Hans Zimmer Confirmed As Composer On 'Man Of Steel'

Why didn't they just get Danny Elfman? That dude can seem to deliver no matter what! Look at BATMAN (1989).

His BATMAN RETURNS score is better I think. I actually thought Goldenthal turned in better work, he was the only excellent thing to come out of the Schumacher flicks. Elfman's BATMAN (1989) score is good, but too often kept ripping off Bernard Herrmann which really distracted me.

With the guys resume, I have a hard time imagining how ANYONE could have a problem with him scoring the film?

http://en.wikipedia.org/wiki/Hans_Zimmer

Discography and awards

Academy Awards
1994: The Lion King

Golden Globe Awards
1995: The Lion King
2001: Gladiator

Grammy Awards
1995: The Lion King (Best Instrumental Arrangement With Accompanying Vocals)
1995: The Lion King (Best Musical Album For Children)
1996: Crimson Tide
2009: The Dark Knight (Shared with James Newton Howard)

Satellite Award
1999: The Thin Red Line
2001: Gladiator
2004: The Last Samurai
2011: Inception

Saturn Awards
2009: The Dark Knight (Shared with James Newton Howard)
2011: Inception

Classical BRIT Awards
2008: The Dark Knight (Shared with James Newton Howard)

WAFCA Awards
2011: Inception

BFCA Awards
2000: Gladiator

World Soundtrack Awards
2011: Inception

Yeah, the guy BLOWS. Let's get someone else instead....

No doubt Zimmer has an impressive resume. I think what bothers me is his Batman work. I dunno, maybe I need to go back & watch those films again & pay attention to the music. Nevertheless though, from what I remember when I was actually in the theater, I just don't remember anything significant that really struck me like the way Elfman's Batman score did, especially in the opening credits of said film. Oh sure, I remember there being music in Nolan's films but it's like it was just there & forgettable, at the time anyway. Like I said, maybe I need to re-watch them. I just don't want the same thing to happen with the new Superman film.

No one is denying that he's good.

For example, Thomas Newman is going to be scoring SKYFALL. For the past two decades the guy has turned in some really good scores and won many awards for them. However, a lot of fans are questioning if he's the right guy to score a James Bond film because he never scored any film like that before and none of his scores really strike "Bondian". I'm feeling the same way about Zimmer scoring MAN OF STEEL.

I'm not exactly dreading those two guys scoring these flicks, I'm more cautious but I am very interested in how it all turns out. Especially in the case of SKYFALL because it'll be the first Bond film NOT scored by David Arnold in 17 years.

You have to keep in mind that Zimmer has to give what the DIRECTOR is looking for. Nolan wanted the score to sound a certain way, so that's what he delivered.

And I can tell you that the "layperson" really do like his work. I have a friend who LOVES Zimmer's 'TDK' and 'Inception' scores. And he care's fuck-all about comic book characters/movies.

I'll say this: Thank God it is NOT Tyler Bates.

James Stocks wrote:I'll say this: Thank God it is NOT Tyler Bates.

I can agree and disagree with this, mainly because of this:

http://en.wikipedia.org/wiki/Tyler_Bates

Tyler Bates is a music producer and composer for films, TV and video games. His most known work includes Rob Zombie's Halloween, Halloween II, The Devil's Rejects, Zack Snyder's Dawn of the Dead, 300, Watchmen, and Sucker Punch; Neil Marshall's Doomsday, See No Evil and James Gunn's Slither.[1] In 2011 he scored Emilio Estevez's The Way, William Friedkin's Killer Joe, Marcus Nispel's Conan The Barbarian, Chris Gorak's The Darkest Hour, and James Gunn's Super.

Tyler Bates will compose the soundtrack for the upcoming PlayStation 3 game, God of War: Ascension.

There's more at the link. So you might call it a mixed bag. I loves me some WATCHMEN & I feel like the score fit the film even if some of the rock selections didn't necessarily fit. And we also see on here 300 & DAWN OF THE DEAD which I feel that Bates handled well.

But here's a point I really wanted to make. He doesn't just work with Zack Snyder. He also works with ROB ZOMBIE & his name has become sorta synonymous with the latter. As for Zombie, you either love his films or you hate them but I don't think I want his name associated with the new Superman film. I wouldn't call that a sleight on Zombie necessarily but we're talking about Superman here! I mean, think about it. Tyler Bates may be great & all but do we go from John Williams in the Reeve films to 'the dude who score Rob Zombie's HALLOWEEN'? Not to mention the even more offensive THE DEVIL'S REJECTS.

My guess is that 'TPTB' are trying to distance themselves from that stuff & go with what they feel is a director with 'more class'. At least that's what I'm thinking.

Haven't seen 300 since it came out in theaters, so my memory on its music is nonexistent. I love WATCHMEN and it's one of my favorite comic book movies of all time. I'm not crazy about his music in the film, but I don't mind it too much because of the EXCELLENT use of source music (the Nat King Cole song in the pre-title sequence, Bob Dylan's track in the main credits, ect ect ect). Plus it's fucking WATCHMEN, a totally different film from SUPERMAN.

I've only seen Rob Zombie's THE DEVIL'S REJECTS, in theaters. I actually liked it, never bothered with Zombie's other films. And of course I don't remember the music to REJECTS, afterall that was 7 years ago now.

James Stocks wrote:For example, Thomas Newman is going to be scoring SKYFALL. For the past two decades the guy has turned in some really good scores and won many awards for them.

I mostly only know him from American Beauty but HOT DAMN what a score!

This is good news. Im not some huge fan of Zimmer (or any composer really) but he IS one of the best composers in the world and a well known and respected name in the public. So another win-win situation for MOS. Of course some people have to complain that Zimmer supposedly doesn't fit Superman or is repeating himself too much (what composer doesn't repeat himself??) but all you have to do is look at his body of work and you can see the diversity he has.

I was never big on ´´memorable`` scores, although I love the Williams Superman score and Elfmans Batman score, but for me it's more important that the score complements the film and helps to evoke proper emotional responses appropriate for the scene. And Hans is perfect for this. But I also hope this really inspires him to bring his best work to date.

I have feeling the theme is going to be rather powerful and bold, to represent Snyders Superman. But Zimmer has a lot of things to work on so he can really stretch out anyway. The medieval Krypton, Smallville, the action scenes, save scenes, Superman's first reveal scene... I'm looking forward to hearing what he brings to all of that.

Can someone point to me ONE "memorable" film-score from a comic book movie in the last 20 years?

I'll be waiting.

Well there's the "Spider-Man" score compose by Danny Elfman from all three films.

And for a runner up the "Batman Returns" score also compose by Danny Elfman.

Comicbookfan-V2 wrote:Well there's the "Spider-Man" score compose by Danny Elfman from all three films.

Sorry, but NO ONE talks about the 'Spider-Man' scores as "memorable". Good? Sure.

Try again.

And for a runner up the "Batman Returns" score also compose by Danny Elfman.

'Batman Returns' is basically the same score as 'Batman 89'. And I guarantee MORE people remember the '89 score than the 'Returns' score.

Strike TWO, Gump......

For me it's Elliot Goldenthal's scores for two Batman films. I don't think anything has surpassed his work since then.



Goldenthal said the key to making a catchy superhero theme is that it needs to be something you could easily hum out. I think he achieved that, it's just a shame that his work had to be attached to the Schumacher vehicles.

Jerry Goldsmith fell into the same trap as well, creating a really brilliant superhero theme for SUPERGIRL, but the movie was a turkey.




Nothing has ever come close to Williams, Goldsmith, Elfman and Goldenthal since.

I really hate to say it, but as hard as Alan Silvestri tried I don't think he quite reached their level. To me his themes for CAPTAIN AMERICA and THE AVENGERS like something made for TV. They don't quite have the spark SUPERMAN, SUPERGIRL or BATMAN's two themes had.

Here is something people need to get some perspective on, and forget how SPOILED we have been in the past:

Movie scores these days are focusing on complimenting the film, not creating "themes" for the characters.

People are stuck on this notion that EVERY comic-book film HAS to have a Williams-esque "theme". But guess what? Those days are over. Nowadays they want a consistent, good score to go along with what is transpiring onscreen. I have zero problem with this.

Think about it. What's more important, having a "memorable" score and a shitty film, or a good score complimenting an amazing film?

I know which one I want....

And if we were talking about any other character, I think that would play but Superman set the standard of having a badass score behind it. Even though we all acknowledge that a reboot is long overdue, some aspects of the past continue to linger, including this expectation (or maybe preference).

thecolorsblend wrote:And if we were talking about any other character, I think that would play but Superman set the standard of having a badass score behind it. Even though we all acknowledge that a reboot is long overdue, some aspects of the past continue to linger, including this expectation (or maybe preference).

34 years ago. The Williams theme was created 34 years ago.

Time to let that expectation go.

Apologist Puncher wrote:34 years ago. The Williams theme was created 34 years ago.

Time to let that expectation go.

You're preaching to the choir, dude. I'm not asking for the Williams theme to return. That just sets expectations to something other than what Snyder may have in mind. If nothing else, it puts you in a place of having to compete with nostalgia. I see it a losing proposition no matter how good the rest of the movie is.

My point is that it's completely possible to come up with a heroic and memorable theme for Superman that isn't Williams. SV had their own hero theme for years and I think it worked great.

Hell, Batman does have that two note motif that follows him around through the Nolan movies. As hard as I've been on Zimmer for the rest of the music in those movies, those two notes having become a nice little calling card. It's pretty fucking far away from a full-on THEME but it's better than nothing.

It's possible, that's all I'm saying.

thecolorsblend wrote:It's possible, that's all I'm saying.

My problem is, people are acting like it is a "make or break" requirement.

And I don't agree.

What's the '2-note motif' that follows Batman around in duh Nolan films? I'm sure it'll be like a 'duh' moment when I hear it but I ain't recalling it right now.

non_amos wrote:What's the '2-note motif' that follows Batman around in duh Nolan films? I'm sure it'll be like a 'duh' moment when I hear it but I ain't recalling it right now.

You'll hear it at 1:54, right after "face".

Duh-UHHHH!

non_amos wrote:Duh-UHHHH!

Ain't no thang. The fact that a verbal description doesn't really explain what exactly the thing is should maybe tell us something. Because trust me, you're not the first one to have this question and then that reaction. "Oh yeaaaaaaaaaaah, THAT."