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Jesus Christ!!! Can't Hans Zimmer score ANY film without his sound-alike minions and cronies!??!!
He should change his credit to Music by HANS ZIMMER INCORPORATED!
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Yada yada bashing yada. The guy isn't hired to score the biggest money making films for nothing.
That is your argument? Really?
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The need of additional material often reeks of re-cuts and a composer already working on another project.
Since Zimmer is also doing THE LONE RANGER he just might not have had the time to finish MAN OF STEEL.
On the other hand, Zimmer loves team work. Also because that way he can attach his name to more projects (and let his factory do the work).
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People don't get something, HZ doesn't LIKE to work alone.
He does spend quite some time alone in the darkness to create theme suites, soundscapes, what he calls the "DNA" of a score.
Then, sooner or later, he always tries to have some input from the team, whether it's an add. music just telling him "Or maybe you can have done that differently" or the director giving a go...
And after that becomes the actual teamwork, adapting the DNA to shape the film score, scene by scene... The number of project doesn't really matter. Hans started The Lone Ranger AFTER Man Of Steel was completed.
He's from the rock world, he thinks "band", he has always done music that way, even prior to his film music career.
You won't change it. You should get over it, instead of faking surprise every year & every new project.
Geoff Zanelli also confirmed he did some work on MOS. And IMDb credits Steve Mazzaro & Andrew Kawczynski, who both worked on TDKR, which looks accurate. Howard Scarr, who helped creating the sonic palette of TDK, TDKR, Inception, Angels & Demons, Transformers 2 on the Zebra synth, was on board too for some new sounds. 
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Zimmer seems like a nice guy, certainly successful career wise, and financially I am sure. Artistically, I am not very impressed with him but perhaps Superman needs nothing new or inventive, since it has been done so many times, and so well already. So maybe we cannot expect too much here, and thereby, we will not be disappointed. I am sure we will have the usual action riffs in abundance.
True but what we DONT want in abundance (at least for myself) is a Superman score with nothing but pounding percussion and no recognizable theme. I understand the new approach the the desire to move away from Williams but I dont see the problem with creating a NEW theme. Regardless of what anybody says I didnt hear a theme in the Dark Knight or Dark Knight Rises. I guess I just dont understand the approach of not having a theme these days. Even the Marvel super hero films have themes...and most have their own. Captain America, Iron Man, Thor, etc. But in fairness I will wait until the soundtrack album is in my hand and Ive seen the film before I pass judgement. I suppose in the end its all a matter of taste. I for one was excited about Superman Returns. The fact that Williams themes was reused was neat to me because it was presented in a different way, and it was something recognizable.
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Have to disagree - if this is Zimmer´s score then I would embrace it. I thought it worked magnificently with the trailer.
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Posted: |
Apr 17, 2013 - 1:03 AM
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By: |
Mike West
(Member)
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It indeed sounds a lot more Zimmer 90s than Zimmer 00s, that's for sure.
yes for one reason I think, it is in major mode in his usual diatonic way when he writes in that tonality.
Zimmer writes extremely diatonic usually,
in the 00s predominantly in minor mode or modal tonalities relative to minor mode
(Dark Knight Trilogy, PiratesotC, Gladiator, Inception, MI II).
I think there is just one movie in the 00s different, Megamind (which is basically like Cool Runnings in terms
of tonalities)
before that he also did that almost all the time (Thin Red Line, Project Peacemaker, The Rock, Crimson Tide), but he wrote a little bit more often in major modes usually using diatonic chord progressions typical for pop-music or in quasi-baroque-diatonic (Cool Runnings, Lion King, NIne Month, MUppets)
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