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Why men run from mighty words of great Yor?
Me agree to some extent.
Imagine you've never heard any of the recent batch of 'super-hero' youth movies. Imagine you haven't been exposed to a single bar of the 'copycat drone & ostinato' type of generic score, slightly 'informed' by Herrmann fantasy stuff.
So you're seated at your manuscript paper/synth/piano/software package, and you're told to score a film about Batman, Superman, Spiderman, Fatman the Human Flying Saucer, Monkey-Boy, etc.. You have a clean slate, a tabula rasa, you're left to your own creative devices, and there are no influences to infect you, and no-one's reminding you about quick-edit requirements, or the youth market's expectations.
Under THOSE conditions, what would be the style you'd choose?
Well, as with Elfman, you'd certainly relate the 'shadow/alter-ego/tortured components of the psyche' stuff to a Bernard Herrmannesque notion, plus his associations to the fantastical in some of the childrens' movies.
BUT, I'd bet the FIRST thing that the Muse would pop into your head would be LEITMOTIF, because those 'bigger than life' pulp-operatic fantasies REQUIRE, and LEND THEMSELVES AUTOMATICALLY TO, a leitmotif style. How can a character like Thor not have a great forceful motif on black trombones or parallel-fourth horns? And please don't shout 'cliche' because that's the whole nature of that genre, the big ego/shadow/self soap opera writ big.
I'm not the biggest fan of this fare, but surely it provides the most lively opportunities for big, romantic, Wagnerian scoring.
And yet ... it never happens, except for Williams' material.
Raise your clubs high and fall in behind the mighty Yor.
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Yor right. Only effective part of score is when Zimmer does his patented shift to a major ostinato just before the end credits. Still, the Nolan-style narrative compression works well for Superman, despite the need to cut out about twenty minutes of the de rigeur "hero versus bio-mechanical mega-tentacles" sequence.
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YOR just listened to the deluxe edition of Zimmer's "Man of Steel", top to bottom.
I agree with that "review". It's a rock/pop-patterned pseudo-orchestral mess with not a single memorable theme or motif. Or simply, Zimmer 1-0-1.
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All Hamzimmer's and his clones' string ostinatos are the same.
But the real question is: does Hamzimmer even know what "ostinato" means?
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I´m looking forward to YOR´s thread about Zimmer´s "LONE RANGER"!
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Surely, you would say he´s the real Man of Steel?
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