- This topic has 130 replies, 16 voices, and was last updated 3 years, 11 months ago by
.
- Posts
Just when I thought I wouldn’t see this possible POS they are trying to pull me back in:
http://www.hollywoodreporter.com/heat-vision/justice-league-danny-elfman-compose-score-1013319
I don’t know. “Wonder Woman” left me with hope that DC can still make great movies. I enjoyed Batman V Superman for what it was, but Suicide Squad was just terrible.
I am interested to hear what Elfman does with this. Did JunkieXL write any of the score yet? If so, will Elfman adapt it or use his own?
I don’t really recall anything special about Batman V Superman’s score, so I can’t say I’d miss JunkieXL :/By the way, I like the new forum. It’s been awhile since I’ve been on here.
I ded…
Incredible news although I highly doubt we’ll hear Batman or The Flash theme in there (a quick quote perhaps). It’s not the same kind of movies and I bet there are some lawyers that wouldn’t let it happen anyway…
My guess this is DC’s way of moving JUSTICE LEAGUE into the friendlier tone of AVENGERS/GUARDIANS OF THE GALAXY. Elfman is a perfect fit for that tone — he can handle the action, the humor and heart (if all three of those things are in the film!)
I imagine the fanboy hate will ratchet up over the next few months. I’m OK with Tom Holkenborg (can we please call him by his real name already?) but don’t see him as a fit for a Whedon-influenced JUSTICE LEAGUE.
Meh. I don’t care about superhero movies, and I’ve not cared for an Elfman superhero score since BATMAN RETURNS, basically. I also think the last big, “bombastic” score he did that was any worthwhile was ALICE IN WONDERLAND, and that’s, what, 7 years ago now. I prefer him in ‘indie’ mode these days.
Junkie XL was a better fit, but here — too — I prefer him in other modes, or for other genres.
Thor, you don’t get those smaller, intimate scores without the big blockbusters. After JUSTICE LEAGUE I’m sure Elfman will turn to something non-film. I just hope he scores DUMBO before retreating into indie land again.
Yeah, it’s nice that he varies his assignments and all, but there are plenty of ‘big’ titles he can do (for the money) that aren’t big and bombastic action stuff. Not that Elfman needs that money anyway.
Oh I wasn’t talking about money, what I was talking about it is the more intimate scores are obviously a response to the big, loud ones. If all he’s writing is intimate ones, well then where’s the diversity?
Always dreamed that Danny Elfman would return to the Batman universe. Never thought it would be for something like this. ALTHOUGH… Joss Whedon is doing reshoots and post-production so this might turn out as a slightly different movie than originally intended.
I hope Elfman’s got some time to score this. This is his biggest movie since Spider-Man 2 and I’d hate for him to have to farm out a lot of cues.
Keep thinking about this. How huge this is. I mean, Danny wrote additional music for THE AVENGERS, adapted Silvestri’s theme into something new, now he gets to do the same thing for JUSTICE LEAGUE. He is literally putting his musical fingerprints on every major comic book character in film today.
Visually the trailer is quite something – Snyder’s storytelling skills are clearly lacking but the dude surely knows how to shoot a movie. Getting quite excited imagining these scenes with Elfman music.
Ryan — personally, I think there’s more than enough versatility between something like THE CIRCLE, THE END OF THE TOUR or THE UNKNOWN KNOWN, just to mention three recent ones that I’ve all liked. I really want him to take a long, big break from these superhero-type movies. He’ll get his ‘diversity’ fix perfectly without them.
He’s barely touching the comic book genre anymore, it’s not like he’s in charge of the Marvel or DC Universe. Would he only write small scores for small projects, we would get tired of it as well. Versatility is one of his main quality after all.
If I wanted to hear the same thing every time, I’d be a Zimmer fan.
Zimmer is one of the most versatile composers around, constantly reinventing himself when his “copycats” do not. But that’s a different discussion.
I maintain what I said earlier — I don’t think it’s a prerequisite to do big superhero movies (or other action blockbusters) to have a sense of versatility.
I really wonder how much of the existing musical material will Elfman use. Will he quote a lot of it ? Will he tweak the themes ? Will he come up with something new ? Will he use his old Batman/Flash themes ? It’s doubtful but he might make an homage to himself here and there.
As for the film, it looks busy, loud and shallow.
I imagine he’ll be asked to use the Wonder Woman theme. Hopefully he ditches Zimmer’s Batfleck theme which was weak. I imagine he’ll be concentrating on the Justice League and Steppenwolf themes as that’s where he can leave a mark.
I really hope Whedon gets Elfman on Batgirl. Apparently it has Robin and Poison Ivy in it – we could have Elfman scoring Batman’s rogues again after thirty years.
If you read the comments on Youtube then you’d believe that the Wonder Woman theme was the greatest ever written.
- You must be logged in to reply to this topic.