Commentaries on Elfman's Batman Scores
by the Groovy Yak and Ian Davis

Part One: Batman

Enter the Batman
by Groovy Yak

Batman Review
by Ian Davis

Part Two: Batman Returns

B

Return of the Bat
by Groovy Yak

 

Part One - Enter the Batman

What makes Elfman's score to Batman so wonderful? It's difficult to express the genius of this work in words.
Musically speaking, Batman is well-composed for someone who's never been taught music theory (or for someone who has, for that matter.) I won't get into the complex music theory of the score. (Mostly because I'll probably say something wrong. E-mail me if you'd like to talk about that.) The instrumentation of the score is quite diverse. Danny uses a bass marimba, pipe organ, celeste, a waterphone (that really funky high pitched noise on track 8), bongos (his trademark), piano and electric piano, and tons of rare percussion instruments. The Batman theme and fanfare are clearly established in the opening credits. From that point, Elfman uses them often, but not too much and he tries to make variations on the two melodies. The love theme also shares some melodic similarities with the main theme.
Batman's music, of course, is the main theme and fanfare. Elfman uses a large assortment of gongs and tam-tams to make the Dark Knight look like a dark knight. Although the main theme is dark and serious, the music never loses it's comic-book edge. A lot of the smaller cues have a campy 1930's comic-book feel. For an example of what I mean, check out the cue that's heard as the camera pans up to Carl Grissam's penthouse. (Not on the CD)
Elfman doesn't give The Joker one main theme. Instead, he uses a variety of different themes to color the character. Most of the Joker's music is a waltz or waltz-like. When the Joker makes his first appearance, Elfman uses a large-scale carousel-like waltz. Most of the Joker's music is in a major key. It works really well because it gives us a sick sense of the character. We watch the Joker kill people and hear the gleeful waltzes and the sum effect is a feeling that the character is completely insane. Elfman also uses Stephen Foster's Beautiful Dreamer to show this. It's quite effective at the scene where the Joker is cutting people out of photos.
The music fits the movie like a glove, or shall I say batsuit. The music follows the action scenes closely. Every WHAM! BANG! and THUD! is scored. When Batman falls, the music falls with him. More importantly, Elfman's music nails the tone of the film. Not only does the music fit the mood of the film, but Elfman at times seems to amplify the tone. I'm not sure if Elfman knew this when he was writing the score, but his music sometimes drives the movie. The music will tell us things that sometimes Tim Burton or Michael Keaton couldn't tell us. For a perfect example, check out track 17, Up the Cathedral. Listen to the 18 sec clip at 1:15. If you'll remember that section of the movie, Batman is just entering the cathedral and stumbling over to the staircase. However, the score at that point sounds quite large and angry. Elfman isn't following the action anymore, but actually functioning as a narrator. Instead of Batman saying, "Gee, I'm very mad at that Joker. He almost killed me and now he's running away with my woman," Elfman says that through the score. Another example is the scene where Batman is taking Vicki back to the Batcave (Track 10). It almost seems as if that scene was included just so the music could have a minute to shine by itself.

Track by Track Commentary

1. The Batman Theme - The most famous part of the score. The music starts slow and then gradually builds up to a large climax and explodes into the Batman Main Theme. It works extremely well with the opening credits. I remember getting goose bumps while listening to the music and moving through the Batman logo.

2. Roof Fight - This is the scene where Batman makes his first appearance. There's some cool bass marimba work in the beginning. The Batman fanfare ends the track as Batman leaves the scene.

3. First Confrontation - This track starts with the "comic-book sound" that I mentioned above. It's almost like a dance. Napier's men and the police are chasing each other around Axis Chemicals. Then Batman enters the picture. Every moment is scored well. When Napier is thrown over the edge. The music builds to a moment of extreme tension. (Pay attention to this section. Elfman uses the music again in a very appropriate spot later in the movie.) The orchestra falls as Jack Napier falls into the chemicals. Batman leaves the scene. The music at the very end of the cue is dark as we witness Jack raise his hand out of the chemicals. The track ends with tam-tam.

4. Kitchen/Surgery/Face-Off - This cue covers three different scenes. The love theme between Vicki and Bruce develops as they talk in the kitchen. The romance is interrupted by the surgery scene where the Joker sees his face and goes crazy. The music is quite ambient at this point. Then the Joker makes his grand entrance with an over-the-top waltz as he shoots his boss.

5. Flowers - This track adds a sense of mystery to Bruce Wayne's persona. Vicki follows Bruce as he sets down flowers in memory of his parents who were shot in that area. The music matches Vicki's puzzlement exactly.

6. Clown Attack - The orchestra passes around melodic fragments as clowns start to surround the media and the crime family on the steps in front of Carl Grissam's penthouse. The music is brilliant as all of the fragments come together when the Joker introduces himself to Gotham.

7. Batman to the Rescue - The first full-blown action cue in the movie. The track starts with a bang as Vicki and Batman flee from the Joker's goons. There's some cool timpani, percussion and piano interludes between the orchestral moments. Then Danny brings out all sorts of rare percussion instruments as Batman takes on the goons one at a time.

8. Roasted Dude - This is one the more ambient tracks. It plays as the Joker is talking to a dead Anthony, the dude he just roasted.

9. Photos/Beautiful Dreamer - This cue occurs as the Joker is cutting photos. Beautiful Dreamer pays as the Joker notices Vicki Vale and instantly falls in love.

10. Descent into Mystery - this is Elfman's greatest work. This is the music that is heard as Batman is driving Vicki back to the Bat Cave. There's no dialogue and little action, so the focus is directly on the visuals and the music. The music builds up to a tense moment as the Batmobile looks as if its going to collide with the Bat Cave, but a door opens and let's them in. Elfman makes the trumpets hold a high note as the horns gliss. up to that note and then the instruments move together in time. It's one of the coolest musical effects that I've ever heard.

11. The Bat Cave - The music calms down once Batman and Vicki are in the cave. Elfman provides an atmosphere and stays out of the way as important plot points are revealed. At the end of the track, the music is startling as Batman surprises Vicki.

12. The Joker's Poem - a small music-box-like waltz accompanies the Joker's poem as he leaves Vicki's home. The brass is humorous when it tries to musically depict the Joker's strange hip motions.

13. Childhood Remembered - the tone changes dramatically to score the flashback scene where Bruce remembers that it was Jack Napier who murdered his parents. Elfman uses this same combination of low strings and choir to score a scene of the same nature in Mission: Impossible. This is one of the more eerie tracks on the CD.

14. Love Theme - the mood is interrupted yet again as Alfred brings Vicki into the Batcave. The moment is bittersweet as Bruce and Vicki love each other, but there are so many questions that Vicki has and Bruce is troubled about catching the maniac who killed his parents. The music matches those feelings with an uneasy love theme.

15. Charge of the Batmobile - This cue is like Descent into Mystery. It follows the Batmobile into Axis Chemical as Batman tries to blow it up with the Joker inside. A simple "ping" accompanies the bomb as it falls to the floor. Then, the orchestra is explosive as the building explodes!

16. Attack of the Batwing - Ahhh, another great action cue. This cue is edited too much on the CD. There are lots of great moments in the movie that aren't on the CD. Terror erupts as the Joker gasses the people of Gotham. But, to his dismay, Batman steals the Jokers balloons. Some of the best variations on the Batman theme are in this track. This is probably one of the most exciting and ambitious Elfman tracks that I've ever heard. The orchestra blares to a halt as the Batwing crashes and misses the cathedral by a few yards.

17. Up the Cathedral - I've already mentioned this track above. Everything is scored perfectly, from Vicki's shoe falling to the ground to the musical sounds of anger as Batman tries to get to the top of the cathedral while avoiding falling bells.

18. Waltz to the Death - this is the third of four times that you will hear a carousel-like waltz in the movie. This time, it's used as an action cue to accompany Batman as he fights the Joker's men for the last time. Meanwhile, the Joker and Vicki are dancing. The Joker thinks that Batman is dead, but Vicki notices that he is alive and tries to fuel Batman's anger and distract the Joker by trying to seduce him. It works. Batman and the Joker fight until Batman and Vicki are tricked and are pulled off the side of the cathedral.

19. The Final Confrontation - This cue works extremely well in the movie. The tension really mounts as the Joker tries to get away with Batman and Vicki near death's door. However, Batman thinks fast and turns the table. The same "falling" music plays here as it did in track 3. The Joker ends up falling and everything is over, right? Wrong. The music becomes terrifying again as Batman and Vicki fall, too. However, Batman saves them both. Then, you hear a waltz for the last time as the Joker lays dead on the pavement. The music, combined with the laughing box, create a very eerie effect.

20. Finale - The worst is over and the music, for once in the movie, is completely joyous. Then, at the end is one of the absolutely coolest trumpet fanfares that I've ever heard. Batman's fanfare ends the movie as Batman stands, watching over the city.

21. Batman Theme Reprise - The end credits reprise the Batman's theme. They aren't too spectacular. Danny has to make them short so Prince's music can also fit in.

 

BATMAN

Original Motion Picture Score by Danny Elfman

Orchestrations by
Steve Bartek

Additional Orchestrations by
Shirley Walker
and
Steven Scott Smalley

Album Produced by
Danny Elfman and Steve Bartek

Performed by
The Sinfonia of London

Conducted by
Shirley Walker

Elfman on Batman

"BATMAN was an exception where a producer was actually present, and that was because everyone was skeptical of my abilities--I'd never done an action film before. So I understand why they would be leery, especially with a humongous picture like BATMAN. Up until then, all I had essentially done was comedy."

(From Adventures in Weird Sound Article)

"Certainly there is the darker side, which I was very attracted to. In a way, it was coming full circle, in terms of doing what I always wanted to do. It always surprised me that I became successful in comedy, because my own instincts are very dark, and so after ten films, I was finally coming home to where I always figured it i ever had my way, that's where I would start. I always thought my first movies would be horror films, because I thought that was where my instincts were the strongest. The comedies were fun, and gave me a chance to relax into a style that I really liked, so by the time Batman rolled along, I had developed a lot of confidence and didn't have a lot of those insecurities."

(from Fanfare article, 1989)

Groovy Batman Links

Elfmaniac's Batman Score Review
The genius behind Danny Elfman's Music For a Darkened People has a great Batman page with lots of cool quotes and images.


Links to Batman on the Web. Or, from Taryn, fun links tracing the history of the iconic Batmobile.

Fan Review of Batman

by Ian Davis

This is no real review, as for this film there is virtually no question as to its mastery and all-out spine-tingling enjoyability. I have instead outlined some remarks and point of view (which I do not expect all to agree on) which have come to my attention since I first watched the film all those years ago (sigh!).

The music for Batman, like the film itself, was an "event". The march theme dominates the soundtrack both on film and CD, blowing away preconceptions of "big themes" as they had once appeared in films such as Superman. The march in Batman evokes the dark gothic atmosphere as much as it does the action in the film--this is fantasy for everyone. Tim Burton's big project for Warner Bros, Elfman's too, but also a big fantasy for the audience and the characters in the film (a mentally damaged millionaire who lives out his desire to punish the type of criminals who killed his parents etc etc).

The use of waltz music (the ultimate dream dance used by classical composers such as Ravel to nightmarish effect, and by others such as Jerry Goldsmith in Legend (track 11 "The Dress Waltz")) is evocative of a similar divorce from reality. March and waltz (duple and triple metre) are rhythmically opposed in spite of their unity in fantasy (both characters at least emotionally scarred), and this creates a score which is varied, yet fundamentally unified. The soundtrack underuses musical references to Vicky Vale with good reason: an extended use of sweet or sexy music for this character would potentially ruin the atmosphere of the fantasy, and to try the opposite (ie. giving the then squeaky clean Kim Basinger a dark moody theme) would make no sense of the character in the film.

If contrast is what the listener desires, then it is Batman Returns to which he/she must look. Even here, however, Michele Pfeifer's heroine is hardly the fresh-faced reporter of the first film. And the result there is very uneven, both in mood and in Elfman's thematic inspiration (together with a lack of action cues which may suit the film's outlook but certainly not the CD listener), prompting mixed reviews.

Back to Batman. This review does not intend to give detailed description of the film track by track (this website does so well enough and needs no duplication). What I really need want to do is note some of the thoughts it provokes.

I've heard several people (both friends and on the net) claim that Elfman's Batman actually spurred them into an interest in film music, particularly in this composer. Why is this so? One answer (quite valid) is that the music is such an integral part of the film: it goes a long way towards complimenting the gothic (that word cannot be avoided, it seems) splendour and mystery of the film, whilst respecting various moods and images such as the gruesomely comic antics of the Joker and the presence of the church and bell. In this respect Elfman is at least an equal to John Williams: his music for Edward Scissorhands arguably upstages the role of the director and stars. Whilst his work in others, particularly Mission Impossible and Sommersby, is of pinpoint stylistic accuracy. Another clue to Batman's influence is the presumed attitude of the director. In giving Elfman the space to breath at certain moments of the film (especially in the "Descent into Mystery" scene, as Batman drives to the batcave), Burton allows him the opportunity to dominate the focus of the audience's concentration--an opportunity which is seldom given a composer outside the confines of title sequences (both opening and closing usually drowned by cinema audience gossip). Elfman takes his chances when they are handed to him. (A comparable scene could be "The Mutant" track in Jerry Goldsmith's music for Total Recall). And it is fantasy/sci-fi rather than simple romance, action or comedy with which a composer can really make his name big these days (think "Star Wars"!).

The last observation of Batman's magnetism is of course the nature and quality of the music, full stop: the thematic material and style is so striking and instantly recognizable (a widely acknowledged strength of Elfman's even in some of his weaker scores) that an audience cannot fail to notice it in the film, and leave the theatre with it echoing through their minds. Batman was of course a memorable movie at the time (countless imitations have weakened its effect somewhat) and it is its originality as much as its mass appeal which led to Elfman's recognition.

I don't think I need to lavish any more praise on the music for Batman than there is already. It's been done before, and far more eloquently than I could manage here. One view which I must express, however, is Batman's seeming stylistic isolation in Elfman's output. I see it as an anomaly in Elfman's career rather than a core work. It's labyrinthine textures have yet to be bettered (and Batman Returns seems hardly to attempt it at all), and this is combined with its almost entirely seriousness of mood. More recent soundtracks have certainly readdressed this latter feature (notably Sommersby and Dolores Claiborne--both outside Burton's control) but they are more personal works, chamber music-type studies in character, and they sound nothing like the mammoth rich scoring of Batman. Yet ironically it is for this music that he is most remembered and congratulated.

Part Two - Return of the Bat

After the success of Batman, it was obvious that the fans demanded a sequel. So, once again, Tim Burton and Danny Elfman resumed their roles as director and composer for the sequel, Batman Returns. Michael Keaton played Batman once again, but this time the movie didn't revolve around him. Batman Returns focused on the two new villains - The Penguin and Catwoman (also Max Shreck). The movie was not as good as the original simply because of the excess of characters. There was no time for much plot development. The movie lost the reality that Burton was shooting for in the first movie. It has more of a goofy, comical tone and lots of plot-holes. Nonetheless, the movie is still quite fun to watch.
Elfman's score to Batman Returns is different from the original. The comic-book feel of Batman's score has disappeared in Batman Returns and is replaced with either more mature or more goofier material. There aren't many exciting action cues, but there is tons of thematic material. The Penguin and Catwoman have their own themes. They each also have a shorter theme. Elfman uses these shorter themes frequently to depict the character and his/her/its actions rather than playing the entire theme. It's sort of like a nickname. When your friends see you, they don't call you buy your entire name, but by a nickname. Whenever we see the Penguin, Elfman uses a very simple four-note motif-nickname. (nicktheme)
Danny changes the Batman theme slightly in this installment. First, he slows the theme down a bit. Then he adds choir and gets rid of the brilliant trumpet descending arpeggio. (3rd phrase of the theme) Like before, Batman has a smaller theme (6 notes) that Elfman uses when Batman is on-screen. The Batman theme is much less prevalent in Batman Returns. Elfman figures that we've all seen the first movie and we know what Batman's theme sounds like. He doesn't make it the center of attention. Instead, he makes several variations on the Batman fanfare.
The music for Catwoman contains some of Danny's most brilliant work. Elfman uses primarily strings to characterize Catwoman. Elfman utilizes every type of sound that a string player can get out of his/her instrument except for throwing the instrument down and stomping on it. The stringy, scratchy, cat sounds dominate the score. (That may get on your nerves towards the end of the CD) Besides the stringed sound effects, Catwoman also has her themes. The primary Catwoman theme is established in track 6. It very song-like and somber. The theme trys to tell us that behind the tough exterior is a confused woman who wants to live a happy life, but also wants to get revenge. Catwoman also has her nickname theme. It's sort of an extension of her main theme.
The Penguin, like Catwoman, also has his own sad themes. The Penguin's main theme makes itself clear in track 7, the scene at the cemetery. Elfman gives the Penguin a mellow and mature theme that is quite different from the barbaric character. The Penguin, as you'd probably guess, is colored with bells, celeste, and choir. (typical wintery sounds)
To balance out all of minor melodic material, Elfman adds in tons of wacky circus music. Different types of organs, accordions, and xylophones color the score. It all works well in the film, but some may find it to be too goofy.
All in all, this is a great score, but something is missing from this installment. The ambition and excitement are gone. The first Batman was filled with action and exciting cues but only had one clear theme. Now, Batman Returns has circus music but three clear themes. They're quite different from each other, so it's hard to say which one is the better score. All in all, they're both fine scores with different high and low points. The only thing they really have in common is the fact that they both are classic scores.

Track by Track Commentary

1. Birth of a Penguin (Part One) - The beginning is one of the highlights of the score. We see the Cobblepot mansion at Christmastime. The parents are unhappy with the appearance of their son, so they dump him in the river. Elfman uses the choir brilliantly. We hear the Penguin motif as the cradle floats to the sewers.

2. Birth of a Penguin (Part Two) - this segues into the opening credits. We follow the cradle through the sewers as the Batman Returns logo unfolds. Then we hear the ever-famous Batman theme. This time it's a little bit different with lots of choir. The Penguin theme is quite apparent as the cradle floats into the home of the penguins. The track ends with gong, like last time, showing Gotham from afar.

3. The Lair (Part One) - This is the music that is heard as Max Shreck is taken into the Penguin's lair. The circus sounds, although heard in the opening fight-sequence, are now clearly heard as the members of The Red Triangle Circus stare at Shreck.

4. The Lair (Part Two) - The four-note Penguin theme really dominates this track. The Penguin has introduced himself to Shreck and tells him about his plan to find out who his parents were and what his name is. The music would be quite dull if Elfman used the same instrument combination for this track since all he is doing is basically making slight variations on four notes. However, Elfman passes the theme around the orchestra to make everything interesting. The music is sentimental for only a second as the Penguin tells Shreck that he is human too and was born up above.

5. Selina Transforms (Part One) - This cue is pure genius. It is similar to the Clown Attack track on Batman. There are melodic lines, dominated by strings and marimbas, floating around, barely in time. They slowly start to come together as tons of cats start to swarm around a nearly dead Selina. The track has no organization. It is simply a mass a fragments building in intensity while losing any sort of musical value. The end product is a disturbing noise. I love it!!

6. Selina Transforms (Part Two) - Selina Kyle has returned home after being pushed out of a window by Max Shreck and then nursed back to life by alley cats. We sense that something's wrong with Selina as she drinks a whole carton of milk and lets it dribble down her. She repeats all of the same things she did earlier that evening at home. The music is quite dark and of course, controlled by strings. Then, as Selina listens to the message about Gotham Lady Perfume and about having a candlelight dinner with her boss, she snaps and starts to tear apart her "cute" home. The Catwoman theme makes its entrance here. We see Selina make her Catwoman suit and transform into the man-hating Catwoman with the neon sign that originally spelled "Hello there" now spells "Hell here." (a clever Burtonism)

7. The Cemetery - This track starts out with motored vibes as Bruce Wayne reads the article about The Red Triangle Circus. We then get to hear the Penguin's theme in its entirety as the Penguin visits his parent's grave.

8. Cat Suite - This track is used in a few different themes. It starts off with the Penguin flying away and then is used for the first confrontation between Batman and Catwoman. It also contains sections of the Catwoman blowing up Shreck's store scenes. There's also some Catwoman and Penguin scenes in this track. It's neat how Elfman combines the themes. There's some really groovy bongo work in this track.

9. Batman vs. The Circus - The beginning of this track is used at the beginning of the movie when the Bat-signal shines into Wayne Manor. The rest of the track deals with the fight scene between Batman and the Red Triangle Circus. (The second time, before Catwoman and Batman fight.) There's tons of wacky circus music here.

10. The Rise and Fall From Grace (Part One) -(The Rise) This track starts with Max Shreck bringing the Penguin some fish and taking him downstairs to show him his new mayoral campaign committee. The track ends big, setting up the surprise.

11. The Rise and Fall From Grace (Part Two) - (The Fall) The Penguin gives his speech to the media and citizens of Gotham. Meanwhile, Bruce and Alfred are in the Batcave, waiting to ruin the speech and expose the Penguin as the monster that he really is. As the Penguin gives a stirring speech, Elfman's gives us a short, brassy, and triumphant fanfare as the citizens cheer for the Penguin. However, Bruce finds the frequency and plays what the Penguin told him when he was controlling his Batmobile. Soon, the crowd is angry and the Penguin shoots at the crowd and flees to the river as he is chased by the cops.

12. Sore Spots - There's no real love theme in this movie, but Elfman gives us one tender cue as Bruce and Selina fall in love. He plays with the Batman and Catwoman themes as the two are kissing on the couch, accidentally touching or exposing the cuts and bruises they gave each other, but didn't know that they gave each other.

13. Rooftops - Rooftops scores the sequence where Batman is pursuing the Ice Queen, but falls into Catwoman and the Penguin's trap. Meanwhile, the circus is working on the Batmobile. The Ice Queen falls and hits the lever to light the tree and thousands of bats fly out. The cue gets somewhat ambient (with strings) as Catwoman licks Batman's face. Then Batman escapes and glides to the ground (AWESOME CUE- cool choir part). The track ends with the Catwoman falling onto a greenhouse after almost getting herself killed by the Penguin.

14. Wild Ride - This is another wacky cue. Batman is trapped in an out-of-control Batmobile.

15. The Children's Hour - This track starts with a celeste and other tinkly instruments to give a children's lullaby effect. The lullaby is the Penguin's theme. Then, the lullaby is interrupted by the orchestra as the Circus goes through town to collect the first-born sons of Gotham. Their plans are foiled by Batman. We hear the Batman fanfare as see the Batman's shadow from afar. The Penguin goes nuts as he reads the note from Batman.

16. The Final Confrontation (Part One) - This is one AWESOME track! The Penguin adresses his penguins with rockets strapped to their backs. The penguins set out on their mission. But, at the same time, Batman is on his way to the Penguin's lair. Let me tell you, there's NOTHING like a high school marching band version of the Batman theme to get one excited. Seriously, though, you will have your foot tapping by the end of the track. Elfman switches between the Penguin and Batman themes. This track is pure fun. (Very much like the 16th track on the first Batman soundtrack) Also, if you are familiar with the Batman animated series, you can hear the little snippet that most likely influenced Shirley Walker's Penguin theme.

17. The Final Confrontation (Part Two) - This track opens with the face-off between the Penguin and Batman. A swarm of bats surrounds the Penguin as he falls through the glass and into the water. The music is quite dramatic here as the penguins release their missiles and the zoo explodes. However, Elfman isn't done yet. The finale slows down for a second as Batman/Bruce and Catwoman/Selina reveal themselves to each other in front of Max Shreck. Shreck shoots Batman and Catwoman then starts to move towards Max, getting shot by him with each step. However, Catwoman kills him with the powerline and shocking device that she took from the goon in the beginning. The music is darkly triumphant as Max gets what's coming to him, finally. Everything explodes in a big finale. The music here is quite fitting.

18. The Finale (Part One) - The Penguin theme is heard for the last time as Batman watches the Penguin die. It's quite sad as the penguins accompany him to the water.

19. The Finale (Part Two) - Everything is over. Batman lost Catwoman. Alfred is driving Bruce home when Bruce notices something that looks like Catwoman's shadow. He gets out and finds a cat. Elfman plays Catwoman's theme one last time. This time it's played only on the celeste, showing how truly beautiful it is.

20. End Credits - Simply a rehash of the three themes. It's nice and caps the score.

21. Face to Face - This is the only pop song in the movie. (with the exception of Superfreak and a few Christmas carols) It was written by Elfman and Siouxsie and the Banshees. It's a catlike and seductive song. It's works extremely well at the masquerade ball where Selina reveals her plan to kill Max to Bruce. You can find another clever Burtonism here. Bruce and Selina are the only two people not wearing a costume.

BATMAN RETURNS

Original Motion Picture Score by Danny Elfman

Orchestrations by
Steve Bartek

Album Produced by
Danny Elfman and Steve Bartek

Executive Album Producer:
Tim Burton

Conducted by
Jonathan Sheffer

Elfman on Batman Returns
(couldn't find much)

On Batman Returns, I saw the potential to put in a song of Siouxsie & the Banshees that fit, but it didn't stand out from the tone of the movie. Nothing could have convinced me to attempt to find a place for a song on Sommersby."

Movieline Magazine - November 1993 by Stephen Rebello

During one of his visits to the Batman Returns set, Elfman enthusiastically joined in with the rest of the crew, who were recruited to toss a nasty salad of fruits and vegetables at Danny DeVito's Penguin for a crucial scene of the movie. "I also hurled water on the Darkman set," noted the puckish Elfman.

Source unknown

Groovy Batman Returns Links

Elfmaniac's Batman Returns Review

Matte World Digital's Batman Returns images
Has nothing to do with the music, but shows some neat behind the scenes images.

 

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