“There are a few little fan moments. I instated a moment of the Wonder Woman theme that Hans Zimmer did for Batman v Superman, but I also had two minutes where I had the pleasure of saying, ‘Let’s do John Williams’ Superman.’ and that for me was heaven, because now I have a melody to twist, and I’m using it in an actually very dark way, in a dark moment. It’s the kind of thing that some fans will notice. Some won’t. It’s a moment where we’re really not sure whose side he’s on.”
“The people at DC are starting to understand we’ve got these iconic bits from our past and that’s part of us, that’s part of our heritage — we shouldn’t run away from that. Contemporary thinking is, every time they reboot something, you have to start completely from scratch — which, of course, audiences will tell us again and again, is ********. Because the single-most surviving and loved theme in the world is Star Wars, which they had the good sense to not dump for the reboots. And every time it comes back, the audience goes crazy. “
“It was the same as when I worked with [Whedon] on Ultron. He appreciates melodies and pieces. He’s like, ‘Oh, you’ve given it identity here!’ There was a moment where the Batmobile shoots out of a thing and he goes, ‘Go bat**** crazy here! Batman the **** out of it!’ When I’m using the Batman theme, I’m using the melodic sense of it, I’m wasn’t doing full-on Batman, and there’s a moment when he says, ‘No, right here, Full on!’”
“I created very simple motifs. There are so many themes, you can’t just do a big theme for everything. So i created a motif for Flash, for Aquaman and Cyborg — but they’re very simple things, and [DC] understood. I said, “These things may never be used again, but I’m giving you all the components, should you wish to have things to build on.” So they either will or they won’t, but that’s how I approach a project like this. You have to take the attitude that this is the beginning of a mythology and it all matters, it all comes to fruition, and with any luck they will.”
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