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What's your favorite Hans Zimmer score from 2013 and why?

What's your favorite Hans Zimmer score from 2013?  

27 members have voted

  1. 1. What's your favorite Hans Zimmer score from 2013?

    • The Bible (Mini-series)
      1
    • Man Of Steel
      7
    • The Lone Ranger
      5
    • Rush
      5
    • 12 Years A Slave
      0
    • Mr. Morgan's Last Love
      1
    • I did not like any of Zimmer's 2013 output.
      8


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I'd say The Lone Ranger, if only for Zanelli's Finale track, which was the best thing to come out from any of these scores. And it also has Red's Theater Of The Absurd, which is also fun. But both tracks are not by Zimmer, so I'm not sure if that counts.

Rush was OK.

Man Of Steel and 12 Years A Slave... No. (Koray will pick the second one, though. Or maybe The Lone Ranger, if he's smart).

Haven't heard The Bible (but from what I've read here and there, it's not really good) or Morgan's Last Love.

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Man of Steel, haven't heard the others. My instinct would be to vote for any of the releases EXCEPT for Man of Steel, which I really didn't care for at all, but I just don't have the option at this point.

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Most of those scores range from meh to cringeworthy. But for me, it'd be Rush, because as pub said, its a style which Zimmer is ace at, though Rush isn't the best example of that approach in Zimmer's oeuvre.

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Man Of Steel. Great textures, good thematic ideas, some vintage Zimmer moments.

Rush was ok, sort of a throwback for him which was cool.

12 Years was a rehash of like three different scores. Blah.

Haven't heard the rest and don't want to.

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The Lone Ranger was by far my favourite.

Rush has good moments, but overall it's all a bit samey.

Man of Steel has awesome moments, but too much wall-of-sound and utterly characterless action music in places to give it a higher rating.

Haven't really heard 12 Years a Slave and really not bothered by the clips I have heard. Seems like anyone could've scored this.

The Bible was typical RCP droning from what I heard, although the first track is sort of interesting.

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Rossini's original overture is far better than what Zanelli did with it. I have the feeling many discovered this piece with the remix. Rossini is the real genius here and deserves the applause.

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None.

Man of Steel - ambient textures, annoyingly repetitive thematic material, particularly for the villain. Not my favorite recipe for music intended for this franchise. I did like that piano tune though.

The Lone Ranger - Nothing here that I haven't heard before. There is some variation on the composer's ideas for Rango. There is some overextended version of Rossini's William Tell overture. Even that time tune from Inception makes an appearance. More ambient textures too. It wasn't bad but nothing that I want to listen on album.

12 Years a Slave - sampled the only score cue on the album and I stopped the moment I recognized it is yet another version of that Time tune. If that's the best thing they could pick from the score for the album then I am pretty sure the rest of it is not worth exploring.

Rush - Not a fan of this genre of music in general. It worked very well in the film but nothing that I'd want to hear on album.

Bible - Sampled some of the cues and they sounded remarkably cheap for the subject matter.

I didn't even know there was a Mr. Morgan's Last Love on the composer's resume.

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Rush. Only one I listened to properly but for me it had a slightly more singular sound than other recent Zimmer works. Also evoked the era though if only more of the 'hero' theme that crops up in "Into the Red", "Reign", "My Best Enemy" and "Lost But Won".

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MAN OF STEEL. Best superhero score in a decade.

O_O

Damn.

Shit ...!

I'd take Daredevil or Catwoman over Man of Steel.

Those are the previous decade. We're 3.5 years into this one (2011-2014) and basically every superhero score is better. The only compliment I can pay MoS is that it's better than ASM2.

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I'd say The Lone Ranger, if only for Zanelli's Finale track, which was the best thing to come out from any of these scores. And it also has Red's Theater Of The Absurd, which is also fun. But both tracks are not by Zimmer, so I'm not sure if that counts.

Man Of Steel and 12 Years A Slave... No. (Koray will pick the second one, though. Or maybe The Lone Ranger, if he's smart).

I don't understand why the misconception that Zanelli wrote the finale cue exists, but that tends to be the case with a lot of Zimmer's collaborators.

12 Years A Slave is the best score, but The Lone Ranger is my favorite to listen to, so it gets my vote.

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12 Years a Slave is such a dull, monotonous and awfully repetitive score though. Some of the less tonal stuff is kinda nice, but aside from that, the score is really just the Time/Journey to the Line idea (except even more dumbed down) repeated ad nauseum.

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12 Years a Slave is such a dull, monotonous and awfully repetitive score though. Some of the less tonal stuff is kinda nice, but aside from that, the score is really just the Time/Journey to the Line idea (except even more dumbed down) repeated ad nauseum.

I agree. 12 Years a Slave (the score) fails on every level. Not only is it emotionally hollow, simplistic and repetitive. It's also completely inappropriate for the film. It sounds way too modern to be placed in a film set in the 1800's.

It qualifies as the worst score of the decade for me.

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I don't understand why the misconception that Zanelli wrote the finale cue exists, but that tends to be the case with a lot of Zimmer's collaborators.

"Misconception"? The guy says on his website he wrote that cue, you idiot!

http://www.geoffzanelli.com/projects/the-lone-ranger/

Epic fail, Koko. Epic Fail, indeed...

12 Years A Slave is the best score, but The Lone Ranger is my favorite to listen to, so it gets my vote.

Good boy!

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didnt think the 12 years a slave score was that bad when I saw the movie. It didnt detract from the experience for me

though I am surprised it was Zimmer who even got the job to score it

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RUSH was cool. And more importantly, a style Zimmer owns.

Yes I think these type of style suits Zimmer best. It also blended really well with the pop songs featured in the score. It wasn't anything exceptional but it was the best of his 2013 output IMO.

The main theme being "The Rains of Castamere" from Game of Thrones was disappointing however.

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I don't understand why the misconception that Zanelli wrote the finale cue exists, but that tends to be the case with a lot of Zimmer's collaborators.

"Misconception"? The guy says on his website he wrote that cue, you idiot!

http://www.geoffzanelli.com/projects/the-lone-ranger/

Epic fail, Koko. Epic Fail, indeed...

12 Years A Slave is the best score, but The Lone Ranger is my favorite to listen to, so it gets my vote.

Good boy!

Arranging something and composing it are two different things.

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Yeah. I remember reading somewhere that Rossini was not available to work on the film, so he did a quick mock-up of a theme for the final action sequence and Zanelli developed that idea. I think you can hear Rossini''s mock-up on some RCP compilation album. It was pretty basic really. Zanelli really gave life to the theme.

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Come on BB, be serious. This is the first time that a piece of classical music has ever been quoted in a film score. It's the greatest thing since sliced bread! And I think it's appalling that Zimmeranelli or whoever, the HACK *spits* is trying to pull one over on audiences by passing off this hidden gem by this heretofore unknown Rossini character as their own.

The public deserves to know the work of Rossini. For all we know he could have a whole ream of pieces that sound almost exactly the same and feature comically drawn out endings! What treasures are the RCP drones hiding from us this time?

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MAN OF STEEL. Best superhero score in a decade.

O_O

Damn.

Shit ...!

I'd take Daredevil or Catwoman over Man of Steel.

I was basically saying, 'it's the best superhero score since HULK.' I like DAREDEVIL too, though I'm not familiar with CATWOMAN.

These are the following scores that I'll take MOS over.

BATMAN BEGINS

THE DARK KNIGHT

THE DARK KNIGHT RISES

SUPERMAN RETURNS

X-MEN 3

X-MEN FIRST CLASS

THE WOLVERINE

WOLVERINE ORIGINS

IRON MAN

IRON MAN 2

IRON MAN 3

THOR

THE INCREDIBLES

THE INCREDIBLE HULK

SPIDER-MAN 2

SPIDER-MAN 3

THE PUNISHER

FANTASTIC 4

FANTASTIC 4: RISE OF THE SILVER SURFER

THE GREEN HORNET

THE GREEN LANTERN

THE AMAZING SPIDER-MAN

CAPTAIN AMERICA

AVENGERS ASSEMBLE

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Nah, it's both of them, but I can undersand where you're coming from. People around these parts have trouble accepting that more than one person can work on a single piece of music.

That's very much accepted; it's more whether it's creatively healthy for one composer's work to merge with another. I happen to think a score comprising of material by 10 different composers loses something, and that an unusual time constraint is one of few excuses.

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These are the following scores that I'll take MOS over.

BATMAN BEGINS

THE DARK KNIGHT

THE DARK KNIGHT RISES

SUPERMAN RETURNS

X-MEN 3

X-MEN FIRST CLASS

THE WOLVERINE

WOLVERINE ORIGINS

IRON MAN

IRON MAN 2

IRON MAN 3

THOR

THE INCREDIBLES

THE INCREDIBLE HULK

SPIDER-MAN 2

SPIDER-MAN 3

THE PUNISHER

FANTASTIC 4

FANTASTIC 4: RISE OF THE SILVER SURFER

THE GREEN HORNET

THE GREEN LANTERN

THE AMAZING SPIDER-MAN

CAPTAIN AMERICA

AVENGERS ASSEMBLE

Wait, does this mean you think Zimmer's Amazing Spider-man 2 is better than his Man Of Steel?

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These are the following scores that I'll take MOS over.

BATMAN BEGINS

THE DARK KNIGHT

THE DARK KNIGHT RISES

SUPERMAN RETURNS

X-MEN 3

X-MEN FIRST CLASS

THE WOLVERINE

WOLVERINE ORIGINS

IRON MAN

IRON MAN 2

IRON MAN 3

THOR

THE INCREDIBLES

THE INCREDIBLE HULK

SPIDER-MAN 2

SPIDER-MAN 3

THE PUNISHER

FANTASTIC 4

FANTASTIC 4: RISE OF THE SILVER SURFER

THE GREEN HORNET

THE GREEN LANTERN

THE AMAZING SPIDER-MAN

CAPTAIN AMERICA

AVENGERS ASSEMBLE

Wait, does this mean you think Zimmer's Amazing Spider-man 2 is better than his Man Of Steel?

No. The list ends in the summer of 2013, which is why I left out THOR: THE DARK WORLD.

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No love for Mr. Morgan's Last Love? Personally, it's the first Zimmer score I've liked since Sherlock Holmes. Shame it doesn't seem it'll get an album release.

I don't think anyone here is familiar with it, to be honest.

Karol

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The Bible - I haven't heard this one.

Man of Steel - Oh, how I loathe this score. It's just terrible. And then there's this:

“Everything’s tinged with irony and sarcasm and bitterness and darkness these days,” he said. But this Superman is something lighter, he said, “celebrating everything that was good and fine about America,” such as small towns “where people don’t lock their doors, neighbors get together, and families are families.

What was important for Superman was the simple fact that none of us pay much attention to the Midwest,” Zimmer said. “I know America mainly by the big cities, but if you go into the Midwest, there is a people there and there is a country there. And I thought it was important that the decent folk, simple folk be the heart of the story, and a character who is guileless, who isn’t complicated in the sort of flawed way our Dark Knight is, and isn’t political in any way. He’s just striving to become a better part of humanity.”

And Hans Zimmer thinks this represents the Midwest? Has he ever actually been there? What in whatever the hell this thing is is evocative of -BWOOOOOMMM- I mean Middle -BWOOOOOMMM- America?

The Lone Ranger - The Finale arrangement of the William Tell Overture is a lot of fan; if only the rest of the score was that caliber.

Rush - This one feels like a return to late 90s Zimmer, which in some ways is a good thing. If unsophisticated schlock, at least it was enjoyable schlock, not something borderline unlistenable like TDKR or MoS.

12 Years a Slave - At this rate, he's going to re-use "Time" more than John Murphy re-uses the theme from Sunshine.

Mr. Morgan's Last Love - Now we get to the good stuff. When I saw this in the theater, I missed the opening credits, but spent the entire movie wondering who wrote the score. I was guessing it was Isham or Zarvos, Needless to say, I was floored when I found out it was Zimmer. This score just has a level of emotional and compositional depth of which I never thought he was capable. It's a shame it doesn't look like this will get an album release, as it's one of my top 5 favorite Zimmer scores.

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Man of Steel - Oh, how I loathe this score. It's just terrible. And then there's this:

“Everything’s tinged with irony and sarcasm and bitterness and darkness these days,” he said. But this Superman is something lighter, he said, “celebrating everything that was good and fine about America,” such as small towns “where people don’t lock their doors, neighbors get together, and families are families.

What was important for Superman was the simple fact that none of us pay much attention to the Midwest,” Zimmer said. “I know America mainly by the big cities, but if you go into the Midwest, there is a people there and there is a country there. And I thought it was important that the decent folk, simple folk be the heart of the story, and a character who is guileless, who isn’t complicated in the sort of flawed way our Dark Knight is, and isn’t political in any way. He’s just striving to become a better part of humanity.”

And Hans Zimmer thinks this represents the Midwest? Has he ever actually been there? What in whatever the hell this thing is is evocative of -BWOOOOOMMM- I mean Middle -BWOOOOOMMM- America?

Looking forward to Sharky fielding this one.

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