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I'm gonna put myself on mastersofuniverse and thor's side of this argument. Elfman is one of my fav composers, but I personally hate that the MCU films have no musical continuity and now it seems the DCCU is going the same route.
The lack of musical continuity in early MCU can be traced to the doorsteps of one person: Ike Perlmutter, the infamous penny pincher. But as of September 2015, he is no longer calling the shots at MCU, and that is why things are changing on that front and composers returning (like Silvestri coming back for Avengers 3 & 4).
As for DC films, so far they have had musical continuity from film to film (examples like RGW using Zimmer's theme in Wonder Woman), so there is no reason to expect things to change with Justice League even if a new composer is coming on board. Remains to be seen.
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Well, fantastic. So we're going to hear a mishmash of Batman, Sleepy Hollow, Corpse Bride, Big Eyes, Oz, Dark Shadows, Alice in Wonderland, and Frankenweenie.
Really? Even better news than I thought.
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Was this, perhaps, then what Elfman did on the other generic superhero film, but Tyler had too much clout to get fully replaced?
Maybe too much clout, or perhaps would've been completely replaced on Avengers 2, but there was simply not enough time left. Elfman was called in at the last minute, with two weeks to go, to write additional cues to "save the film", is what I read. Also, I seem to recall reading here that Marvel was angry with Tyler because he was supposed to be working 100% on Avengers, but was in fact also working on Furious 7 at the same time. That is why, after doing several scores for Marvel and having seemingly become their "main guy", he was suddenly let go and never returned.
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*reads through last twenty or so comments*
Y'know, there just wasn't enough piss on this parade. Thanks, guys!
Agreed. On the other hand it doesn't matter because Elfman has the gig regardless of the naysayers. Looking forward to this new work.
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Prepare to be passed on the next Whedon film, Danny boy.
Not every director works with the same composer over and over again. James Mangold usually turns to a different composer for each new film. Same with John McTiernan and Wolfgang Petersen to name a few.
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Otto Preminger seemed to work with a different composer each time, yet he had great taste in picking a diverse array of composers to work with, and each of them tended to produce some of their best work for him, with Paul Glass's Bunny Lake Is Missing, Jerry Goldsmith's In Harm's Way, Ernest Gold's Exodus...plus Hugo Montenegro's Hurry Sundown being his magnum opus.
Yavar
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Nobody whines when a director works with a different cinematographer or editor indeed...
That's because I suspect a number of people here are like me: we are film score fans and don't care about the cinematographer hired (unless it's a known shakey-cam user).
Plus, I've never heard Whedon express his love of a cinematographer's work or that he wept at a cinematographer's efforts. And Whedon never was a cinematographer on one of his projects, as he was a score composer on one, foregoing any composer at all and using himself as if he was Streisand.
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Gee, yes. But after his heaps of praise, yet constant change in composers, I smell something fishy.
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