- This topic has 130 replies, 16 voices, and was last updated 4 years, 11 months ago by
.
- Posts
I have. I notice about a dozen new things each time I listen to it.
The booklet has a lot of neat pictures from the recording sessions.
Toprak, Lindgren and Zanelli are all credited with ‘Additional Music and Arrangements’, but so were Bacon and Lindgren for Alice 2 and that album is all Elfman. We’re none the wiser until the BMI repertoire updates.
Looking at it now, surprised at the number of scoring session photos!
Individual tracks do not indicate what contains “additional music”, but my guess is the Zanelli contribution was at least the use of “Krytpon Theme” from Hans’ MAN OF STEEL, which is not on the disc.
I think the ‘Krypton’ cue was tracked in, though I might be wrong.
The unreleased music from the hostage situation didn’t sound like Elfman to me, as Ryan mentioned earlier.
I can’t even get through the original album (I only have a digital copy; I’m missing a bunch of recent Elfmans in physical format), but I’ve made a pretty OK 33-minute playlist that I can work with. I’m flabbergasted by the popularity of this noisefest.
Well, if you think it’s being overpraised you should put some of the tracks on YouTube and read the comments.
Based off of the scores for Man Of Steel and Batman V Superman a noise-fest is exactly what Justice League would’ve gotten if Junkie XL hadn’t been replaced.
Quite the contrary; JXL’s work on those movies is far more interesting than anything in JUSTICE LEAGUE.
Actually, I’ve been a JXL fan since the “A Little Less Conversation” remix in the early 2000s. Love his electronica stuff, first and foremost (like the superb score to DISTANCE BETWEEN DREAMS), but I also like his more orchestral affairs. BRIMSTONE is one of the year’s best scores (for one of the year’s worst films), I obviously dig MAD MAX and I’ve liked quite a bit of his blockbuster stuff — at least more than the big Elfman stuff in the last decade.
On the other hand, Elfman’s smaller scores in recent years have been on the same level, or better than many of JXL’s scores.
Happy to see Den of Geek give Elfman some love for his contributions to Superhero sounds over the years. Reminded me how much I’ve been enjoying the JL score. Some of my favorite cues/musical moments:
-“Hero’s Theme” – dig the syncopated slow burn/build and lumbering 6/4 time signature, as well as the the stabby string counterpoint that starts at 1:07, the complete tonal shift in the middle, the twitchy string figures throughout, and those creaky electronics at the end.
-“The Amazon Mother Box” – haven’t really heard over the top grandeur at this level since Elfman’s amazing Dark Shadows opener (also dig those descending string figures reminiscent of his Hulk score–super hero callback!)
-“Tunnel Fight” – as excellent an action set piece as Elfman has ever composed, and my heart always skips a beat when Flash’s tickly time jump theme cuts through the well-balanced bombast.
-“Anti-Hero’s Theme” is a jaw dropper, unlike anything Elfman has composed for a blockbuster in terms of chord building amidst in his patented “dark superhero” minor mode mono-texture. This cue always makes me wonder what Philip Glassi would do with Batman.
-“Friends and Foes” – powerful, nuanced composition and darrrrrk. Especially love that rolly flute and harp thing at 0:35, and the sinister variations of the Williams’ Superman theme.
-Also: the orchestral arrangements of Zimmer/Guo’s Wonder Woman theme, sections in “Final Battle” reminiscent of his Age of Ultron score (nice subversion of the two universes!), and, more than the full quotes of his classic Batman theme, how he twists/turns it throughout to near unrecognizable mutations.
I can’t get over “The Tunnel Fight – Full Length” at 9:15. I’ve been obsessed with those five seconds, which…don’t seem to appear in the film !
I love the Batman tease in ‘Batman on the Roof’, though I wish he would’ve used the fifth note more than just that one time in ‘The Final Battle’. Those bells (?) at the start also remind me of the main titles to Batman.
I still feel like the recording is really off at points, though. ‘The World Needs Superman’ and ‘Home’ sound especially off.
Those two action cues are insane. It’s a shame that the longer version of ‘The Final Battle’ omits music from the shorter version: it makes losing that version impossible.
I *think* this is right from what I remember.
1. Justice League Logos
2. Batman on the Roof
3. Wonder Woman Rescue
4. Enter Cyborg
5. Amazon Mother Box
6. Hippolyta’s Arrow
7. Story of Steppenwolf
8. Cyborg Meets Diana
9. Aquaman in Atlantis
10. Then There Were Three
11. The Tunnel Fight
12. The World Needs Superman
13. Spark of the Flash
14. Friends and Foes
15. Home
16. Bruce and Diana
17. Justice League United
18. The Final Battle
19. A New Hope
20. Anti-Hero Theme (End credits)fascinated that JUSTICE LEAGUE re-entered the charts this week at #14 (doubly fascinated that there are even charts for such things). i’m sure this was helped by the dvd/br release, but i also think it’s an indicator that the score, like the movie, isn’t near as bad as all the haters and gatekeepers made it out to be upon release. hope it gets some extended play down the line and people have fun “rediscovering” it when the time is right for them. *rolly eye emoji*
If anyone is interested there is a podcast episode up at filmear.com (use the search words ‘film’ and ‘ear’ on iTunes to find it there) with someone who was at the scoring sessions for Justice League. Apologies are in order from the interviewer who was drunk, but it was his birthday after all. 😉
- You must be logged in to reply to this topic.