Two Bits of Batman Movie Stuff

[thehefner]

First, Aaron Eckhart is "heartbroken" to learn that Nolan is definite on Harvey Dent being dead, and thus will not be in Dark Knight Rises. It's worth actually reading Eckhart's story of how he learned the news. I predict it'll launch a number of slash-fics.

For my part, I'm glad to hear it now than to hold out hope that maybe, maybe there'd be a surprise cameo in Arkham or in the twist ending or after the credits or in a deleted scene or maybe hell maybe in the fourth film yeah yeah maybe who knows *cries*. So, good to be spared that cycle.

Still, it's certainly put a crimp in my entire day. This is why I haven't actively thought about TDK for months. It just puts me in a frustrated, thinky mood for hours, going on with what I liked and what I wish wish wish they had done differently.



In related news box_in_the_box posted the following, dubbing it the "Best Batman Theme EVER." It's a combination of the themes by Danny Elfman, Hans Zimmer, and Shirley Walker:

Oh my god. Okay, very mixed feelings here.

Whenever the theme went to Zimmer, I. Was. So. Bored. At least, I'm guessing the boring parts were Zimmer, because they were the parts that were neither Walker nor Elfman. Now, I didn't like Zimmer's theme in BB until I heard it used in the trailer for The Dark Knight, at which point I was like, "Okay, this is actually pretty badass, I like it now."

Here, it was swalled up by Elfman and Walker. Maybe it's just that the composer didn't effectively recreate the literally thirty seconds of good music from Zimmer's entire BB score, by which I mean the first thirty of this:

Those blaring horns and slamming beats are the only part that could have stood up to Elfman and Walker, and while it actually took me a couple listens to discover that the composer actually had included that part, he didn't successfully recreate the "grab you by the balls and PAY ATTENTION" urgency. I think that speaks more to Zimmer's production than composition skills, because without that factor, it really is a boring track.

Actually, I'm listening to that above Zimmer piece on its own, and I'm rather loving it. The best thing Zimmer can do with the soundtracks is give them a sense of urgency. But even this is two-dimensional compared to the sheer scope of Elfman and Walker's soundtracks.

And yet... maybe it's because of that that I actually felt gut-punched both times Shirley Walker's theme came in, and elevated the entire piece to greatness for those few seconds. Maybe it's sympathetic pregnancy (and dear god, I've wanted to kill somebody for chocolate on more than one occasion, so it well could be), but I was actually moved to tears when the Walker theme came on the second time. Amazing how hearing that theme over and over again in the most formative show of one's childhood can have that effect.

There's something so much more hopeful about that theme to counter Elfman's glorious darkness. Both are soaring statements about who Batman is. Zimmer's is more just what Batman does: just pure action, action, action, without introspection.

All in all, this was a fascinating and fascinating piece, one that was even moving in a couple occasions. I want him to do a second version down the line. Maybe a series. Hell, I'd love to hear him combine all three Joker themes. Ohhhh fuck yeah, do I wanna hear that. Screeching Hans Zimmer white noise of horrifying madness:

... giving way to a magnificent Elfman waltz...

... giving way to that whistling, happy, mischevious Walker theme (cue to 4:15)...

... and back again with little to no warning. Ohhh man, I gotta write to this guy and make a request.

Comments

[night-train-fm.livejournal.com]

The MotP theme (both this version and the original) gives me chills, and I don't even have the 'formative years' excuse (I do for the main B:TAS theme, but that's besides the point). I love the almost ethereal quality it has in that mix.

[thehefner.livejournal.com]

Between you and Box, it looks like I'm not alone in being moved by Shirley Walker's theme. That's very good to know. :)

[itcomesinphases.livejournal.com]

I managed to accidentally on purpose play all three joker themes at the same time in perfect glorious fusion and OH MY GOD. HELL YES. This must be done.

[thehefner.livejournal.com]

You're either a genius or utterly mad. After reading your comment, I just went that tried it myself, and my brain felt like it wanted to claw itself out of my skull. But not in a bad way... if that makes any sense. As it was your idea, I'm guessing it might.

[itcomesinphases.livejournal.com]

Haha. Well, I've become an experimental music HOUND since moving in with Philadelphia's Evil V. The key is turning the volume on the Waltz down so that it feels more like a deranged merry-go-round.

[surrealname.livejournal.com]

yeah. that bat symphony thing sucked. Zimmer sucks. Shirley I will not slander, but that thing fucking sullied Elfman's bat-theme. This I do not forgive.

[thehefner.livejournal.com]

I've come to like parts of Zimmer, but yeah, when it comes to Batman, he's not a red hair on Elfman's pasty ginger sack.

[surrealname.livejournal.com]

and I do want to add, that despite zimmer's sucking, that noise he came up with for the joker I adore it. The animated series theme is great because, well, this is what I assume it sounds like inside the Joker's head at all times. The zimmer noise, on the other hand, I feel, perfectly represents what it would be like to be with in the Joker's vaccinity.

[thehefner.livejournal.com]

Agreed. Try the idea suggested above and play all three themes at once, and it kind of works in a "don't stare directly into the deadlights" kind of way. The Zimmer noise as the undercurrent to the waltz and the Walker Joker music just works too well.

Honestly, I do like the entire "Why So Serious?" track. Not in The Dark Knight itself, where it's edited to hell, but as a standalone piece. It sounds like a NIN song that grew up, and it's easily far more enjoyable to hear on its own than any other Zimmer track.

[surrealname.livejournal.com]

Your bringing NIN into this actually perfectly sums up why I hate Hans Zimmer. (other than his being a complete hack who churns out shlock at an alarming rate because of the army of assistants he uses, that is. I could also go into why i hate NIN, but that's one of those things where people stop listening because it makes no sense that some one could not like the band they love. I would hate a lot fewer things with the passion that i do if people didn't think i was so crazy for just not liking them in the first place. any way, but to that talentless shmuck, Zimmer.)

He writes bad techno and industrial music and then does it with an orchestra. He's repetitive and cold in a way that is incredibly boring and unmoving. I hate him so much that my feelings about the joker noise (i refuse to call it anything else) make me hate him even more.

[thehefner.livejournal.com]

I have nothing to add to this, other than to show off this new icon for whenever we talk. It wasn't the full image I was shooting for, but hopefully it gets the image across.

[surrealname.livejournal.com]

...

I love you, John. Thank you for being in my life.

[1mercystreet.livejournal.com]

What did you think of the "Harvey Two Face" suite from the TDK soundtrack? I loved it, although the soulfully muted horns in the first section did seem a bit too obviously "A Few Good Men" style courtroom drama.

I much preferred the bits with the trembling baroque strings and the delicate, melancholy piano. Very Harvey. When the soaring strings are overlaid onto the Joker-esque drumbeats for the crecendo it's the sound of imperious and glorious madness. And when the strings play the love theme from BB with those sinister horns in the background, it's the sound of heart breaking in stereo.

[thehefner.livejournal.com]

In keeping with The Dark Knight as a whole, I think that track perfectly captures Harvey while entirely neglecting Two-Face. The darkness in the music speaks more, I think, to the tragedy that coming to him, not the thing that'd be unleashed inside him.

Compare that to Shirley Walker's themes:




Note that around 4:07, it actually abruptly shifts in tone to a piece that's actually very much in the same spirit as "Harvey Two-Face." Those two would easily make another nice mash-up like "Gotham Symphony."