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The film apparently premiered in Brazil last year, but I’m unsure about any other distribution.
In any case, does anyone know anything about an upcoming soundtrack release on CD?
What are the instruments they play in that clip from the early Mystic Knights days, sitting down with masks and playing what looks like marimbas or xylophones? Are they just that or this “invention”?
No interest in expansions or reissues, but hoping for a completely unreleased score. Some people have suggested it might be another release of SUMMER SCHOOL, which would be irritating now that I’ve orded the one from Rusted Wave.
To this project: Why not, I say. Not that the original film screamed for a sequel or anything, but in the right hands (which it obviously has), it could work.
As far as the score is concerned, I think the original BEETLEJUICE theme is one of the greatest compositions Elfman has ever written. The rest of the score, however, has always left me a bit cold. Some nice bits here and there, but not really anything on that main theme’s level. Still, I’d be curious to hear if and how Elfman develops the material.
Whoa!! One of my Elfman holy grails. The CD will suffice for me.
(obviously, the article is wrong when it claims it’s the only unreleased Elfman film score, but be that as it may).
Yeah, saw that the other day. Pretty cool. Didn’t know Amoeba had their own “Criterion Closet” thingie. I also looked at some of the other videos in the same series on YouTube, but realized I only knew some 4-5 of the other people interviewed, mostly older folks. I’m so out of tune!
I suppose most of you know where I stand on expanded releases, if you’ve been around the messageboards for the last 25 years. I rarely even visit the original soundtrack of SPIDER-MAN these days, so not sure an expanded release would have been something for me even if was into that. If I play any Elfman these days, it’s mostly calmer indie stuff, not the blockbusters (at least not post-2000). So hence why no comments from me, per Ryan’s curiousity about the lack of chit chat.
As I’ve written elsewhere, here’s my weird downward spiral experience of this whole score development:
1. I first get exicted when I hear Danny Elfman is doing this 65 thing, what I – at the time – think and hope is the ambitious, heady space sci fi he hasn’t yet done in his career.
2. It turns out NOT to be an ‘ambitious, heady space sci fi’ at all, but something involving dinosaurs, and largely earthbound. Bummer, but still looks like fun.
3. Bacon becomes solo composer. Oh well, it wasn’t the ‘heady space sci fi’, so the Elfman connection wasn’t as important anymore. Bacon can be good. Dig his SOURCE CODE stuff, for example. Still another bummer, though, as an Elfman fan.
4. Michael friggin’ Giacchino, my no. 1 disliked composer, steps in — as ‘score consultant’ (whatever that is), but still. Big red flags now!
5. And then, when I finally get to listen to it, it is incredibly disappointing, with lots of generic, contemporary “trailer tropes”, as I call them (aka “RC-isms”). Some potential in the first track, “Infinity of Space” (which was co-written by Elfman), and hints of something worthwhile in “Whistle” and “Rest”, but not very interesting, overall. I’ll keep the Elfman-credited tracks for completism’s sake (plus Bacon’s “Whistle”), and delete the rest. A neat, 18-minute selection.
****Danny is not listed in the final production notes dated 2-22-23, so unless there is some sort of “theme” credit or the like, he is not involved in 65.***
True, but that doesn’t really say anything about a possible unused score, does it?
If Elfman is now fully out, and the score is 100% Bacon, that means there’s a rejected or unused Elfman score out there, right? Especially since we know he’s been on the scoring stage to record.
Oooh, Tangerine Dream? Sounds interesting indeed. I’ve always felt the opening theme from WISDOM was kinda RISKY BUSINESS in style. More of that, please! Between that reference and MIDNIGHT RUN, I’m very stoked for this score.
Yeah, I saw it on his Facebook. I wonder if it’s just the same ol’ collaboration of Elfman composing and Bartek orchestrating or if it’s another NOVOCAINE situation with shared composer credits.
I’ve been listening to a promo of this score for some time, and it doesn’t quite gel for me. Perhaps it will grow on me after repeated listenings, though. GIRL ON A TRAIN did.
It’s not terribly interesting, dddeeee. It’s like a second-grade THE GIRL ON A TRAIN, IMO. But I do prefer it over most big blockbuster things he’s done in the last 15 years.
Elfman just replied to someone on Twitter, saying that he spotted the movie with Raimi last week
Thought 65 was going to be written first as he mentioned his next score being half electronic and half orchestral – I hope he’s still scoring that movieMe too! That sounds 1000 times more interesting than yet another superhero/blockbuster affair.
Funny. After acquiring this in digital format (I need to get it on CD too), and putting it in my harddrive folder, I was reminded that this is the fourth Elfman album that starts with the word “Big”, alongside BIG TOP PEE WEE, BIG EYES and BIG FISH.
Hey, isn’t there supposed to be a new song out just about now? I know it was postponed a bit from earlier in the month, according to Elfman’s social media posts, but I think 25th was the new date given.
Also, I don’t agree with the 37 years mentioned in the article. They’re no doubt thinking of SO-LO, but that is a Boingo album in anything but name. So I think it’s more correct to use the last Boingo album as reference, hence 27 years. Still a long time, of course.
Not been that thrilled with the songs after “Happy”, to be honest. Too much fuzz and grunge for my taste, but I’m relieved there’s an album on the horizon. Means I don’t have to download Youtube videos anymore. I’m quite looking forward to the new version of “Insects”, although I’m expecting it to be grunged up beyond recognition.
Intriguing. I keep hoping for a proper, heady outer space sci fi from Elfman (other than more quirky stuff like MARS ATTACKS and PLANET OF THE APES). In fact, I asked him this very question on the red carpet interview a couple of years ago, where he replied “Yes, I’m still waiting!”. Maybe this 65 is it.
I like “Happy” more.
Both of these are a natural continuation of the Red Hot Chilli Peppers/Ninch Inch Nails-type sound that defined their last album in ’94 (the children’s chorus in “Sorry” brings the children’s chorus in “Insanity” to mind). Only darker. Personally, I wish he went back to his funkier and cleaner New Wave roots a bit more, rather than being all grungey and metally and fussy, but I’m just thankful we’re getting new rock songs from him. Would be awesome if these singles amounted to a whole allbum at some point.
Yes, I saw that earlier. What a wonderfully bizarre and maximalistic house!
To be fair, they aren’t outright leaving LA. They plan to have a small house there for some time yet untill Oliver graduates, according to the article. And Santa Barbara is pretty close to LA, anyway.
An embarassing error in the article, though – Elfman is pictured with his daughter Mali, but the text reads “Elfman with his wife Ms. Fonda”.
