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Hans Zimmer’s Score for Man of Steel — 18 Comments

    • I just tried them and they work for me. It must be something related to the country one is in. If you give me a link to a YouTube video of Man of Steel audio that works for you, I can try inserting those instead.

  1. It was (as always) an inspiring post.
    First I thought the score is that bad, reviews said. After this post I think different, especially of the dualistic Theme(s).
    I hope your blog will exist as long as possible!

    Greetings from Germany 😉

    • Thanks, Malte. I myself was surprised at how complex the use of the themes is. It was very different from Zimmer’s Dark Knight scores, but it still worked quite well.

      I hope to keep the blog going too. It’s been eight months so far!

  2. good analysis but why didn’t you talk about the last track on the album? It’s the superman theme in it’s fullest form.

    Also the “Superman introspective” theme is the Clark Kent theme

    • @Dave: It’s really the brevity of these analyses that forces some themes to be left out. The one on the last track is the theme heard in the first flight sequence (combined with a brassy theme that scene didn’t have). I tried to keep the analysis on more pervasive themes in the film. That’s all, really.

      About the Introspective theme, you could call it “Clark Kent”, but I think that would leave out something of the meaning of that theme. The funny thing is, these themes aren’t really leitmotifs in the traditional sense. So calling it “Clark Kent” would make it seem like it’s heard whenever that character is onscreen, something like, say, Darth Vader’s theme in the Star Wars movies. To me, the theme is more of a signal that Superman / Kal-El / Clark Kent (whichever you want to call him) is having trouble fitting in with human society and forces him to ponder things philosophically. Hence, the introspective name.

      Also, “Superman Introspective” highlights the dual nature of the theme with the Heroic version more than, say, “Clark Kent Introspective” would (though that’s just as accurate).

  3. Love your blog! The connection between Zimmer & Williams’ score you discovered is really interesting, Mark. Zimmer is really fond of deconstructivism ideas, which can also be found in Moriaty’s theme from Sherlock Holmes 2 or Inception etc

    • Thank you, Kevin! I’ll take a listen to Moriarty’s theme – haven’t yet seen Game of Shadows, but would like to soon. Inception’s a score that certainly deserves more attention, but I think it’s overshadowed by Zimmer’s Dark Knight music, being another collaboration with Christopher Nolan. “Time” is the cue everyone always raves about. Maybe I’ll do a post on that score sometime.

      • just a hint, for moriaty’s theme Zimmer used a piano phrase from schubert’s Die Forelle and changed it to a minor key in a much slower speed, then started to develop the whole theme, which is awesome! Indeed Inception is one of the best score from Zimmer, yet while “time” is a stunning piece, tracks with similar melody can be heard in some other Zimmer’s score like “The Thin Red Line”. But what I appreciate is how he manipulated these few simple cords according to concepts of dream and time. And of course the idea of deconstructing Piaff’s song into an iconic brass blast is phenomenal as well. And I will be expecting your post too!

      • For the record, if you do a posting on Inception (and if this is even important to you): the theme for Robert Fischer (album track 528491; many variations in the film) and the so-called “Kick It” theme (One Simple Idea on the album) were actually composed by Lorne Balfe, not Hans Zimmer. I’m just saying so that if you do an Inception post, you don’t make reference to “X Zimmer theme”, which Zimmer didn’t actually write. 😉

  4. I found the stuff about Jor-El’s theme particularly intriguing. When I first heard it, I thought it was just Superman’s theme in one of many forms, but you’re right: it definitely denotes Jor-El as well. Thank you for a good read.

    Also, have you thought of analyzing the themes in Zimmer’s Lone Ranger score?

    • I have heard that the score for Lone Ranger is a surprisingly tuneful one for Zimmer. I haven’t yet seen the film myself, but have heard the last track with the Rossini mix. I’ll have to hear it with the film because I’m not sure what to make of it on its own.

  5. Wow, what a brilliant write-up. As always, there is so much more to Hans’ work than what you pick up on the first listen. I think Man of Steel is a terrific and well-thought-out soundtrack, but you actually put into words WHY I like it so much. Great job!

  6. Interesting and informative! Please keep writing your posts, your assessments are amazing.
    Greetings from the Maldives!

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