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BvS Hans Zimmer & Tom Holkenborg scoring Batman v Superman - Part 1

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It's probably likely that Zimmer will return for MOS2/Batman vs Supes, so that means he will have to come up with yet another Batman theme to reflect Synder's vision of Batman...also that theme will probably be used in Batman's solo outting......
 
Hans Zimmer is doing the Superman side of the score, along with Aquaman and Wonder Woman themes.

Junkie XL is doing the Batman side, since Zimmer is loyal to the Nolan movies.
 
Will we get a recognisable Batman tune?

Hope so! It's hard to make a catchy tune that is also representative of the character.
 
StevenM said:
Love Hans work very inspirational. I had a go just for fun at a main motif for Superman Vs Batman:

https://www.youtube.com/watch?v=SLJzo3Nm3u8
Click to expand...

Good job. I really liked it. I wasn't really able to picture BvS listening to it, but I enjoyed it. It has that heroic and a bit of adventurous feel to it.

p.s.
Any chance that you are this (Steven M. Lloyd) fella ?

[YT]watch?v=ezbmreXD2Bg[/YT]
 
I'm hoping that Junkie creates a whole new Batman theme that can be remembered.
 
John-An said:
User StevenM work that got lost on the last thread page.
Click to expand...

Yeah those are good. listened to it a bit earlier.

Nice one Steve.
icon14.gif
 
Interview with JunkieXL http://thefilmstage.com/features/ju...y-road-and-batman-v-superman-dawn-of-justice/

I’m also really impressed with you are score to 300: Rise of An Empire. That film told a comparable story but one that stood proudly from Snyder’s 2006 film. Better, the music didn’t try to emulate what Tyler Bates did. There were some wonderful orchestrations there. How did you approach that?
I’m actually going to quote Zack Snyder on this. When Hans and I met him on Batman V Superman, he said something very interesting. He said that “all these stories, like 300, like Batman, like Blade Runner and Alien, are bigger than we are as people. So when you make a film and do a score for it you try to do it as good as you can. But you do it with your interpretation of what do you think the story is, because in 15 years, somebody is going to remake it.
So I think it’s foolish that anyone thinks that what they’re doing right now is a one of a kind thing, is completely unique, or never will be done again. I think Run All Night is different, because it is a unique story, it may not be redone, or rebooted, and it’s a unique one-off movie, whereas Batman, or Superman or 300, or Alien has such strong source material, and such a strong following that someone will do another version of it.
I think it’s important for those kinds of movies to to be approached like Zack was talking about. You have to do it how you think it should be done and really identify yourself with that particular movie at the time and that’s it, it’s over. After that, somebody else will take over and do something else great with it.
One of the things I set out to do with 300: Rise of An Empire was to not use short strings or ostinatos, which were so overplayed at that point in action movies. I focused on using long strings, and long brass and the rest was percussion and new creative ways of using those Persian instruments. I went through a lot of efforts to find cool sounding scales that were used back in the day in the Persian music culture, and I had the luxury of working with one of my assistants, who is Iranian, so he knows a lot about that music style and how it developed over the last 2,000 years. That was a really interesting asset to have on my team.


When Run All Night gets to the track, “The Projects,” the drums really take the reins of the score. It reminds me a lot of how bombastic Man of Steel was at times. But when a movie is running on pure adrenaline, are the ominous “tribal drums” the go-to sound for situations like that, or did you try other things?
Well, I’m a drummer by nature, and it was the first real instrument that I started playing when I was seven years old. So using the drum kit in my film scores is always very important. It will be one of my stylistic marks, and I just love them. In every movie, there is almost a need to have something like that. [Laughs] Unless it’s Bridget Jones 3, I couldn’t see having tribal drums chasing Renee Zellweger. [Laughs]
The movies that I work on, if I want to create propelling percussion, I won’t use taiko drums, or any of the other instruments that have been overused. I will use my drum kit and tune it the way I want to and record it 9 or 10 times to get that big feeling of the drums. It gives me a real rock ‘n’ roll, in-your-face quality which is direct and doesn’t beat around the bush.
For instance, with Man of Steel, we brought in 10 drummers and just went nuts in the sessions. So, for me, it’s not necessarily a concept for just one movie, it is part of my sound, just like strings are part of my sound, woodwinds and synthesizers. But it’s kind of mellow, like 10%. Man of Steel, on the other hand, had a lot.

Well that is one thing I wanted to say. The drums really are the thing I remember most about the Man of Steel score. It’s so indelible. But conversely, you’re right, you did bring a lot of heart to Run All Night. The piano motifs are amazing and quite unexpected. The duality of the emotion and the action really work to make this unique.
That really sticks with that character. I really tried to prolong and downplay the action as much as I could to the point where I told the director, at a few points in the movie really, that “I don’t think we need music in here at all.” I was at the premiere yesterday, and I saw the final result, and I’m so glad that we did that. There are a few scenes in the movie with car chases and they really feel like the old fashioned car chases, like Bullitt, and The French Connection, and you don’t need music for that. You don’t need fast drums or fast strings. You just need to let it play with cool sound effects and it’ll be awesome.

Okay, then we will plan to talk three months from now about Fury Road. Deal. But before we get out of here, can you answer me one question. I bet you can’t say much, and it may already be public knowledge, so you just have to give me a one word answer - yes or no.
I will chose my word carefully. [Laughs]

You and Hans Zimmer are working on Batman v Superman: Dawn of Justice. So is Hans taking Superman and leaving you to write a new Batman theme?
Yes. The plan is that he is taking Superman and I am taking Batman. That’s all I can say. [Laughs]
Click to expand...
 
I can't imagine a better situation for the score of this movie.
 
Listening to clips of his score for Run All Night has me downright aroused at the thought of what his score for Batman will be like.

Needing his Mad Max score as well.
 
queendarkness12 said:
I'm hoping that Junkie creates a whole new Batman theme that can be remembered.
Click to expand...

His Run All Night score was like outtakes from Zimmer's Batman Begins score. His score for 300: Rise of an Empire was fun though.
 
Might be a bit of a jump here but Junkie just tweeting "recording harp #Filmscoring"
I know it ain't much...but it's a lil something
 
The score for Interstellar was amazing. I have high hopes that Hans will bring more greatness.
 
His score on The Rock is a personal favourite of mine. Not may mention that one when bringing up his scores.
 
Angel0fDeath said:
Good job. I really liked it. I wasn't really able to picture BvS listening to it, but I enjoyed it. It has that heroic and a bit of adventurous feel to it.

p.s.
Any chance that you are this (Steven M. Lloyd) fella ?
Click to expand...

No that's not me. I'm just a film and soundtrack buff that started to play around with Kontakt sample libraries and Ableton last year.

Glad you liked it. :woot:

Did you guys check out my dark knight trilogy theme (probably my most complete track)? Or Avengers Age of ultron theme.

https://www.youtube.com/watch?v=EUTMuW58iYk


https://www.youtube.com/watch?v=1YM_z9Df20Q
 
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