Craig Armstrong was thearranger forMassive Attack, a band directorLouis Leterrier was fond of and had collaborated with on the 2005 filmUnleashed. Armstrong was his first choice, which surprised Marvel, not knowing if he had scored an action film (he did compose 2001'sKiss of the Dragon).[1] Even thetemp track consisted of Armstrong's work and similar music by others. The Hulk, alongside theGreen Lantern, was one of Armstrong's favorite comics characters as a child, although he did not watch Ang Lee'sHulk.[2] Armstrong began composing in his home inGlasgow, Scotland with three sequences; the Hulk and Betty in the cave; the Abomination and the Hulk's alley fight; and Bruce and Betty's reunion. The majority was composed in a few weeks inLos Angeles, California, which proved to be very intense for director and composer. The score was recorded over four days during late 2007 in a chapel inBastyr University, located inKenmore, Washington.Pete Lockett played ethnic instruments in the score, which were recorded inLondon and mixed together with the orchestra and electronics.[2] The score was orchestrated by Matt Dunkley,Tony Blondal,Stephen Coleman, David Butterworth, and Kaz Boyle.[3] Leterrier suggested the score be released on two discs, which Armstrong believed to be a joke. Only when he compiled the album – and Marvel asked why they were only given one disc – did he realize they were serious.[2]
The Hulk and the Abomination both have two themes, representing their human and monstrous forms. The Hulk's theme was meant to be iconic and simple, likeJaws (1975), with stringglissandos on a bass C note. Banner's theme is tragic and includes parts ofJoe Harnell's "The Lonely Man" theme from the television series. Armstrong played thepiano for one scene featuring that piece. Blonsky has a dark theme, which becomes aggressive when he transforms. Armstrong inter played the Hulk and the Abomination's themes during their battle, and found scoring the action sequences similar to a dance. There is also a suspense theme and a love theme.[2]
TheChicago Tribune described the soundtrack as"the dullest musical score of the year" in their review of the film,[4] while Dan Goldwasser of Soundtrack.net described it as "bombastic, thematic and energy-filled".[5]
