Batman '89 The Danny Elfman Appreciation Thread

[Elevator Man]

Scream 2 was released in theaters 20 years ago today. Marco Beltrami returned to score the sequel (as well as the entire quadrilogy), however for some unknown reason Elfman was hired to write two source cues. It still hasn’t been revealed why or how Elfman was hired to write those two source cues. Most of Beltrami’s score (which rivals his score to the first installment) including both Elfman cues was released last year by Varese Sarabande. The Deluxe Edition album is still available as of the date of this post.

Cassandra Aria

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Cassandra Aria (reprise)

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Scream 2 Premiere - Danny Elfman's Music

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[MotleyFaneditor]

I for one adore Danny Elfman. His scores for Batman Returns and Sleepy Hollow are above all my favourite pieces of his work. He even scored the new Justice League movie and brought back the ‘89 Batman and John Williams’ Superman themes in the film.

Oh, and in case you’re wondering, I’m Motley, and I’m new here on the forums.

 

[Elevator Man]

12 Great Danny Elfman Comic Book Movie Scores

 

[Elevator Man]

‘Fifty Shades Freed’ Soundtrack Details

The full details of the soundtrack album for Fifty Shades Freed have been announced. The album features songs by Hailee Steinfeld x BloodPop, Miike Snow, Black Atlass feat. Jessie Reyez, Julia Michaels, Whethan & Dua Lipa, Bishop Briggs, as well as Liam Payne’s & Rita Ora’s For You, which is already available as a single. Also included are two tracks from the movie’s original score composed by Danny Elfman (Batman, Spider-Man, Alice in Wonderland) who previously scored the first two installments. The soundtrack will be released on February 9, 2018. Check back on this page for the pre-order link. is directed by James Foley and stars Dakota Johnson, Jamie Dornan, Arielle Kebbel, Kim Basinger, Brant Daugherty and Luke Grimes. The third and final installment in the Fifty Shades series will be released in theaters nationwide on February 9, 2018 by Universal Pictures. Visit the official movie website for updates.

Here’s the album track list:

1. Capital Letters – Hailee Steinfeld x BloodPop®
2. For You (Fifty Shades Freed) – Liam Payne & Rita Ora
3. Sacrifice – Black Atlass featuring Jessie Reyez
4. High – Whethan & Dua Lipa
5. Heaven – Julia Michaels
6. Big Spender – Kiana Ledé featuring Prince Charlez
7. Never Tear Us Apart – Bishop Briggs
8. The Wolf – The Spencer Lee Band
9. Are You – Julia Michaels
10. Cross Your Mind – Sabrina Claudio
11. Change Your Mind – Miike Snow
12. Come On Back – Shungudzo
13. I Got You (I Feel Good) – Jessie J
14. Ta Meilleure Ennemie (Pearls) – Samantha Gongol (of Marian Hill) featuring Juliette Armanet
15. Deer in Headlights – Sia
16. Diddy Bop – Jacob Banks & Louis the Child
17. Love Me Like You Do (Fifty Shades Freed Version) – Ellie Goulding
18. Freed – Danny Elfman
19. Seeing Red – Danny Elfman
20. Maybe I’m Amazed – Jamie Dornan (Bonus Track]
21. Cross Your Mind (Spanish Version – Sabrina Claudio (Bonus Track)
22. Pearls – Samantha Gongol (of Marian Hill) (Bonus Track)

 

[Elevator Man]

Posted on LLLR Facebook page...

2018 is here and we couldn't be any more excited!

We have some amazing projects lined up! Lots of fan favs to classic tv shows and a flurry of film scores from some of your favorite composers!
What better way to start the year off than with STAR TREK! Volume 2 of DEEP SPACE NINE goes on sale tomorrow at 12 pm pst. Then, hopefully, on January 30, we present to you THE BUFFY THE VAMPIRE COLLECTION featuring music from the famed tv series as well as Carter Burwell's vampire butt kickin' score to the original film! This 4 cd set is sure to drive a stake into your wallet!

February will see some great releases from film and television, including one special release where 100% of the sales of the cd will be donated to a special charity. More details to be announced soon.

Save your pennies because we plan on releasing some amazing box sets during the course of the year. 4 cds, 6 cds, possibly even 10 cd box sets! Hopefully some music for everyone!

Anniversaries will be celebrated, studios will be honored and a few surprises will be unveiled.

And yes, expect some more Williams, Horner, Goldsmith and Elfman this year...not to mention a couple of Golden Age classics!

Last year they mentioned reissuing Midnight Run this year. Hopefully they'll also mix it up some premiere releases e.g. Dead Presidents, The Family Man, Nacho Libre, American Hustle, or Big Eyes.

 

[Elevator Man]

Dick Tracy (2CD) LOW QUANTITY ALERT! Less than 200 remaining! Available until January 29 or while supplies last!

 

[Elevator Man]

Dick Tracy (2CD) (Sold Out)

 

[Elevator Man]

Cinema Cafe with Gus Van Sant & Danny Elfman

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The interview actually begins @9:15.
The video cuts away @30:12 to a stand by image due to the Cinema Cafe releasing an audio clip of the film during the interview.
The interview/video resumes @32:14.
The video cuts away again @32:58 to a stand by image due to the Cinema Cafe releasing the footage to the audio clip during the interview.
The interview/video resumes @34:58.
The interview/video cuts away for the last time to a stand by image @41:20 due to the Cinema Cafe releasing another film clip during the interview.
The interview concludes @1:03:50.

 

[Elevator Man]

‘Fifty Shades Freed’ Score Album Details

Back Lot Music will release a score album for the film adaptation of Fifty Shades Freed. The album features the film’s original music composed by Danny Elfman (Batman, Spider-Man, Alice in Wonderland, Charlie and the Chocolate Factory, Avengers: Age of Ultron). The soundtrack will be released physically on February 16, 2018 and is now available for pre-order on Amazon. The label has previously released the composer’s score for Fifty Shades Darker and Republic Records has released Elfman’s music from Fifty Shades of Grey. A separate soundtrack for the third installment in the series featuring the songs from the movie will be released by Republic Records. Fifty Shades Freed directed by James Foley and starring Dakota Johnson, Jamie Dornan, Arielle Kebbel, Kim Basinger, Brant Daugherty and Luke Grimes will be released in theaters nationwide on February 9, 2018 by Universal Pictures. Visit the official movie website for more information.

Here’s the album track list:

1. Freed
2. Makeover
3. A Spat
4. Anna Wakes
5. Blueprints
6. Car Fun
7. Trouble in Paradise
8. That’s Not Hyde
9. Jack the Knife
10. Welcome Home
11. Hiking
12. Nightmare
13. Bail
14. Seeing Red
15. Going Gets Rough
16. Ransom
17. The Envelope
18. Rescue

Fifty Shades Freed - Official Trailer [HD]

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[Elevator Man]

Movie notes: Lincoln event scores film composer Danny Elfman

The Ross Media Arts Center and the Lied Center for Performing Arts are hosting an evening with one of the most famous living film composers: Danny Elfman.

At 5:30 p.m. Feb. 20, The Ross will host a screening of the Elfman-scored “A Nightmare Before Christmas,” followed with a Q&A with Elfman himself. The Q&A will be moderated by Lincoln Journal Star entertainment reporter L. Kent Wolgamott.

Tickets are free but must be reserved at The Ross box office starting Feb. 6. Tickets are not available online. Get more info at theross.org.

And at 7:30 p.m. Feb. 21 at the Lied Center for the Performing Arts, the Berlin Philharmonic Piano Quartet will perform the world premiere of a new classical composition written by Elfman.

Go to liedcenter.org to get tickets to or learn more about that event.

Elfman has hundreds of screen credits to his name. His scores are most often associated with the films of Tim Burton. But he’s also received acclaim (and Oscar nominations) for his work on such films as “Milk,” “Men in Black” and “Good Will Hunting.”

 

[Elevator Man]

Wait, Danny Elfman wrote the music for 50 Shades of Grey?

Wait, Danny Elfman wrote the music for 50 Shades of Grey?

We ask Danny Elfman, better known as Tim Burton's collaborator on spooky fairy tales, about composing the music for all three Fifty Shades of Grey movies.

When you see Danny Elfman’s name in the credits of a film, you pretty much know what to expect.

Best known Tim Burton’s spooky-magical worlds to life, his tinkly, string-heavy compositions have a way of piquing your curiosity and easing your way into a world often very much unlike our own.

Which made Elfman the perfect, though still surprising, choice to created the scores for the BDSM-centric romance trilogy Fifty Shades of Grey, whose last chapter Fifty Shades Freed comes out Feb. 9.

“It was just kind of out of the blue,” he says about getting called up for Universal Pictures’ film adaptation of the popular book series back in 2014.

“I met [director] Sam Taylor-Johnson and had an immediate affinity for her — she’s an artist, I like her photographs, I knew who she was, and I wanted to be there for Sam.”

Though Taylor-Johnson didn’t stay on for the two sequels, Elfman enjoyed the challenge the movies presented.

“Also, I did like the fact that it was a genre that had no musical guide,” Elfman adds. “It’s very difficult to find a film that has no musical predecessor that can be used as, ‘This is the kind of music that it is musically.’

“When I started out with Tim Burton, almost everything I did was like that: Pee-wee, Beetlejuice, Nightmare, Batman, Edward [Scissorhands] — these are movies they couldn’t temp [the preliminary mix of dialogue, sound effects and music] because there was just no music to put in there.”

Though trying to describe what genre a BDSM-centric romance falls under, exactly, remains elusive. “The unique thing about Fifty Shades is that it’s kind of like popular… I don’t know how to put it. I mean it’s not porn, it’s an erotic film but it’s like a Hollywood — it just was a genre that didn’t exist.”

Musically, the series may be best known for Beyonce’s sexed-up remix of Crazy in Love. But Elfman’s score deserves credit for keeping the (often overwrought) drama on screen grounded. A blend of iconic romantic and spy film elements, it provided another way of understanding Anastasia’s perspective as she explores the world of the millionaire masochist Christian Grey who’s taken over her life.

And unlike lead actors Dakota Johnson and Jamie Dornan, Elfman didn’t need to pregame with whiskey or push-ups to go into the recording studio.

“Really, scoring them was fun,” he says. “It was real good people to work with. They were all real fun, stressless scores — they’re not all like that. The filmmakers, the studio, everybody was on the same page. I really enjoyed it.”

 

[Elevator Man]

Happy Valentines Day!

Batman OST Love Theme

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Dick Tracy OST: Tess' Theme

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Edward Scissorhands OST Death!

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Danny Elfman - Finale (Sommersby)

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Sally's Song

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Bad Dream / Tender Moment

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Getting Through - Danny Elfman

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Big Fish Original Soundtrack - Sandra's Theme

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Spider-Man 2 OST A Really Big Web

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Moon Dance

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Hellboy 2 Danny Elfman "A Dilemma"

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Restless Soundtrack ("Battleship")

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Happy Ending/Silver Linings Playbook Soundtrack

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Danny Elfman – On His Knees - Fifty Shades Darker Soundtrack

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Home - Justice League Soundtrack - Danny Elfman (official video)

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[Elevator Man]

Berlin Philharmonic Piano Quartet premieres Danny Elfman piece at Lied Center

The last time I went to an event at the Lied Center for Performing Arts was way back in March of 2016. At least, that was the case until I saw the Berlin Philharmonic Piano Quartet perform on Wednesday night, Feb. 21.

I took interest in the event when I heard the group was performing a new piece by film score composer Danny Elfman. Elfman wrote the piece specifically for the quartet, and this was the first time they performed it.

Knowing the type of composer Elfman is, I knew I had to be there.

When I arrived I wasn’t really sure what to expect. I’d never really gone to an event like this. I walked in, found my seat and the first thing I noticed, aside from my being underdressed, was the sense of community amongst those in attendance. It was clear that everyone was just there to hear some great music and have a good time. I sat down and immediately found myself talking with my neighbors about Elfman’s work and what we expected from the evening.

The quartet took the stage at 7:30 p.m. and quickly began playing their first selection.

Over the course of the evening the Berlin Philharmonic Piano Quartet played four selections. They started with Franz Schubert’s “Adagio e Rondo Concertante D487.” They followed that with Josef Suk’s “Piano Quartet, Opus 1 in A Minor.” At this point in the performance, the quartet premiered Danny Elfman’s new piece. Then after a brief intermission, they closed the show with Johannes Brahms’s “Quartet Opus 25, in G Minor.”

Each of the pieces had its own vibe, which helped keep the quartet’s performance from getting repetitive or boring.

Opening the evening with Schubert was a smart move, because it introduced the audience to the members of the quartet and what they could do very well. By the time they moved onto the arrangement by Suk, the audience already had full faith in the players’ abilities. Each player had their own chance to shine and show their individual skills in “Opus 1 in A Minor.”

The highlight of the evening was undoubtedly the premiere of the new piece composed by Elfman. When that point in the show arrived, the entire audience was buzzing with excitement.

Neither Elfman’s piece nor the quartet disappointed.

Right away in the piece’s first movement, “Ein Ding,” it was apparent that Elfman had scored it. It had that fun quirkiness that many have come to expect from his scores such as “The Nightmare Before Christmas.”

The second movement, “Kinderspott,” was my personal favorite. The piece had an incredible amount of energy to it. It really punched you in the gut, and I mean that in the best way possible. The performers frequently plucked the strings on their instruments in a very rough way, and at times it looked like they were straight-up hitting the strings with their bows. In addition to that, if you were close to the stage, you could see the pianist’s bench moving backwards because of how intensely he was playing the piano. It was crazy.

The rest of Elfman’s piece calmed down a little, but it was still a joy to listen to. It almost sounded as if it were meant to be a score for a film, and a very good one at that.

My only small complaint about the evening was how it ended. They took an intermission after playing the new Elfman composition. After that, the players returned to the stage and played a work by Brahms.

It’s not that the piece was bad (it was actually quite good), but it didn’t feel like the right piece to end on. In most cases, you want to end on a strong note to leave the audience with a great feeling leaving the auditorium. That’s not what happened here. I can’t help but wish they had played the Brahms piece before the intermission and saved Elfman’s for last. It would’ve made the night flow a little more naturally, and given time for more anticipation to build before the world premiere of the Elfman piece.

Overall, I had a great time seeing the Berlin Philharmonic Piano Quartet perform. They showed an extreme amount of talent and dedication to their art. Each of the pieces they played was a pleasure to listen to, and the Elfman piece in particular was a blast.

Before Wednesday, I didn’t have a whole lot of desire to see shows at the Lied Center, but now I can’t wait to go again soon.

Hopefully, Elfman's piece will be recorded and released some day.

 

[Elevator Man]

Danny Elfman — Hollywood composer, Oingo Boingo mastermind — crosses over to classical

Danny Elfman is talking about composers. Not just the ones you might expect from his knowledge of film scores — John Williams, Max Steiner and Elfman’s all-time hero, Bernard Herrmann — but names from the world of classical music: Stravinsky, Prokofiev, Shostakovich.

That’s because Elfman is crossing over. After composing hundreds of scores for film and television — “Batman” and “Beetlejuice,” “Pee-wee’s Playhouse” and “The Simpsons” theme song among them — the award-winning composer has written a violin concerto.

“Eleven Eleven” for Violin and Orchestra, co-commissioned by the Czech National Symphony Orchestra, Royal Scottish National Orchestra and Stanford Live, makes its U.S. premiere March 10-11 in Stanford’s Bing Hall. John Mauceri conducts, and violinist Sandy Cameron, for whom the concerto was written, is the soloist. The program also includes works by Leonard Bernstein and William Walton.

Elfman’s move from Hollywood to “serious” music might seem unexpected. Yet, in a wide-ranging phone call from his home in Los Angeles, which he shares with his wife, actress Bridget Fonda, and their son, the composer said it was characteristic of his approach.

“I have an impulsive way of getting into things without thinking it through,” said Elfman. “It’s kind of normal for me to get a challenge — a throw-down — and go ‘Sure!’ And then later go ‘Who said that? Was it my doppelganger or me?’”

In this instance, the throw-down came from Prague. A few years back, Elfman was there for a performance of a concert of music he wrote for director Tim Burton’s movies — Cameron was the soloist for the work’s “Edward Scissorhands” cadenza — and one of the orchestra’s reps asked him to write a concerto for the violinist. “I said ‘OK, a violin concerto — it can’t be that difficult,’” he recalls.

Actually writing it, he admits, was harder than he’d imagined. “It was a process of education and assimilation,” he says, one in which he listened to dozens of scores (Shostakovich’s Violin Concerto No. 1 was a favorite) and then started composing, bringing to bear everything he’s learned about writing for orchestra in his work for Hollywood.

“I just started it like I start everything,” he says. “I wrote lots of ideas. I probably started with an hour and 20 minutes of music and kind of whittled it down.”

Central to his approach was the idea that 20th-century concert music has become too rarefied. “So much of it is music that I could never play for my family — they’d just be mystified by it,” he said. “I started wondering: ‘Why is it necessarily that way?’ In the past, classical music was written so anybody could hear it and appreciate it. I was trying to find a way of bridging that weird gap.”

Composed in four movements and running about 40 minutes, “Eleven Eleven” is perfectly serious. But it’s still Elfman. The composer, who worked in theater for nearly a decade and was the frontman of the legendary alt-rock band Oingo Boingo before embarking on a Hollywood career, says he tried hard to make the concerto rhythmically intense – and fun. “There are definitely some frisky moments in it,” he says. “I always want to end things with a bit of a bang.”

“Eleven Eleven” premiered at the Prague Proms last June and repeated in Hamburg in September. The Scottish Symphony will record and perform the work later this year.

In the meantime, Elfman has already written and premiered another concert work, a piano quartet which was commissioned by the Berlin Philharmonic Piano Quartet.

And he intends to keep writing for the concert hall; in fact, his goal is one new piece each year. There could be blowback, he says, but that’s fine.

“I know I’m stepping into this other world. But that’s what I’m used to. The thing that fueled me for my first 15 years as a composer was the hostility I got from my own peers. I understood — I came from nowhere and I was upsetting the apple cart. What I realized was that that negative energy was great fuel.

“Now as I enter concert music, I feel that I’ll be up against some of that same energy, and I kind of welcome it. I can’t let it hold me back. I’m getting ready to do three films in a row, and when I’m done with that, I plan to write something really insane. This is like Part Four of my career, and I’m excited about the possibilities.”

 

[Elevator Man]

This is a thorough, in-depth analysis, and a personal lengthy review/rant of the Justice League soundtrack. I’ll be mentioning my overall view of the DCEU movies/scores, thematic/musical continuity, the controversy around the Justice League score, Elfman’s score in the movie, the themes/motifs, highlights of the score, my own personal complaints/criticisms, addressing the criticisms of the score, etc. So this will be a change of pace with how I normally structure my Danny Elfman related score reviews. Each topic will be split into it’s own post so it’ll be more legible.

 

[Elevator Man]

DC Extended Universe Movies

The DCEU movies have yet to impress me. Even Patty Jenkins Wonder Woman, which isn’t a bad film, I didn‘t find that engaging. However, many critics praised Wonder Woman for being DCEU’s best movie, which to me isn’t saying much. Wonder Woman happens to be the least terribleby default in comparison to each DCEU movie pre/post Wonder Woman at the moment. I have difficulty connecting with these films on an emotional level. These movies don’t give me a compelling reason to be invested in these characters and their adventures. With each passing film I lose more and more interest with this extended universe. After Justice League I don’t feel the DCEU is salvageable without ignoring it.
It goes without saying that Disney/MCU is doing a vastly superior job with their properties than WB/DCEU have done so far. That’s a shame because DC should be able to hold their own to Marvel on the big screen. The Dark Knight Trilogy has proven that they can, but that most likely had to do with Christopher Nolan taking the reins of those movies.

In all honesty even the DCAU have done a much better job at adapting similar stories that WB/DCEU have failed miserably at so far. Superman: The Last Son Of Krypton (aka the three-part pilot of Superman: The Animated Series) is a better origin story retelling than Zack Snyder’s Man Of Steel. Batman and Superman’s World’s Finest (aka the three-part Batman/Superman crossover on Superman: The Animated Series) was far superior to Zack Snyder’s dreadful Batman V Superman: Dawn Of Justice. Batman: Assault On Arkham is greater than David Ayer’s terrible Suicide Squad. The 2009 Wonder Woman animated movie is also superior to Patty Jenkins Wonder Woman. Both Justice League: Secret Origins (aka Justice League animated series three-part pilot) and Justice League: War are vastly superior to Zack Snyder/Joss Whedon’s Justice League movie. I’m predicting James Wan’s Aquaman will be inferior to Justice League: Atlantis. It’s embarrassing that these animated movies can tell a cohesive and compelling story in a much shorter/limited runtime than the DCEU movies have with two hours and over.

 

[Elevator Man]

DC Extended Universe Scores

Even though the DCEU films get heavily criticized, for some reason the scores get plenty of high praise (particularly the scores Zimmer and his protégés are involved in). The general consensus (aside from some film music sites) believe that the MCU scores can’t hold a candle to any of the DCEU scores (pre-Justice League). These fans, who believe this, complain about the MCU scores being “bland’, “generic”, “interchangeable with one another”, etc. I honestly believe those who make such criticisms (and even assumptions) are jumping on the bandwagon. Rather than making their own mind they just based their opinions off of somebody else’s that they‘ve heard. Heck those same “critics” probably haven’t heard most MCU scores outside of the movie. I know most of these same people that criticize the MCU scores for being ‘generic” are also Zimmer fanatics. They believe Zimmer can’t do any wrong when it comes to music, which is baloney. The MCU scores being “generic” and “bland” is a common criticism that I have strongly disagreed with. I can count with both hands how many MCU scores I own whereas with the DCEU I can count only with one finger. Take a guess what score what DCEU I’m talking about. I prefer most MCU scores over DCEU’s, which puts me in the minority, I don’t care if it does.

One of the biggest criticisms of the MCU is their scores lacking thematic continuity, which prior to Justice League the DCEU had over them.Alot of these DCEU/Zimmer fanatics believe the DCEU scores are unconventional in comparison to most in the genre. To the majority the so-called themes/motifs for the superheroes (prior to Justice League) feel distinctive of this particular extended universe. The majority of the DCEU scores (particularly the Zimmer related scores) consist of drums, percussion, bass heavy droning, electric guitar, steel guitars, electric cello, electric brass, etc. The scores are very synthetic/electronic driven, which isn’t necessarily a bad thing. Even though the DCEU movies are it’s own separate universe Zimmer and co. scores for each are basically expanding upon his approach to The Dark Knight Trilogy scores. This sound that Zimmer recreated for the DCEU has been plaguing the genre for 12 years (going on 13) now. Even though this approach may seem unique for the genre it’s still fairly interchangeable with Zimmer‘s The Dark Knight Trilogy scores. In fact, Zimmer’s particular approach of film scoring has plagued even more Hollywood blockbusters than it did before Batman Begins and The Dark Knight were released. I can’t give Zimmer full blame since Snyder’s Man Of Steel (produced by Christopher Nolan) and Batman V Superman: Dawn Of Justice were inspired by The Dark Knight Trilogy. One of the main reasons those two movies failed was because how poorly Snyder tried to emulate the bleak and gritty tone Nolan established with those films. Zimmer’s scores also reflect that.

I believe there was (and still is ) variety in the MCU scores. Even though there are some issues with thematic continuity with certain characters having various different themes/motifs. I find MCU scores much more enjoyable than the tiresome rhythmic bass heavy droning and repetitive bombastic pounding of drums that surround the DCEU and most Hollywood blockbusters today. I don’t think any of the DCEU (or MCU for that matter) scores can compare to any of the DC scores for television and film that came out between 1978- 1997 (Superman The Movie - Superman IV: The Quest For Peace, Supergirl, Swamp Thing, Batman (1989) - Batman & Robin, The Flash (1990) TV Series, Batman: The Animated Series, The Adventures Of Batman & Robin, The New Batman Adventures, Batman & Mr.Freeze’s Subzero, Lois & Clark: The New Adventures Of Superman, Superman: The Animated Series). Those DC scores are very distinctive from each other and of their respective characters. That whole era in superhero genre (musically) is in a category of it’s own. Blake Neely’s work for Arrow, CW’s The Flash, Supergirl, and Legends Of Tomorrow can’t compete with those either. John Willaims, Jerry Goldsmith, Danny Elfman, Shirley Walker and her team, Jay Gruska, Elliot Goldenthal, etc. set the bar high for current superhero scores.

I find the majority of the DCEU scores (prior to Justice League) overrated and very un-engaging. I don’t find anything particularly special about any of them. The themes/motifs are too simple and lacks nuance. These scores are also over praised by the DCEU/Zimmer fan community. Probably the main reason these fanatics enjoy these scores so much is because they can jam and work out to it. To me these particular DCEU scores are aimed more at the ADD crowd that get very ecstatic over the sound of repetitive pounding of drums, rhythmic playing of electronic instruments, etc. The scores are way too atmospheric, edgy, and bleak, which Snyder and co. were aiming for, just for the sake of distinguishing itself from the MCU. Not every DCEU score (or film) needs to be dark, grim, and gritty. And taking a more serious approach doesn’t automatically equal quality.

 

[Elevator Man]

Hans Zimmer’s Brief Retirement From The Superhero Genre

Back in 2016, while promoting Batman V Superman: Dawn Of Justice Hans Zimmer proclaimed to the world that he was retiring from the superhero genre. Breaking the hearts of the DCEU fan community and his own sycophants all over the world. As well as conning most people (except me) into believing that he was done with the genre entirely. Leaving Junkie XL, who wrote additional music for Man Of Steel and was credited as Zimmer’s main co-composer of Batman V Superman,to take over as composer for Zack Snyder’s Justice League. I knew it was baloney when Zimmer first made that announcement because if one of his collaborators (Ron Howard, Christopher Nolan, Gore Verbenski, etc.) wanted to hire him for a superhero project they’re involved in. I doubt he’d refused. Or if any director, who wanted Zimmer as their composer, was working on a superhero movie that would be innovative to the genre. I doubt Zimmer would decline the opportunity to score it. And it seems it didn’t take much to lure him back in.

Zimmer is also very wishy washy. Back in late 2010 he denied rumors that he was scoring Man Of Steel. In June 2012, he confirmed he was scoring Man Of Steel because he completed his scoring duties on The Dark Knight Rises. So basically he already had the job but WB didn’t want to distract him on The Dark Knight Rises. When it came time for Zimmer to score Batman V Superman his original plan was to avoid scoring any of the Batman portions (which he‘d leave to Junkie XL), but would handle the Superman related portions and anything unrelated to Batman. That’s because he felt he had already established his own Batman themes/motifs for the Nolan trilogy. And probably felt there wasn’t anything more he can say about Batman musically. Not to mention Zimmer was probably worried that he’d lean back on those themes/motifs. Wrong. Even though Zimmer didn’t borrow any of his themes/motifs from The Dark Knight Trilogy he still ended up writing the so-called Batman theme for Ben Affleck/Zack Snyder’s Batman aka Batfleck and not Junkie XL. Back in January of 2018 (less than two years from when he proclaimed his retirement from the superhero genre), Hans Zimmer stepped out of superhero retirement to begin writing the score for X-Men Dark Phoenix. So scoring the seventh X-Men movie is what gets him out of retirement.

I believe what Zimmer meant when he claimed he was retiring from the genre was that he was retiring from scoring anymore DCEU movies. The DCEU movies he’s scored have been panned by critics, have been polarizing to fans, and underperformed at the box office. Not to mention The Amazing Spider-Man 2,which Zimmer also scored, wasn’t received well, critically or financially. I can see why Zimmer needed a break from the genre. Even though the DCEU was already sinking, I personally believe Zimmer wanted to jump ship before it sunk completely with Zack Snyder‘s Justice League. And boy did Zimmer dodge a bullet by avoiding scoring that train wreck of a movie.

 

[Elevator Man]

Danny Elfman Replaces Junkie XL On Justice League

Junkie XL aka Tom Holkenborg was going to take over scoring duties for Justice League after Zimmer’s brief retirement. Due to the backlash of Man Of Steel and Batman V Superman,WB/DCEU wanted to course correct for Justice League by pushing for a more lighthearted, family friendly, and comical approach because (in their minds) that’s the secret ingredient as to why MCU is superior and more successful to them. In the summer of 2017, Zack Snyder was replaced by Joss Whedon (writer/director/former MCU alumnus) to re-shoot certain scenes by adding more humor and tweaking the film to WB’s liking. In June 2017, for reasons still unknown Whedon hired Danny Elfman to replace Junkie XL. There hasn’t been any confirmation if Junkie XL recorded a score before he was fired by Whedon. Nobody knows the reason he was fired other than course correction. Either WB and Whedon weren’t satisfied with Holkenborg’s synth demos/mock ups of the score, or weren’t confident in his abilities to score a big tent pole movie like Justice League without Zimmer’s guidance, or just didn’t think he was capable of depicting the lighthearted and humorous tone WB was pushing for in the movie, etc. Aside from a tweet about being fired off the project Holkenborg hasn’t opened up about the details of his departure since.

Even though I knew the movie wasn‘t going to be any good or well made. Elfman replacing Junkie XL was still a major upgrade. I almost couldn’t believe the news at first. It was 25 years since the last DC movie (Batman Returns) he scored. After his stellar contributions to Avengers: Age Of Ultron (also directed by Whedon) I was hoping the MCU would hire him for future scoring gigs. I know Whedon was responsible for the decision but Elfman is one of the last composers I would think of who would score a Zack Snyder movie. However, Elfman has scored movies directed by the likes of Brett Ratner and McG so… Elfman is a veteran in the genre. I prefer Elfman’s superhero output over Zimmer’s, whose superhero scores (aside from The Amazing Spider-Man 2, which the majority seems to dislike ironically) haven‘t impressed me. So him scoring Justice League should be a fanboys wet dream.

However, the DCEU/Snyder/Zimmer fanatics were very under whelmed by the hiring of Elfman. Most were panicking over rather Elfman would deviate from the sound/tone Zimmer recreated for the DCEU. They were concerned that WB and Whedon wanted a “mundane” and “safe” MCU score instead of the bleak bombastic pounding of drums and droning sound design that the DCEU scores were known for. Even though WB was pushing Snyder to make a less gritty and more lighthearted family friendly superhero movie, most were worried that Elfman’s style would be too cartoon-y, campy, and goofy for Snyder’s vision anyway. They were especially concerned about thematic continuity. Up until Justice League the DCEU aficionados felt that WB/DCEU has been consistent with thematic/musical continuity compared to the MCU, which was very surprising about a franchise dealing with a shared universe.

 

[Elevator Man]

Thematic/Musical Continuity Being Pivotal Or Not To Scores In A Franchise

I’m neutral to thematic/musical continuity. If a sequel, prequel, reboot, etc. ditches a theme(s) for a new one(s) I won’t get irked about it as long as it impeccably reflects the film/story/tone/characters journey and vice versa. It’s icing on the cake whenever a sequel, prequel, etc. continues a theme established from a previous film. When it comes to film scoring there aren’t any rules. Just like there aren’t any rules stating a composer must use themes already established in the franchise instead of their own. There have been plenty of examples where film scores to franchises have been inconsistent with thematic continuity. Most of the scores from the Star Trek Franchise (particularly Star Trek: The Motion Picture - Star Trek: Generations) aren’t consistent with thematic continuity, but each score compliments the films it’s written for. Even though for the sequel Leonard Rosenman avoided adapting any themes from Basil Poledouris’ RoboCop, he still managed to come up with a score that perfectively depicted the tone of RoboCop 2. The same could be said aboutthe Alien Quadrilogy, X-Men Franchise, The Planet Of The Apes Reboot/Caesar Trilogy, The Amazing Spider-Man Duology, Brendan Fraser Mummy Trilogy, Anthony Hopkins Hannibal Trilogy, MCU franchise, etc. So it shouldn’t be a deal breaker or a turn off if the score in a franchise compliments the film/story but is lacking thematic/musical continuity. Scores from franchises can still be impressive despite the lack of musical/thematic continuity.

 

[Elevator Man]

Elfman Avoiding The Majority Of DCEU Themes/Motifs

As someone who wanted the DCEU scores to move away from the percussive Zimmer droning sound, which has plagued most DC movies (even Martin Campbell’s Green Lantern) since Batman Begins, I was pleased about Elfman drifting away from it for Justice League. I never had any doubt he wouldn’t. None of the DCEU scores (prior to Justice League) connected with me on any emotional level. I was cool with Elfman doing a complete overhaul of the Zimmer sound due to my lack of emotional attachment to any of the themes/motifs created for the characters.

The DCEU/Snyder/Zimmer fanatics weren’t pleased when they realized Elfman was going to ditch most of the so-called themes (particularly Superman and Batman‘s). For some reason in the DCEU community Man Of Steel is considered one of the greatest scores ever written (both in and outside of genre). The main theme from Man Of Steel, (which can be heard in the 3rd trailer,at the end of Man Of Steel, and even during one of the Justice League trailers) gets a considerable amount of high praise. These fanatics even get emotional when hearing it. Me, however, wasn’t impress with the score or any of the themes/motifs introduced. Zimmer bragged about the drums in that particular score being performed by some of the world’s greatest drummers or something to that extent. However, the performance from the percussive/drum section was interchangeable with Zimmer’s previous scores that used ‘em. Zimmer’s Superman theme, which is actually a motif, is overrated, too simple, and lacks nuance. The two note motif wasn’t anything special. I found previous Superman themes (from films and television) vastly superior to what Zimmer came up with. Even Zimmer’s Spider-Man theme (from The Amazing Spider-Man 2) is a superior Superman theme than what he composed for the title character in Man Of Steel. His Superman motif didn’t grow on me after Batman V Superman: Dawn Of Justice eitherbecause it was always performed the same way. It had a dark, moody, bleak tone, which reflected Snyder’s “grown up” and angst-y version of Superman/Clark. The six note sentimental piano driven Clark Kent theme, which sounds very similar to Elfman’s emotional father/son theme for Charlie and Max in Real Steel, did little for me.

Elfman has gotten a lot of crap from the DCEU/Zimmer fanatics for ignoring both themes. Zimmer never found a moment in both Man Of Steel (aside from the end credits) and Batman V Superman for the Superman theme to shine in it’s full glory. So it’s not like Zimmer took advantage of it either. Honestly I don’t believe the theme would effective in any action scene. It was hardly utilized in both Man Of Steel and Batman V Superman during most of the action scenes that featured Superman. There’s a reason why it’s been taken more advantage of in the trailers than in the actual films representing the character because it’s makes for better trailer music than a Superman theme. Therefore it works better in trailers than in the movies that feature this particular interpretation. Superman appeared by the end of the 2nd act/beginning of the 3rd act of Justice League. He was basically the deus ex machina of the plot. I bet it would’ve been difficult (even for Zimmer) to insert the theme in it’s full glory somewhere without it feeling forced.

A lot of people believe Junkie XL was responsible for the five/six note motif for Batfleck. However, a couple of months ago the Batman V Superman complete soundtrack leaked along with who was credited for what on the cue sheets. Surprisingly Junkie XL wasn’t actually responsible for writing the Batfleck motif. In fact, he wasn’t as heavily involved with the soundtrack as much of us thought. Out of the 53 tracks he was credited with assisting on seven tracks. He wasn’t the sole composer on any particular track. Zimmer’s other collaborators (Steve Mazzaro, Andrew Kawczynski, and Benjamin Wallfisch) on the project assisted on more tracks with Zimmer than Junkie XL. The cue sheets also revealed that Junkie XL didn’t actually compose the Batman theme but Zimmer himself did. So what exactly did Junkie XL contribute to the score for him to share composer credit alongside Zimmer on the press kit and soundtrack? Steve Mazzaro, Andrew Kawczynski, and Benjamin Wallfisch were much more involved than him.

Anyways Zimmer’s bombastic Batfleck motif is basically five/six notes of repetitive rhythmic pounding of drums, which is suppose to depict Bruce/Batman’s inner rage throughout the movie. By the middle of the movie it unintentionally turns into self parody. Zimmer’s Batfleck theme even manages to be inferior to his Batman motifs from The Dark Knight Trilogy,which I’ve often nitpicked. It’s easily my least favorite Batman theme, because it’s becomes obnoxious and lacks any real depth or imagination. Just sounds like it was written for a villain rather than Batman, who throughout most of the movie was an unhinged ruthless antagonist. Despite my dislike of the theme it does characterize Snyder/Affleck’s butchered interpretation of the dark knight. Just doesn’t capture the essence of the character.

I was also relieved that Elfman ignored the Batfleck theme in Justice League. There wasn’t any need for him to adapt it because in Batman V Superman the death of Superman inspired him to keep his rage in check. Throughout Justice League Batman’s a little more friendly and frivolous. It wouldn’t make sense for Elfman to adapt it. I also believe it would’ve been an insult to Elfman, who’s already proven (in both Batman (1989) and Batman Returns) he has a much better understanding of that character than Zimmer has in the four Batman movies he‘s scored.

Even though I don’t care for Zimmer’s Man Of Steel scoreI can see where fans of it are coming from, who were disappointed that he didn’t acknowledge the theme(s). They want thematic/musical continuity. After all, for Avengers: Age Of Ultron Elfman created a hybrid theme from Silvestri’s Avengers theme that was utilized throughout most of the integral moments in the sequel. He even used Silvetsri’s Captain America theme briefly at the beginning of the final track. I’m sure he was capable of adapting Zimmer’s Man Of Steel theme if he wanted to. However, there wasn’t any reason for him to adapt the Batfleck theme because it served it’s purpose in Batman V Superman.

It’s interesting that Elfman received a lot of backlash for ignoring Zimmer’s Batfleck theme but Steven Price, who also avoided using the theme whenever Batman appeared in Suicide Squad, didn’t. Talk about double standards. I bet those same fans, who complained about Elfman, didn’t have any problem with Zimmer’s The Amazing Spider-Man 2 score ignoring James Horner’s themes from the previous film. If Zimmer is given carte blanche on X-Men Dark Phoenix and doesn’t adapt any of the established themes/motifs from previous films. I’m calling it now that the Zimmer fanatics won’t complain about the lack of thematic continuity if that ends up being the case. That also shows how bias these sycophants are of Zimmer.

 

[Elevator Man]

Elfman Revitalizing The Iconic Superman (1978) and Batman (1989) Themes Into The DCEU

After Elfman confirmed that he wouldn’t be using Zimmer’s Batfleck theme, even though he was scoring a movie featuring the character in that same universe. Most were speculating on whether or not he would adapt his own Batman theme from the two Tim Burton movies. In an interview Elfman confirmed that he would indeed be using his iconic Batman theme from both Michael Keaton Batman movies instead. The fan reaction was divisive. The reaction of this news was mixed between fans being either ecstatic, disappointed, or furious. Elfman got a lot of backlash when in that same interview he claimed that there has been only one Batman theme, which was his own. That remark not only triggered most DCEU fanatics but particularly the fans of The Dark Knight Trilogy (aka the Nolanites), ****eally came after him with that statement. Calling him “egotistical”, “pompous”, “arrogant” etc. The main reason the Nolanites/DCEU/Zimmer fanatics were outraged because he didn’t acknowledge any of Zimmer’s so-called themes from the Nolan trilogy and Batman V Superman, which in these zealots opinions contain their definitive Batman themes/scores. Some have speculated that Elfman made that statement as a retort to Zimmer’s inane remark of Elfman’s Batman theme being “happy“ and ”jolly”, which it wasn’t, during some interview promoting The Dark Knight. And I know that Zimmer’s comment was just a poorly worded attempt to explain why Elfman’s theme wouldn’t blend well with Nolan’s more grounded interpretation of Batman and the world he inhabits.

Robert J. Kral, whose composed some DC animated films, adapted his Batman theme from the “Deadshot” segment of Batman: Gotham Knight into Batman: Assault On Arkham. Kral’s score for Superman Vs The Elite reused his Superman theme from Superman Doomsday. Even though none of those stories are connected in anyway. Why didn’t anybody having a problem with that? John Ottman reused his X2 theme for X-Men Days Of Future Past and X-Men: Apocalypse but I don’t recall anybody being upset. It’s baffling that an accomplished veteran composer such as Elfman gets a lot of vitriol thrown at him for making the right call on ditching the repulsive Batfleck theme for his own theme. To each their own.

Now personally I don’t agree with Elfman about there being only one Batman theme. There’s a lot of Batman themes/scores that I believe perfectly characterizes their respective films, characters, etc. e.g. Shirley Walker’s Batman: The Animated Series/Mask Of The Phantasm, Elliot Goldenthal’s Batman Forever/Batman & Robin, Christopher Drake’s In Darkness Dwells (from Batman: Gotham Knight) and The Dark Knight Returns Parts 1 & 2 to name a few. However, I can see where he‘s coming from with his statement. He’s pretty much saying that there isn’t any Batman theme that is as iconic as Batman (1989). Sure fans will argue the theme from the 60s Adam West TV show being more iconic, but that’s mostly a melody from a theme song. (“Na Na Na Na Na Na Na Na! Batman!”). So it’s debatable but has there been a Batman theme on the big screen that has become as iconic as Batman (1989)? Elfman even adapted his Batman theme for Batman: The Animated Series, which played over it’s intro and end credits. Shirley Walker even adapted the theme into a few episodes (somewhere between 3-5) of the first season. Even certain fans remember Elfman’s theme from that show rather than from both Tim Burton movies.

Due to Batman: Mask Of The Phantasm flopping at the box office Walker’s theme never got the opportunity to resonate in pop culture the way Elfman’s theme has. The two Joel Schumacher Batman films are mostly remembered for bat nipples, extravagant sets, neon lighting, over the top villains, two different actors in the same continuity playing Batman, being campy, but mainly for destroying the Batman franchise. For those reasons alone Goldenthal’s scores tends to get overlooked or criticized for being apart of those films.

Even though originally Zimmer came up with a Batman theme that he later scrapped. There isn’t any defining Batman theme in The Dark Knight Trilogy.Zimmer himself even mentioned in an old interview promoting Batman Begins, why he avoided giving Batman a main theme, which was because the dark knight was just beginning his war on crime. So he felt Batman hadn’t earned his theme yet or in the entire trilogy apparently.SoZimmer or James Newton Howard came up with a myriad of motifs, which represented various traits of Bruce Wayne/Batman. No matter how successful and lauded The Dark Knight Trilogy has become in pop culture the scores will never be as iconic as Elfman’s.

Zimmer’s Batfleck theme is anything but iconic. It’ll only be remembered for how mediocre it is. So even though I respectfully disagree I can see why Elfman feels his theme is the only Batman theme. I didn’t find anything ignorant or arrogant about his remark. A lot of people overreacted to that statement. How is it any different from Adam West, Michael Keaton, Christian Bale being defensive of the role whenever they give there thoughts on an actor taking the Batman mantle?

I’ll admit I was a little ambivalent about Elfman reusing his Batman theme for Justice League. That’s only because I was curious of what a current Elfman Batman theme made from scratch would sound like depicting Batfleck. Once I got over that I was excited because his writing has evolved so much since those Batman scores. I knew Elfman would take a more subtle and introspective approach with the iconic theme. This was an opportunity for him to explore the theme in places that he couldn’t/didn’t with the Burton films. Elfman knew that he couldn’t come up with a new Batman theme that would describe the character as perfectly as his original 1989 theme did. So he didn’t risk it like Zimmer did. We saw how that turned out for Zimmer‘s Batfleck theme, which surprisingly managed to be inferior to the Batman material he wrote for the Nolan trilogy. Guaranteed people would’ve complained about Elfman’s new theme being inferior to his original theme had he created a new Batman theme. Anyways other than the fact that Zimmer’s Batfleck theme was tedious it made sense for Elfman to ditch it. Since Batfleck in Justice League was a lot more mellow, amicable, and rational compared to how he was written and portrayed in Batman V Superman.

I wasn’t ambivalent at all about Elfman adapting John Williams’ iconic Superman theme. If anything I was more curious of how he was going to blend it with the DCEU depiction. Plus hearing Elfman‘s take on the Williams theme is a fanboys dream. The DCEU/Zimmer devotees were upset over Elfman replacing Zimmer’s theme, which has been established as Superman’s theme in the DCEU, with the Williams theme. However, due to my lack of any emotional attachment to any of the DCEU themes/scores I was more than cool with it. I know I’m in the minority, but I just don’t care for Zimmer’s Man Of Steel theme/score.

During an interview in January 2018, while promoting Don’t Worry, He Won’t Get far On Foot at the Sundance Film Festival, Elfman mentioned that he begged WB/DC if he could use Williams’ Superman theme. So I don’t believe he ever planned on using Zimmer’s Man Of Steel theme(s). From a story perspective an argument can be made that when Superman died in Batman V Superman: Dawn Of Justice his theme(s) (along with everything fans and detractors disliked about this interpretation) died with him. In the middle of Justice League, Clark/Kal-El is resurrected by the league. Williams’ theme reflects that the Man Of Steel is reborn into a much more friendlier and altruistic Superman, who’s a lot closer to Christopher Reeve’s version than the cold, moody and angst driven version in the previous two movies.

A lot of fans found it lazy that Elfman reused his Batman theme and the Williams theme because those themes were written for different versions than that of the DCEU. They believe it was just a poor attempt at nostalgia and fan service. Plus in their opinion the DCEU scores had already perfectly established it’s themes for Batfleck and the Man Of Steel. So in other words they don’t think the iconic Batman and Superman themes fit the DCEU. I disagree I think the Batman theme compliments Burton/Keaton’s version but at the same time it nails the essence of the character itself. So to me I think it’ll blend in with most versions of Batman. I thought it blended nicely with Batfleck. The same can be said about Williams’ Superman theme. In fact, both themes has a better understanding of the character than Zimmer’s did for the Snyder versions. The Batfleck theme mostly represented his rage in that movie and that’s it. Sure the Man Of Steel theme gives the impression of hope but nothing else about Superman. There isn’t much nuance compared to the Elfman and Williams themes. Plus both Elfman’s Batman’s theme and Williams’ Superman theme are timeless.

Even though the Burton Batman films weren’t connected to Batman: The Animated Series in any way, I wonder why fans didn’t complain about that show using Elfman’s theme? Why haven’t they complained about the James Bond films using the James Bond theme, even though there’s been many actors and different interpretations of the 007 character? Why didn’t they complain about the RoboCop reboot using Poledouris’ RoboCop theme from the 1987 film? Why didn’t anybody complain about Antoine Fuqua’s 2016 remake of The Magnificent Seven reusing Elmer Bernstein’s theme from the original 1960 movie? Why didn’t anyone complain about John Ottman reusing his X2 theme for X-Men Days Of Future Past, which was a direct sequel to the soft reboot of X-Men First Class? Nobody complained about Jerry Goldsmith using his own Star Trek: The Motion Picture theme for the opening intro/end credits of Star Trek The Next Generation TV series. It proves my point about how arbitrary the actual importance of thematic continuity is. Thematic/musical continuity only becomes an issue for those who have an emotional attachment to an established theme/motif being ignored/replaced in a sequel, reboot, prequel, etc. Like I mentioned earlier when it comes to film scoring and thematic continuity there aren’t any rules. At the end of the day what should matter is if the score compliments the movie/story or not.

 

[Elevator Man]

Danny Elfman’s Score In The Movie

It’s unfortunate that Elfman’s score had little impact in the actual film. The movie had a poor mix of the score that you wouldn’t notice if you had tried. After re-watching certain clips on you tube for context my opinion hasn‘t changed about the shoddy mixing of the score. I had to turn up the volume, but it was still very difficult to hear the score (especially during the action scenes). Aside from the film’s opening logos, during most of the confrontation between Superman and the league, and whenever the Flash uses the speed force the score isn’t given many moments to shine in the movie. The only reason the score stands out during the Flash’s speed force moments is because everything is moving in slow motion. Therefore, the sound effects is somewhat dialed out leaving Elfman’s music to carry the moment (even if it‘s for 30 or so seconds).

During the film’s final battle Whedon wanted Elfman to cut loose with the Batman theme as the batmobile was in action. Prior to that moment in the score/movie Elfman showed some restraint with the Batman theme by hinting at it. This moment was the opportunity for the Batman theme to appear in it’s full glory. Unfortunately the sound mix prevented everyone from hearing it in the movie because it was buried under heavy sound effects. You could barely hear it if you could at all. I bet this was infuriating for Elfman when he heard the mix in the film. I bet if it’s anything he dislikes more than temp music it’s competing with the loud sound effects.

These sound re-recording mixers must really have it in for Elfman. I’ve notice this with a couple of big budget action films he’s scored in the past. One of the sound re-recording mixers of Spider-Man 2 claimed that between the score and sound effects that it was 50/50 sound effects that carried the film. Elfman’s score for Terminator Salvation was either dialed out or buried under blaring sound effects for most of the movie. Heck even the more dramatic moments were mixed low. .Avengers: Age Of Ultron score (both Brian Tyler and Elfman’s)was also poorly mixed in the film. Maybe these sound re-recording mixers aren’t Elfman fans. It’s ironic that out of all Snyder directed DCEU movies that the Justice League’s scoreis the lowest mixed in the movie. However, Zimmer’s scores for both Man Of Steel and Batman V Superman is blaring in the background nonstop to the point it’s overpowering scenes with dialogue.

It’s a shame that Elfman’s score didn’t get to be center stage (aside from the speed force moments) during scenes that called for it in the film. Writing for long and big action set pieces is difficult as it is especially with time restraints. However, when most of the footage he was scoring from the movie were storyboards it must’ve really irked him of how the mixing of the score was handled. And seriously storyboards is what Elfman had to work with but not previs, which has been around since the mid 90s. It boggles the mind that a 2017 big budget tent pole adventure movie would have mostly storyboards for the composer to score to. That’s the consequence of a timid studio micro managing Justice League by having it be reshot, reedited, etc. With that said the mixing of Elfman’s score in the movie didn’t do him and viewers any favors, unfortunately.

 

[Elevator Man]

Themes/Motifs Of The Justice League Score
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Batman (1989) Theme

For most of the Justice League score/film Elfman showed restraint with his original 1989 Batman theme. He mostly teased it by sometimes inserting fragments of the theme into certain cues.

Elfman inserted a truncated rendition of the Batman theme in “Hero’s Theme”, which some listeners have claimed is just another variation of his Batman theme. A brief somber statement of the Batman theme opens “Then There Were Three”, which was the cue centering around Bruce, Diana, and Barry seeing the bat signal in the sky and then meeting Commissioner Gordon on the rooftop. Though the theme can clearly be heard it’s still very subtle near the conclusion of the cue. Three statements of the Batman theme appears at the 2:50, 3:07, and 5:57 mark during the edited version of “The Tunnel Fight” However, those same statements appear at the 5:00, 5:47, and 10:27 mark during the full length version of “The Tunnel Fight” on disc 2. The Batman theme gets to finally cut loose in it’s triumphal full glory in “The Final Battle” which can be heard at 1:14 (in the edited version on disc 1) and at 1:26 (in the full length version). Unfortunately in the movie that pivotal moment was buried under sound effects. At least listeners get to enjoy it outside of the movie. I know I did. There’s a snippet of the theme at 2:17 (in the edited version on disc 1), and 5:40 (in the full length version). Another brief statement of Batman theme can be heard at 1:48 on the full length version only.

The CD booklet credits “A New Hope” with utilizing the Batman theme, but it doesn‘t appear (not even briefly) anywhere in the track at least to my ears. I think it was a goof in the booklet because the Batman theme wasn’t credited on the track “Anti-Hero’s Theme”, which concluded with a final solemn statement of the Batman theme.

Overall, Elfman used his iconic Batman theme very sparingly in the score. I never found the theme distracting or incongruent with this score or the tone the movie was aiming for. In fact, when I heard the various renditions of the Batman theme in certain tracks it didn’t remind me of the Burton Batman films, which spawned it. All I thought of was Batman either lurking or taking action. I wasn’t taken out of the moment unlike certain fans. I was satisfied with how Elfman handled his own Batman theme in the score.

 

[Elevator Man]

John Williams Superman (1978) Theme

Elfman only adapted Williams’ Superman theme for two cues “Friends And Foes” and briefly in the middle of both the edited/extended versions of “The Final Battle”.

Williams’ Superman theme opens “Friend And Foes” with a sort of hopeful but perplexing rendition, which reflects Kal-El’s, the league’s, and the viewers/listeners suspicion if he’s himself or not. The opening twenty seconds parallels exquisitely with the story musically because I feel that Elfman is welcoming the legendary theme into the DCEU as the league is welcoming (though hesitantly) Superman back in the movie. During this particular moment The Flash and Wonder Woman are in awe of Superman because he’s a legend to them, which was never explored in this iteration prior to this moment, but whatever. At the 0:22 mark Williams’ theme becomes grim and suspicious as Superman’s confused as to how/why he’s back alive, if theses strangers (the Justice League) are there to harm him or not. The music also emphasizes the league being skeptical about rather Superman is a friend or foe. Shortly after a fight erupts between the league and Superman. At the 1:37 mark the Superman theme becomes more threatening and tenacious as the league altogether attempts to subdue the man of steel, who seems to be unstoppable at this point. For the remainder of the track the Williams theme gets a final mighty reprise at 2:18 as the Flash dodges Superman’s swings /punches while both are using super speed. I was grinning during that moment in the theater when I recognized the Williams theme. Elfman makes the most of the iconic theme in this entire track. I appreciate how during the fight scene Elfman employed Williams theme to depict how invincible and dangerous Superman seemed to be. Elfman succeeded my expectations with how he twisted the Williams Superman theme.

The last reprise of the iconic Superman theme can be heard in “The Final Battle” (edited version of disc 1) at the 2:43 mark. It’s very triumphant rendition, where Superman returns in costume to join the fight against Steppenwolf and his parademons. However, in the full length version of “The Final Battle” at the 9:24 mark only a few bars of the Williams theme appears, but dials out the final bars of the theme. In doing so the theme lacks that bold heroic finish, which was included in the edited version of the cue. Unlike most I didn’t mind the Williams theme being used during that moment because it characterized Superman’s return better than Zimmer‘s Man Of Steel theme ever could.

You’d think Elfman would’ve left hints of the Williams theme in a track titled “The World Needs Superman” but didn’t for some odd reason. It’s a real missed opportunity because the track itself is short and doesn’t really amount to much. The track, which depicts Bruce lamenting the death of Superman, is very somber. Elfman probably thought it was best to resist the theme until after Superman was resurrected. However, a mournful rendition of Williams’ Superman theme would’ve made the track feel less shallow.

Overall, I was satisfied with how Elfman adapted Williams’ Superman theme into the Justice League score. Neither this theme or Elfman’s Batman theme overshadowed the rest of the score or overstayed it‘s welcome. Some have complained about both themes being underutilized in the score. So let me get this straight fans of both the iconic Williams and Elfman themes really wanted Elfman to over saturate it into a movie/score centered on the Justice League. They do realize that Justice League is an ensemble movie (albeit a poorly made one) featuring DC’s most popular superheroes and not a solo Batman or Superman movie. DCEU fanatics have already criticized both themes for even existing in this separate universe. Overexposing both themes would’ve added fuel to the fire. Elfman also mentioned that he was going to twist the Williams theme to the point where fans may or may not even notice it. Whether he succeeded or not is up to the listener.

I know that most fans have complained about Elfman replacing Zimmer’s Batfleck and Superman themes for the old school Batman and Superman themes. A lot of that has to do with them feeling that those themes are ingrained with those older films. Therefore it feels too retro or outdated for the DCEU incarnations. I disagree. Hearing the Williams Superman theme made me think of Superman, but not Richard Donner/Christopher Reeve’s Superman. I share the same sentiments for Elfman’s Batman theme in the score. Sure Zimmer’s Man Of Steel theme may depict Zack Snyder/Henry Cavill’s interpretation, but I don’t think of Superman when hearing that theme. So to me both themes didn’t feel incompatible with DCEU. In fact, I believe both themes are more ingrained with it’s characters than Zimmer‘s themes will ever be. Why didn’t anyone complain about the 2014 RoboCop reboot using the iconic Poledouris theme? Even though it wasn’t connected to the original trilogy. If it bothers them so much that a theme from 30 years or over was reused in a new interpretation then they should be complaining about reboots like Joe Carnahan’s The A-Team, JJ Abrams Star Trek movies, the James Bond Franchise, Tom Cruise Mission Impossible franchise, etc. for doing the same.