Justice League Danny Elfman Scoring Justice League - Part 2

[Elayis]

Movie has been out for a week.

People are still complaining about MOS and BvS and they have been out for years.

I don't spend much time visiting the forums for old releases so I wouldn't know anything about that. Can't say I understand it, though. I hate the new Star Trek films (and show) with a passion, but I got bored of criticizing them after awhile. Partly due to the fact that my complaints seemed to fall on deaf ears, but mostly because I got sick of thinking and discussing movies I didn't enjoy and couldn't change.

And on an unrelated note, I find it very odd that my posts always seem to be the last one on a page. It's been happening a lot lately, in particular with this thread.

 

[idiot09]

I don't spend much time visiting the forums for old releases so I wouldn't know anything about that.

You're lucky. Its tiring.

Can't say I understand it, though.

I dont either.

 

[christophe]

Okay it's driving me nuts but can someone please finally point to where the Aquaman and Cyborg motifs actually are? Minutes/seconds in track names would help. For Aquaman is it that creepy epic choral "aaaaaah"? I keep hearing three notes repeat in Cyborg related tracks but I'm not sure that's it

 

[heatvision38]

I know. I wish people would be fully informed on an issue before commenting. I was going to respond to some of these posts, but I'm tired of repeating myself. You'd think people would get bored posting the same criticisms again and again.

I'm curious, for those who don't like the score, how many times have you listened to the full album? Did you give it a fair shot with an open mind, even if it wasn't what you wanted? When I first listened to the Ragnarok score, I really didn't like it because I wanted a more traditional sounding orchestral score. But after throwing away my preconceptions, once I listened to it a few times (and after seeing the movie), it started to grow on me and now I quite like several of the tracks. And just for me personally, many of my favorite scores I didn't enjoy on my first listens. It usually takes me at least 6 or 7 full playthroughs to get used to a score, and many more after that for it to truly sink in. Scores like MI5 and TFA were my favorites of 2015, but it took awhile for me to appreciate them. Hell, at one point (before seeing the film) I even started to hate MoS' score (after initially enjoying it).

But then I can't understand preferring (or even liking) the fake Junkie JL tracks that have been posted here. Different strokes I guess.

For me, a score typically either works on the first or second viewing. I've seen this movie twice, and other than the Flash theme (when he's in slow motion) and maybe a few other scenes, I found the score serviceable, not bad or anything, but serviceable. But coming from MOS and BvS, that feels like a big step down.

Btw, I was personally disappointed with TFA score. I was surprised that it was Williams because the only music (other than recalls to the original themes peppered in the movie) that stood out to me was the end when Rey was walking up the hill side to see Luke.

 

[Klidokrator]

Okay it's driving me nuts but can someone please finally point to where the Aquaman and Cyborg motifs actually are? Minutes/seconds in track names would help. For Aquaman is it that creepy epic choral "aaaaaah"? I keep hearing three notes repeat in Cyborg related tracks but I'm not sure that's it

They are just motifs. Not full themes.


Aquaman:
https://www.youtube.com/watch?v=ulFCd-s3oUI&t=26s (When he fights in Atlantis and when he blocks the water from fuddling the tunnel)

For cyborg you are on the money. It is pretty restrained cause cyborg is an isolated character.

 

[harlequinade]

God I hope someone else does proper Aquaman theme. The atlantis music other than the choir bit was garbage.

 

[Klidokrator]

God I hope someone else does proper Aquaman theme. The atlantis music other than the choir bit was garbage.

For the material he was given it was more than awesome. Atlantis looked as big as my garage. And I like the Aquaman motif a lot. If you make a full theme out of it, it can be majestic.

 

[Mike_D202]

I really liked The Flash motif, it reminded me of music that would play if you were interstellar traveling or going through a mysterious wormhole.

 

[Patchwork Man]

I am listening to the score cause' I am wrting review for it (not in English), and the longer I think about it, the more I am convinced that Danny's JL score may be the best superhero movie score since Batman Returns. It's in fact too good for that "not so great" movie.

You're definitely an Elf-fan.

And how old are you? Just curious.

Older than you, and probably a couple decades older than you suspect I am.

 

[Patchwork Man]

I know. I wish people would be fully informed on an issue before commenting. I was going to respond to some of these posts, but I'm tired of repeating myself. You'd think people would get bored posting the same criticisms again and again.

I'm curious, for those who don't like the score, how many times have you listened to the full album? Did you give it a fair shot with an open mind, even if it wasn't what you wanted? When I first listened to the Ragnarok score, I really didn't like it because I wanted a more traditional sounding orchestral score. But after throwing away my preconceptions, once I listened to it a few times (and after seeing the movie), it started to grow on me and now I quite like several of the tracks. And just for me personally, many of my favorite scores I didn't enjoy on my first listens. It usually takes me at least 6 or 7 full playthroughs to get used to a score, and many more after that for it to truly sink in. Scores like MI5 and TFA were my favorites of 2015, but it took awhile for me to appreciate them. Hell, at one point (before seeing the film) I even started to hate MoS' score (after initially enjoying it).

But then I can't understand preferring (or even liking) the fake Junkie JL tracks that have been posted here. Different strokes I guess.

You sound like a guy (or gal) with something on your mind. I'm sure when you learned Elfman had been tasked with scoring the film, you rejoiced, right? I did not.

I thought the "Hero's Theme" was alright, but by and large the score felt too suited for a film made decades ago. Elfman has a few motifs he prefers and he likes to tinker with those.

You bring up Mark Mothersbaugh's score to Ragnarok. Funny, I loved it as soon as I heard it (probably the best thing about that movie, next to the VFX), and that's no accident. I've been a fan of electronic scores since the '80s—it all began with Tangerine Dream, Vangelis and Goblin.

So, no, I am no noob to the world of film scores. Sorry to disappoint.

I guess you don't like what Junkie XL did for Md Max: Fury Road? How about The Dark Tower? (His score is better than the actual movie.)

 

[Patchwork Man]

And on an unrelated note, I find it very odd that my posts always seem to be the last one on a page. It's been happening a lot lately, in particular with this thread.

Nothing to concern yourself with. It could have something to do with your browser.

 

[GothamBat]

You sound like a guy (or gal) with something on your mind. I'm sure when you learned Elfman had been tasked with scoring the film, you rejoiced, right? I did not.

I thought the "Hero's Theme" was alright, but by and large the score felt too suited for a film made decades ago. Elfman has a few motifs he prefers and he likes to tinker with those.

You bring up Mark Mothersbaugh's score to Ragnarok. Funny, I loved it as soon as I heard it (probably the best thing about that movie, next to the VFX), and that's no accident. I've been a fan of electronic scores since the '80s—it all began with Tangerine Dream, Vangelis and Goblin.

So, no, I am no noob to the world of film scores. Sorry to disappoint.

I guess you don't like what Junkie XL did for Md Max: Fury Road? How about The Dark Tower? (His score is better than the actual movie.)

It really did. It felt so whimsical and out of place when the 89 Batman theme played durring the would-be, epic, self-sacrificial diversion attack from Batman in the batmobile with the hoard of parademons

 

[Elayis]

You sound like a guy (or gal) with something on your mind. I'm sure when you learned Elfman had been tasked with scoring the film, you rejoiced, right? I did not.

I thought the "Hero's Theme" was alright, but by and large the score felt too suited for a film made decades ago. Elfman has a few motifs he prefers and he likes to tinker with those.

You bring up Mark Mothersbaugh's score to Ragnarok. Funny, I loved it as soon as I heard it (probably the best thing about that movie, next to the VFX), and that's no accident. I've been a fan of electronic scores since the '80s—it all began with Tangerine Dream, Vangelis and Goblin.

So, no, I am no noob to the world of film scores. Sorry to disappoint.

I guess you don't like what Junkie XL did for Md Max: Fury Road? How about The Dark Tower? (His score is better than the actual movie.)

I was fine with Elfman getting the job, and definitely think he’s a much more talented composer than Junkie. My only concerns were with him respecting the established sound of the universe (concerns that turned out to be correct), but once I got over it the more orchestral style doesn’t bother me. Yes, I would’ve liked him to reprise more Zimmer themes, but very few composers are able to reprise another person’s work and make it sound organic and just a lazy callback.

I don’t hate Junkie. I enjoyed his work on MoS, 300, Divergent and even Mad Max. Dark Tower’s score was terrible, though.

I think I’ve already stated in this thread that I prefer the scores of MoS & most of BvS over JL. Just because I prefer orchestral music doesn’t mean I don’t enjoy electronic/synth as well.

And in regards to this statement:

I thought the "Hero's Theme" was alright, but by and large the score felt too suited for a film made decades ago.

What does that even mean? Orchestral music has never gone out of style. Besides the composers of the 70s & 80s that still continue to work and make scores in that style (Williams, Elfman, Silvestri, Broughton, Young, Morricone, Shore, Hisaishi and the late Horner, Goldsmith, Poledouris, Kamen, Kilar), plenty of modern composers use a largely orchestral style (Desplat, Howard, Kraemer, Ottman, Powell, Doyle, Portman, Newman, Korzeniowski, Wintory, McCreary). Again, it’s fine to not like a certain style of music, and to you personally it might feel “dated,” but that doesn’t mean it objectively is.

Also, my post wasn’t to any one person in particular, just generally to people who have posted they didn’t like the score. And what's with the antagonism? I'm only trying to have a conversation and better understand other peoples points of view, not start a fight.

 

[Patchwork Man]

What does that even mean? Orchestral music has never gone out of style. Besides the composers of the 70s & 80s that still continue to work and make scores in that style (Williams, Elfman, Silvestri, Broughton, Young, Morricone, Shore, Hisaishi and the late Horner, Goldsmith, Poledouris, Kamen, Kilar), plenty of modern composers use a largely orchestral style (Desplat, Howard, Kraemer, Ottman, Powell, Doyle, Portman, Newman, Korzeniowski, Wintory, McCreary). Again, it’s fine to not like a certain style of music, and to you personally it might feel “dated,” but that doesn’t mean it objectively is.

I'm certain you know that's not what I meant, yet you still felt like typing a bunch of composers' names. (Look, I've got Desplat's Godzilla CD right on my desk, so obviously I don't have an issue with orchestral film scores.)

My remark was aimed at Elfman's style, not the fact that he composes for orchestra. My sentiment is by no means unique. Just read through the thread.

 

[Greens]

The score doesn't sound dated, it's just dull. This score decades ago would still have been the same dull score.

 

[Elayis]

I'm certain you know that's not what I meant, yet you still felt like typing a bunch of composers' names. (Look, I've got Desplat's Godzilla CD right on my desk, so obviously I don't have an issue with orchestral film scores.)

My remark was aimed at Elfman's style, not the fact that he composes for orchestra. My sentiment is by no means unique. Just read through the thread.

I actually didn't grasp the distinction you were making so thank you for explaining it to me. I disagree, which I guess just falls under different tastes. I'll concede that I liked the recent Superman vs Steppenwolf clip that was posted featuring a cue from MoS. Maybe a Junkie score would've suited the film better, but I'm happy with what we got. Either way, no matter who composed the score the film would still be a disappointment.

 

[mclay18]

I'm curious, for those who don't like the score, how many times have you listened to the full album? Did you give it a fair shot with an open mind, even if it wasn't what you wanted? When I first listened to the Ragnarok score, I really didn't like it because I wanted a more traditional sounding orchestral score. But after throwing away my preconceptions, once I listened to it a few times (and after seeing the movie), it started to grow on me and now I quite like several of the tracks. And just for me personally, many of my favorite scores I didn't enjoy on my first listens. It usually takes me at least 6 or 7 full playthroughs to get used to a score, and many more after that for it to truly sink in. Scores like MI5 and TFA were my favorites of 2015, but it took awhile for me to appreciate them. Hell, at one point (before seeing the film) I even started to hate MoS' score (after initially enjoying it).

I highly enjoy Mothersbaugh's Thor: Ragnarok score. He married the 1980s synth and electronic vibe Taiki Waititi wanted with Marvel's more orchestral flavor. The vibe reminded me of Tron Legacy, but not as amazing as that score. And he used Doyle and Tyler's themes, which is much appreciated.

I also really enjoy Elfman's work on JL. Zimmer's sound design scoring is cliched and tired at this point. Should Elfman have incorporated Zimmer's Superman material? Yes, he could have. He could've even played around with the chords, having Zimmer's Superman theme 'evolve' into Williams' version. Now that would've been something.

 

[markjoedelonge]

The score doesn't sound dated, it's just dull. This score decades ago would still have been the same dull score.

Yup.

 

[markjoedelonge]

I was really hoping that Zimmer would come back to do JL as his send-off to the superhero genre.

 

[TheRedWraith]

I highly enjoy Mothersbaugh's Thor: Ragnarok score. He married the 1980s synth and electronic vibe Taiki Waititi wanted with Marvel's more orchestral flavor. The vibe reminded me of Tron Legacy, but not as amazing as that score. And he used Doyle and Tyler's themes, which is much appreciated.

I also really enjoy Elfman's work on JL. Zimmer's sound design scoring is cliched and tired at this point. Should Elfman have incorporated Zimmer's Superman material? Yes, he could have. He could've even played around with the chords, having Zimmer's Superman theme 'evolve' into Williams' version. Now that would've been something.

[YT]ebXB0lBoaQ0[/YT]

It's already been done perfectly by Snyder (and I'd guess Hans) here in this Short by going from Williams to Zimmer (because Zimmer's score is this Superman's theme, not William's); so if William's had to be included at all it should have transitioned to and ended on Zimmer playing loud and proud.

 

[Bruce Malone]

There was no discernible theme to the films score. Just random music from scene to scene no unity.

 

[markjoedelonge]

There was no discernible theme to the films score. Just random music from scene to scene no unity.

"Praise to the Unity! Praise to the Mother of Horrors...."

 

[markjoedelonge]

[YT]ebXB0lBoaQ0[/YT]

It's already been done perfectly by Snyder (and I'd guess Hans) here in this Short by going from Williams to Zimmer (because Zimmer's score is this Superman's theme, not William's); so if William's had to be included at all it should have transitioned to and ended on Zimmer playing loud and proud.

Man I had forgotten about this gem!

 

[Consona]

"Praise to the Unity! Praise to the Mother of Horrors...."

Needed more screen time.

 

[ddddeeee]

There's more melodic interplay in any handful of tracks of this score than there is in any other superhero score I can think of.

If you don't like the themes - fair enough, but to say they're not there is factually wrong. In those big action cues there's hardly twemty seconds that go by without some sort of reference to the dozen or so themes.