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WB is finally getting their act together in regards to their DC Comics adaptations. “Green Lantern” starts production soon for a June 2011 release date. A new Superman is on the way with Christopher Nolan (Batman Begins, The Dark Knight) as producer. “Batman 3” is in pre-production and eyeing a 2012 release. Wonder Woman and the Flash are also in development.
Since Elfman is Mr.-Superhero-Score, and has been since 1989, one has to wonder when he’ll get the call for one of these movies. “Green Lantern” has no composer attached at the moment, unless I’m wrong and Ryan corrects me. Since Martin Campbell, the director, doesn’t have a go-to composer there’s always a chance. Batman and Superman are obviously out of the question since Nolan is involved. Looks like another job for Hans Zimmer. Wonder Woman? Too soon to tell, but why not? And, Flash, well, Elfman already has experience there:
Please no more superhero film. Comicbook movies in general are fine with me – besides, it’s getting tough to get involved in a Hollywood blockbuster that is not based on a comicbook these days. But I think he pretty much said what he had to say about superheroes.
I’d like to see him score the next Gus Van Sant film. Or that new Malick project with Bale and Bardem – but that won’t happen I guess…Please no more superhero film.
Blame John Ottman. He was supposed to be his successor, but has been slacking off for the past 3 years. With the Green Hornet set for December, it seems like Elfman is not done with the genre. After 20 years I think Elfman is aware that he’ll never escape superhero/comic book adaptations.Especially when he pioneered the sound for it.
I think the reason Elfman is even doing Green Hornet is because of Michel Gondry. I imagine he is on Elfman’s “directors I want to work with” list. Who knows about Martin Campbell? Maybe if there was some sort of fun musical hook in Green Lantern that would attract Elfman. If I ruled Hollywood, I’d give the job to David Arnold. He has done some romantic theme writing when he’s allowed to. Maybe that kind of stuff would lend itself to characters flying around, like in the Rocketeer or The Blue Max.
And don’t forget that Captain America might be a possibility for Danny. And in that case, doing a militaristic, patriotic, throwback score, in the vain of Battle of Neretva or The Naked and the Dead, might peak Danny’s interest.
Blame John Ottman. He was supposed to be his successor, but has been slacking off for the past 3 years.
Yeah, Ottman’s Superman score was sort of stuck in temp track purgatory. And his X-men score didn’t really leave an impression on me, either. However, John Powell’s X-men score was great. I say give him more superhero scoring duties.
John Powell has impressed me since he branched off from Remote Control. His scores for “X-Men 3”, “Bolt” and “Hancock” showed that he can score a superhero film pretty well with strong themes. And regarding John Ottman, his “X-Men 2” score is still one of my favorites. I even liked the Silver Surfer theme from “Fantastic Four 2” despite it being disproportionate in quality to the film itself. And has anyone heard his “Astro Boy” score? It’s really good!
Based on the concept art that has appeared online, Elfman would be a really cool choice for the “Green Lantern” movie, which looks pretty hardcore sci-fi. And who wouldn’t want to hear an Elfman Captain America theme? Or John Williams!
I don’t know if I want to hear a Captain America score by Danny Elfman. Then again, nobody cares about my opinion, but I just find that character so cheap and pointless. It may be due to the fact that I’m not into comic books at all…or that I’m European !
I tend to agree with TenderLumpling about The Green Hornet; I’m 99 % positive that Elfman wanted to work with Gondry…
I think the reason Elfman is even doing Green Hornet is because of Michel Gondry.
No doubt, but it’s also comfort zone for him. It’s another high-profile comic book hero movie. After 20 years I think he can do those in his sleep.
And don’t forget that Captain America
I haven’t, but that’s up to whether or not he wants to work with Joe Johnston again…and vice versa. Or whether or not, Marvel, thinks he can do it. Around 2002-03, Marvel was in love with Elfman but I think that has past. John Ottman kinda took over but I think that time has past as well. I think they’ll be looking for the composer who could rip-off John Williams the best.
Ottman’s Superman score was sort of stuck in temp track purgatory. And his X-men score didn’t really leave an impression on me, either..
“Superman Returns” was the best score of 2006. And X2 was one of the best in 2003. Next to Michael Giacchino, whose quickly becoming the IT composer in Hollywood, John Ottman is the best. The problem with Ottman is that he’s also a film editor and director, so sometimes he’s a bit distracted. But when he hits a home run he hits a home room.
“Superman Returns” was the best score of 2006. And X2 was one of the best in 2003.
It’s funny, because Hulk came out in ’03 and the Hulk main theme is in Superman Returns (for that matter, as was music from Legends of the Fall and Witches of Eastwick). I find it amazing that Ottman had the Williams Superman theme at his disposable, and he didn’t do anything with it. Oddly enough, Williams did more interesting variations of his theme in that crime montage in the original movie than Ottman did in his entire score.
It’s funny, because Hulk came out in ’03 and the Hulk main theme is in Superman Returns (for that matter, as was music from Legends of the Fall and Witches of Eastwick).
Let’s not get started on ripping off. Danny Elfman has ripped off as well. And even John Williams!
If Elfman quotes something, no matter how small, I don’t believe he’s consciously doing it. I mean, he was asked to rip-off Christopher Young and he wouldn’t do it. It’s obvious that Elfman tries to distance himself from quoting other composers, especially ones who are alive.
That Williams-Korngold comparison, for me, is rather weak. Yes, Williams takes the first two notes from the theme, but then, does something completely different with it. Hardly a rip-off. The references in Superman Returns are all over the place; it’s a complete “Frankenstein” score; it’s like you’re listening to the temp track. Again, it amazes me that Ottman doesn’t do anything interesting with the Williams theme. I’ve been whistling different variations of the Superman theme for years, and I’m not even a film composer. A skilled composer should be able to do that. Conversely, Elfman did a great job doing variations of The Plot theme in Mission Impossible.
If Elfman quotes something, no matter how small, I don’t believe he’s consciously doing it.
I think whenever Elfman is over-booked he tends to…not try as hard. Take 1990, for example. “Nightbreed,” “Dick Tracy,” “Darkman,” and the TV theme for “The Flash” have too much in common. So, I wouldn’t put it past Elfman to rip-off Bernard Herrmann whenever he needs to wrap things up quickly. Herrmann’s “Farenheit 451” score is one Elfman loves to quote. It has popped up in most of his scores.
As for John Williams. It goes beyond “King’s Row.” He also ripped off Gustav Holst’s “The Planets.” But…then again…so has everyone.
Herrmann’s “Farenheit 451” score is one Elfman loves to quote.
Where? I love that score.
I find that Beetlejuice has the most Herrmann references. “Beetle-Snake” has a little of “Talos / The Boat / The Wreck” from Jason and the Argonauts. There’s another “Jason” reference in Beetlejuice, but it escapes me.
…as for the best… who knows.
Well, the best scores are determined by the Academy, and they gave the Oscar to Brokeback Mountain, which, obviously, is the best score of that year.
I really love Deep Sea 3D, X-Men 3, Soul of the Ultimate Nation, and The Good German.
TenderLumpling Wrote:
> …as for the best… who knows.
>
> Well, the best scores are determined by the
> Academy, and they gave the Oscar to Brokeback
> Mountain, which, obviously, is the best score of
> that year.
>
> I really love Deep Sea 3D, X-Men 3, Soul of the
> Ultimate Nation, and The Good German.Actually, yes, I can think of few other scores that year that were as fitting for the film as BROKEBACK and that become such a phenomenon in pop culture afterwards. One of the most deserving Oscars in recent years.
One of the most deserving Oscars in recent years.
Hey! I can strum 2 bars of music on an acoustic guitar… give me an Oscar!
The score is 13 minutes long and the theme is still repetitive.…and that become such a phenomenon in pop culture afterwards.
Quite a short-lived phenomenon, I would say.
…
Oops! Brokeback Mountain came out in ’05. I was confusing “Mountain” with Babel.
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