I joined Leila Latif and David Jenkins to discuss David Gordon Green’s Halloween Ends, Josh Gordon and Will Speck’s Lyle, Lyle, Crocodile, and Joel Schumacher’s The Lost Boys on Truth & Movies: A Little White Lies Podcast.
In a Spin magazine interview marking the 20th anniversary of his band’s 1995 album Clouds Taste Metallic, The Flaming Lips frontman Wayne Coyne was asked about their involvement with the soundtrack for Batman Forever, an album described by interviewer Dan Weiss as, “Even by ‘90s standards… one of the weirdest batches of artists.” Coyne – reportedly not a fan of the finished film itself, though he enjoyed his group’s aural appearance – had this to say:
“I think it set up a blueprint that you could really have an interesting soundtrack that really doesn’t have that much to do with the movie and people would accept it. It was just a record that had another branding that went with it. I thought that was really a cool move, that it didn’t always just have to be a group of popular artists doing something to promote the movie. It really was a weird mixtape collection that had a movie with it too.”Wayne Coyne, The Flaming Lips
A packed film soundtrack of popular music wasn’t a concept born in the 1990s, nor is it something that’s completely died out since, but various factors have led to that decade being the peak ‘music from the motion picture’ era, and how Coyne describes the Batman Forever soundtrack is reflective of why. And in the year 2020, Batman Forever’s album stands out as one of its decade’s most emblematic musical artefacts for how it both followed trends and also bucked the system in a way that arguably influenced the construction of soundtracks going forward; Entertainment Weekly ran a non-review article the summer of release on the extent to which the soundtrack was an outlier among its field…
Full article for The Companion