German composer Hans Zimmer started his career by playing keyboards for various groups of new waves across Europe. He played with Krakatoa in his native Germany, with The Buggles (renown of “Video Killed the Radio Star”) in England, with Krisma in Italy and with Mecano in Spain. In the early 1980s, he also started producing pop singles, supervising “History of the World, part 1” for the Punk the Damned group. Above at the same time, he started writing commercial jingles and TV theme, actually giving him work “in” in the film. His first film as a composer was “Moonlighting” from 1982, one of Jerzy Skolimowski’s films.

For there, Zimmer’s production has increased exponentially, and it brought its unique sensitivity (but with a pinch of new wave) to more than 20 features. He marked “My Beautiful Laundrette” by Stephen Frears (soon to be redone) and “Paperhouse” underestimated by Bernard Rose. In 1988, he obtained an Oscar appointment for his work on Barry Levinson’s controversial film “Rain Man” ,,,, “ The film that won the best film. After that, he was officially on a hot sequence.

Zimmer has stayed in Hollywood since then, writing scores for several mega-hits and high-level award films. From “Days of Thunder” and “Backdraft” to “a league for their own” and “True Romance”. In 1994, he won his first Oscar for his work on “The Lion King”. He also scored a lot of action blockbusters, including “The Rock”, “Mission: Impossible 2”, “Pirates of the Caribbean: The Curse of the Black Pearl”, and the films “Batman” by Christopher Nolan. And that doesn’t even scratch the surface of his career.

But some people could say that Zimmer has a notable hole in his prolific work, because he has never written the score of one of the 36 films in the Marvel cinematographic universe. This, these same people could be surprised to learn, was a conscious decision. Zimmer recently spoke to the Happy Sad Confused Podcast ((Covered by EW), and he revealed exactly why he had stayed outside the MCU. Above all, he says he does not want to make “minor characters”. Burn.

In this case, Marvel Studios has contacted Zimmer in the past, knowing that he wrote music for Batman, Superman (he marked “Man of Steel” by Zack Snyder and “Batman V Superman: Dawn of Justice”), Spider-Man (“The Amazing Spider-Man”), Wonder Woman (“Wonder Woman 1984”) and The X-Men (“Dark Phoenix “). Regarding the MCU proper, Zimmer has remained outside. It seems to feel that he has already managed superheroes in the most famous comics ever invented, and that Dallying with less popular Marvel characters is not something he wants to examine. In his words:

“”[Marvel has approached me]And it was always … the timing was not great. […] And really, very honestly, I’m looking for other things right now. Listen, I did the trifecta. I did Batman, Superman and Spider-Man. And Wonder Woman! I mean, what do you want me to do, some of the minor characters? “”

Zimmer immediately realized how disdaining he had sounded, however, and immediately added: “It was very arrogant of me to say it.” He also noted that “Kevin Feige told me that:” Hans, what are you complaining about? “” Kevin Feige being, of course, the showrunner and chief architect of the MCU. Zimmer, whose next partition will be heard in Joseph Kosinski’s “F1” motor racing film, also admitted that he was also approached once to mark a film “Star Wars”, but that he was not interested either. He estimated that he would like to invent his own scores, and not simply repeat sentences invented by John Williams in the 1970s. As such, he believes that he would be a bad match for the equipment. In addition, he has already made his own space opera score with “Dune” and The “dune: dune: second part” ineligible to the Oscars.

Zimmer does not show any signs of slowdown and wraps his work on Ron Howard’s film in 2026 “Eden”. The new projects are inevitable.