Originally Posted by Frosty81
And I don't quite get why Elfman is still put on such a high pedestal for Batman themes. His work is really only iconic in the perspective of it's release. I would say that the Zimmer theme is way more dramatic, powerful and iconic.
The reason why Elfman's Batman 89 score is held on such a high pedastal b/c it was "groundbreaking" and "timeless". And still is, imo. There's a reason why when people compare the current superhero scores it's alway's being compared to either Williams' Superman or/and Elfman's Batman 89 score. The score was a game changer. Both of Elfman's Batman scores have it's fair share of "dramatic, powerful, and iconic" music. Moreso than Zimmer's trilogy of batman scores combined, imo. The book "A Film Score's Guide: Danny Elfman's Batman" is a good example of why the score is placed on such a high pedastal, imo.
It "examines Elfman's scoring technique, provides a detailed analysis and commentary on the Batman 89 score." It also proves, imo, how crucial the score is in the movie. And how much impact it had in film music and in film in general. The same publisher of this book did a film score guide of Louis and Bebe Baron's "Forbidden Planet", Alex North's "A Streetcar Named Desire", Bernard Herrmann's "The Ghost & Mrs. Muir", Ennio Morricone's "The Good, the Bad, and the Ugly" and Erich Wolfgang Korngold "The Adventures of Robin Hood" to name a few. I think that's saying a lot about how highly regarded the Batman 89 score is to get a similar analysis and critique as those scores I mentioned above. I doubt there'll ever be a film score guide book(s) on TDK trilogy scores. I definitely recommend "A Film Score's Guide: Danny Elfman's Batman" to those that haven't read it and are interested in it.
If true? This is what I feared. I think Gladiator is one of his best scores (if not his best), but hearing this approach in a Superman movie? I don't know. And the last thing this score should sound like is a batman score. Let alone a Zimmer batman score.