Despite the final product, both had their hands in the entire score, perhaps with the exception of Zimmer\'s work for The Joker. Zimmer and Howard have stated that, despite comments that the score sounds more like Zimmer\'s work, they cannot even identify who wrote which cue in either film.
It is also a common mechanism in Zimmer\'s studio\'s recent scores for keeping the music moving ( King Arthur, The Island, Transformers, etc.) This is an "anxiety" motif that reflects Bruce/Batman\'s increasing fears and frustrations as a person seeking justice. The final notable theme to mention would be everyone\'s favorite two-note eighth note rhythmic pattern that weaves in and out of the entire score. If I had reviewed Batman Begins, I would have called this the "Batman theme" and I would have been wrong. A rising hero theme was slowly developed through the course of Batman Begins, starting when he saved Ducard from falling off the cliff and reaching its full statement when he pulls open the cabinet to reveal the batsuit after Rachel says she\'s going to Arkham (sadly not on the album). The first film introduced a number of themes, including one for the Wayne family and a general two-note brass theme currently heard in all the Dark Knight trailers. Christopher Nolan knows what he wants in a score and Howard and Zimmer, in my opinion, are perfect choices to flesh out Nolan\'s Batman universe. I did not get the chance to review the Batman Begins score three years ago because I was away, so I will talk a bit about the themes and the use of score in that film before diving into The Dark Knight it follows a logical musical progression and it\'s important to get the beginning in there. Musically, James Newton Howard and Hans Zimmer\'s score also escalates and delves further into dark territory.
The Dark Knight follows with a theme of escalation as the criminal world responds to the presence of the Batman. Batman Begins explored the character of Bruce Wayne and the creation of The Batman through the expression of his fear.
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