What's wrong with that approach? It worked for Batman, and avoiding it is partly what made SR have a lukewarm reception by the audience.
Yeah, but I don't think that simply using the Elfman theme would have hurt the film. As for SR, well, I don't think it's the fact that they used the theme, the look of the Fortress and--well--everything except Lois' bodytype and Superman's costume; I think that it's the fact that every other line was some cutesy "homage" to the first film. It was just overkill.
Also,
Batman Begins and
The Dark Knight were GOOD whereas
Superman Returns was BAD.
I'll give you Bond, but not Star Trek. And Star Trek used the lesser (in terms of popularity) theme and not the iconic Goldsmith one (which is now the equivalent to the Superman Williams theme), so what does that tell you?
Tells me nothing. True, I'd much rather they used the Goldsmith tune, and for that matter, I didn't really care for the new music just as music; so ultimately, I just consider it a movie with disappointing music. That said, the fact remains that they did utilize the original theme at the end of the film and I don't think it hurt.
Even then, Bond was a movie franchise that in time has established it's a 100% separate entity from the books, whereas Superman fans are crying for a movie closer to the comics. That alone makes the situation different. Superman needs to harken back to the comics and not the Donner films and, like it or not, the Williams theme is a Donner thing, just like the Elfman Bat-theme is a Burton thing. I don't want the music to transcend the version. That's why I don't want the TAS theme, the Williams theme, the Lois & Clark theme.
Fatal flaw: assuming that the music is somehow
contradictory to making it closer to the comics.
Unless they have no music in the film at all (which I sincerely doubt) whatever happens, you--as an individual--are going to have to make a choice: is this music somehow "closer to the comics," or is it just another score which may or may not fit, and may or may not be memorable; but in either case, serves the same function as everything else, which is establishing this filmmaker's own vision of what he sees?
Heck, since we DO have the precedent of the more recent Batman films, I can ask you: are you saying that the music in them somehow fits the comics (1939-present) better (in an indisputable way) or is it just more music for what that filmmaker was trying to do for that film?
Finally, while I liked the L&C theme quite a bit, I was never big on the TAS theme, and I think part of it is that it just sounded like it was trying too hard to substitute for the Williams theme. I can accept that being on a smaller budget they probably couldn't afford it; so here's the deal: if they absolutely don't want the theme because it won't fit, then whatever, but I really hope they don't just write some other three-note theme that might as well have been that.
Edit: Finally (really, this time), if you want to play this game of, "film vs literature" or whatever; I should remind you that
Casino Royale was also more similar to the novels than the previous Bond films (except for Daltons, which is ironic since they weren't using the source material for inspiration as much) and so, once again, this doesn't quite hold up.
Nobody denies the genius of the Williams score, let alone me. I worship the guy and everything he's offered to the world of music. Don't assume that mine and other people's wish to move on has anything to do with any kind of unappreciation to Williams.
Well, okay, that was kind-of unfair, I apologize.
I have no wish to talk about the appeal, I don't see the point. Batman moved on from Elfman, and so should Superman from Williams. Simple as that.
And again, there's this concept of "moving on." It's not about that. I mean, if they don't use it, they don't use it; but this idea that they can't use anything from those films is just silly. After-all, Batman didn't "move on" from the black armor.