The theme also appears in some scenes where Jor-El’s focus is on Kal-El, as when the baby Kal-El is raised into the escape pod near the film’s start (from 1:42): Near the start of the film, for example, as Jor-El heroically escapes on a dragon-like creature with the “codex” (an object that contains the genetic code of the entire population of Krypton), we hear this theme stated boldly in the brass (from 1:18): The theme reflects a duality in meaning since, with practically every instance of the theme, we see either Jor-El (Superman’s biological father from Krypton) or Kal-El (Superman, as he is called on Krypton), even though the theme is not associated with any particular type of action they take. This ostinato is the first theme we hear in the film as it sounds over the production credits, before the film proper is underway. Below is a film music analysis that examines these aspects of several themes in the film. Another feature of this particular score is the way in which many of its themes are given dual meanings that are either opposites or complements of one another. For this reason, it can be difficult to put a label on Zimmer’s themes and they must often be given a more descriptive title than simply the name of a character or place in the film. This different kind of Superman film calls for a different kind of Superman score, and that is exactly what Hans Zimmer provides.Īlthough Zimmer’s score does not make use of strict leitmotifs, which correlate a short snippet of melody with a certain character, place, object, and the like, it does exhibit a loose coordination between certain themes and situations involving certain characters. But if he is to retain his “fit” with society, then he can no longer rescue anyone with the help of his powers. Desperately wanting to fit in with the rest of society, Superman is continually faced with a dilemma: if he reveals his powers to the people of the world, then he’ll no longer be considered one of them. Man of Steel, on the other hand, deals more with the philosophical questions of being an outsider. Indeed, when John Williams scored the film, he remarked that one of the things he liked about it was that “it was fun and didn’t take itself too seriously.” Williams’ vibrant score certainly reflects this element of fun while also capturing the film’s optimism in grand heroic fashion. The latter film is largely optimistic in tone, lighthearted, and includes touches of humor. He was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.2013’s Man of Steel takes quite a different approach to the Superman story than 1978’s well known Superman: The Movie. With 45 Academy Award nominations, Williams is, together with composer Alfred Newman, the second most nominated person after Walt Disney. He has also won four Golden Globe Awards, seven BAFTA Awards and 21 Grammy Awards. Williams is a five-time winner of the Academy Award. He served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993, and is now the orchestra's laureate conductor. Williams has composed theme music for four Olympic Games, the NBC Nightly News, the rededication of the Statue of Liberty, and numerous television series and concert pieces. He also composed the soundtrack for the hit 1960s television series Lost in Space as well as the fanfare of the DreamWorks Pictures' logo. the Extra-Terrestrial, Jurassic Park and Jaws. In a career that spans six decades, Williams has composed many of the most famous film scores in Hollywood history, including Star Wars, Superman, Home Alone, the first three Harry Potter movies and all but two of Steven Spielberg's feature films including the Indiana Jones series, Schindler's List, E.T. John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist.
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