to think that the composer of The Lion King wrote the same music.

True, but I think the orchestration and performance really made "Chevaliers" shine. The size of the orchestra also played a factor, it gave the cue depth and strength. And I also loved how Zimmer put it through so many variations throughout the album.

As for my comment about Zimmer's work on the Batman films, his score for BB was definitely enjoyable. But TDK and TDKR just reused numerous cues from BB (and TDKR reused some TDK music), and it was disappointing. Apart from the new characters (Joker, Harvey Dent, Bane, Selina, and Talia), over half of the music were rearranged cues. There's one thing to overlay "A Dark Knight" over the finale of TDKR, but entirely another to reuse "Antrozous" and "Molossus" in the next two films reeks of laziness.

I like more harmony with superhero scores.

 

[presidentsaad]

True, but I think the orchestration and performance really made "Chevaliers" shine. The size of the orchestra also played a factor, it gave the cue depth and strength. And I also loved how Zimmer put it through so many variations throughout the album.

As for my comment about Zimmer's work on the Batman films, his score for BB was definitely enjoyable. But TDK and TDKR just reused numerous cues from BB (and TDKR reused some TDK music), and it was disappointing. Apart from the new characters (Joker, Harvey Dent, Bane, Selina, and Talia), over half of the music were rearranged cues. There's one thing to overlay "A Dark Knight" over the finale of TDKR, but entirely another to reuse "Antrozous" and "Molossus" in the next two films reeks of laziness.

I like more harmony with superhero scores.

Im actually going to disagree with you here a little bit. I feel like TDK and TDKR had to have the same thematic music from BB. That's how all of the films were connected. And anyways, by using "A Watchful Guardian" over again in the last film's ending just added to the emotional depth and drama of the scene. It was also great to serve as a reminder of the second film in the trilogy. However, Im not a fan of overusing these themes, which I honestly believe TDK and TDKR did not do. They added more themes while still being different stand-alone scores.

 

[InJustice]

That's a recurring theme that can be heard first at the end of Track 10, "You die or I do" and then is reprised at the end of Track 12, "Ignition".
The version of that theme used in the "Fate..."-trailer (right after Zod's ultimatum) is from the end of Track 13, "I will find him", I think.

Thanks!

 

[Jim-El]

Zimmer has NOT peaked IMHO. Inception, still one of the greatest scores yet. I think TDK score is also great, however you have to give James Newton Howard his due there.
MOS "looks" to be another GREAT score.

 

[Karelia]

I got the limited edition of the MOS soundtrack pre-ordered.

Is the song in the Zod trailer going to be on the soundtrack? Because I absolutely love it.

 

[Autonet]

I got the limited edition of the MOS soundtrack pre-ordered.

Is the song in the Zod trailer going to be on the soundtrack? Because I absolutely love it.

It's there.

 

[Stephen K. Hone]

It's there.

Is all the music in that trailer exclusively Zod's theme? Some parts sound a bit too heroic for a villain. The part where Superman flies through the collapsing building sounds more suitable for him. Do you think perchance the music in this trailer is a blend of both of their themes?

 

[mclay18]

However, Im not a fan of overusing these themes, which I honestly believe TDK and TDKR did not do. They added more themes while still being different stand-alone scores.

I'm not bothered with Zimmer re-using themes in TDK and TDKR, it's just these themes are inserted, almost verbatim, from the previous films. Go and compare the music for the climatic rail sequence in BB to the final chase sequence in TDKR -- the music is just about identical in both, with minimal rearrangements to fit the visuals and inserting Selina's motif midway through.

That is temp tracking at its worst. That's what I don't like about the TDK and TDKR scores... too much temp-tracking. Nolan should've realized that and let Zimmer compose new music. It's self-defeating when you hire a composer, and you just temp in their previous work for half of the film.

I pray that when MOS 2 goes into production, Snyder and Zimmer avoid that trap and not reuse a bunch of cues from MOS in the sequel. Give him room to adapt and expand upon his themes, as well as writing a new score.

 

[AnneFan]

Inception is the best thing that Zimmer has done in the past 5 years, thank god he's working on Interstellar...it seems him working with Nolan in any capacity definitely brings the best out of him.

Inception is my favourite non Batman/Supeman Zimmer score. Badass action themes and reflective spacey landscapes.

Glad he's scoring Interstellar. When Nolan's attached and the title is similar to Inception I felt he would.

 

[presidentsaad]

I'm not bothered with Zimmer re-using themes in TDK and TDKR, it's just these themes are inserted, almost verbatim, from the previous films. Go and compare the music for the climatic rail sequence in BB to the final chase sequence in TDKR -- the music is just about identical in both, with minimal rearrangements to fit the visuals and inserting Selina's motif midway through.

Ah, I understand now. Yah, that was kind of annoying how they reused that same bit - but I still think its a nod to the first film. In BB, the music played for Ra's Al-Ghul. In TDKR, it plays with his daughter Talia. That's the only reason why I didn't mind that sequence's scoring too much.