Appreciating science fiction means celebrating, debating, and dissecting the genre as an art composition, from inception to execution. Thus, this blog would never be completed without a deep dive into the sound of sci-fi.
So today, close your eyes and listen (actually, read the post first). We will discuss two of the biggest names in the movie-music industry: John Williams and Hans Zimmer.
When I compare two great names in any category (I’ve done it before and I’ll do it again), it is in the spirit of showcasing different kinds of greatness.
John Williams, the master behind some of the most recognizable movie themes of all time, understands how to evoke all sorts of emotions with music. It is probably what makes his tunes so memorable — associating music with emotion is an effective way of imprinting the sound in our brains.
Hans Zimmer, on the other hand, conducts our emotions toward a specific feeling. This crucial difference, guiding instead of provoking, requires a deeper understanding of the story being told. Zimmer thoroughly gets science fiction, and he translates it beautifully into music in his soundtracks.
Mr. Williams and Mr. Zimmer have given us some of the best themes in science-fiction cinema. And we’re about to compare a few of their tracks in different categories.
And, of course, this post comes with a Spotify list! Check it out.
The sound of Superheroes
The concept of “superhero” navigates between science fiction and fantasy. The superpowered savior is a staple of these genres. When we think of a superhero, we think of unwavering morals, nobility, and righteousness. Even when these traces are subverted, the story only works if we have these expectations in mind.
John Williams wrote the theme for Superman: the movie — the one we all know and love. It became a tune indissociable from the poster boy of superheroes. William’s theme (Prelude and Main Title March) adds to the grandiosity of the character and powerfully invokes our sense of adventure. It is the perfect tune for a too-perfect character.
However, on the other corner stands Batman.
I think I won’t start any beef when I say that Batman is a more complex character than Superman. Despite both being orphans, Batman is somber and struggles to keep that unwavering moral and righteousness I mentioned before. His power comes from money, which also taints his nobility.
Hans Zimmer captured all of these nuances in his original score for Christopher Nolan’s The Dark Knight trilogy. The Dark Knight Rises’s Main Theme makes us sympathize with Batman’s struggles, inducing empathy.
Score: I’m sorry to all the Superman fans, but this one goes to Zimmer.
The sound of hard sci-fi
Nowadays, we know the depiction of the dinosaurs in Jurassic Park is not really accurate. But, at the time of the movie’s release, it was as close as it could get to what scientists knew about these creatures. And the movie made a whole generation of kids obsessed with dinosaurs!
John William’s score captured the wonder of witnessing these majestic creatures come to life. The melody is simple and yet captivating and memorable; as captivating and memorable as the story being told onscreen.
Hans Zimmer also created the score for a blockbuster celebrated for its scientific accuracy. In Interstellar, director Christopher Nolan consulted experts to give us an authentic portrayal of a black hole. It is, by no means, an easy movie to understand. It explores themes of desperation, loneliness, and connection in a plot greater than the universe.
These themes inspired Zimmer’s intimist tune Day One, the theme song for the movie. The slow start surrounds us with a bittersweet atmosphere. Its crescendo expands into the cosmos, bringing us along the ride. It is a fitting representation of the story.
However, the Jurassic Park theme is so vital to the movie's sense of wonder that I must give this point to Williams.
Score: Williams 1 x 1 Zimmer.
The sound of high concepts
When it comes to high concepts, director Christopher Nolan is the king. Inception, the dream-within-a-dream movie, is among his finest works. In our third partnership with Nolan, Hans Zimmer gave us a dream-like score for Inception, oscillating in the same frequency as the concepts and ideas explored in the movie. Zimmer engraved his music 528491 with that chilling subconscious state between dream and nightmare. Fantastic!
On the other corner, we have the quintessential contact movie, Close Encounters of the Third Kind. In Close Encounters, music is integral to the movie’s plot. The extraterrestrials used a five-note tonal phrase to communicate with us.
It is yet another successful collaboration between Steven Spielberg and John Williams. And Williams nailed the alien sound, making us believe that The Visitors is a tune that an otherworldly species would listen to.
A tough choice! Close Encounters is so iconic! Nevertheless, I will go with Zimmer here. The way he managed to trap the nuances of Inception with his music is impressive.
Score: Williams 1 x 2 Zimmer.
The most-human sound of non-humans
Do replicants have souls? Do androids dream of electric sheep? Blade Runner 2049, the sequel to the acclaimed 1982 movie Blade Runner, explores even further the existential crisis of the original story. It is a technicolored neo-noir movie with a haunting soundtrack that unites visuals and sounds to create a sense of hopelessness and intimacy.
With his score 2049, Zimmer once again proved that he can absorb a story’s theme and translate it into music with mastery.
What about extraterrestrials? Do they have a soul? I don’t know about all of them, but our little friend who just wants to find his way home most definitely has one. In E.T., Williams borrowed E.T.’s soul to create yet another instantly recognizable theme song; one that melts our hearts and never fails to put a smile on our faces.
And, of course, when it comes to expressing humanity, E.T: Flying Theme is my choice for the sound of non-human characters. Point to Williams.
Score: Williams 2 x 2 Zimmer.
The sound of epic sagas
Denis Villeneuve did what many thought was impossible: an outstanding adaptation of Frank Herbert’s masterpiece Dune.
Dune is often cited as the number one science-fiction novel ever written, and Villeneuve won the trust of its fanbase. Hans Zimmer was the obvious choice to produce the soundtrack of this epic saga. And he, too, did not disappoint.
Upon hearing the first notes of The One, we’re instantly transported to Arrakis. Zimmer’s music helps us to immerse in this dangerous world, giving us the adrenaline necessary to follow the tale of Paul Artreides.
It would be a challenging competitor in any other category, but when it comes to the sound of sci-fi epic sagas, the soundtrack of Star Wars is unmatched!
Star Wars stands indisputably at the top of the sci-fi epic saga tales in the cinematic universe. And a huge part of its success comes from the music composed by the legendary John Williams.
Can you imagine Star Wars without its iconic theme song? Or picture Darth Vader without instantly playing The Imperial March in your mind? Neither can I. Thus, I have a feeling no one would disagree that this final point goes to John Williams.
Final Score: Williams 3 x 2 Zimmer.
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That was a close one. What do you think? Was I unfair to Zimmer? Should I do a recount? Let me know in the comments.
See you next post,
Ra.
Carla Ra is a scientist by day, sci-fi writer by night.
You can check out her anthology ARTIFICIAL REBELLION here.
