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- January 19, 2016 at 8:16 pm #38221ddddeeeeParticipant
Already two listed for Alice Through the Looking Glass.
The number of Elfman scores without additional composers are few and far between these days. I might just be paranoid but in Goosebumps, Mr Peabody and Epic I feel like I can really hear people trying to be Elfman. Oz, which he completed two weeks ahead of schedule, still had additional composers.
Is it a time issue? The End of the Tour and The Unknown Known have only Elfman listed and those are both small movies. Then we have Tulip Fever and Big Eyes which were small but have additional composers listed.
After the David Buckley writing ‘Bliss’ issue last year I really don’t like this. Everyone comments how Epic sounds like Powell and the additional composer for that one also does the same for Powell. It seems safe to say his contribution was pretty major?
How do you all feel about this?
January 20, 2016 at 2:46 pm #59584DannyBikerParticipantI’m not happy about it either. Elfman does seem to turn into a brand/team to some extent, something I don’t think he would have liked a few years back.
I do have the feeling he’s every year less interested in film music which could explain why he’ll just now focus on what he likes about it and leave the rest to others (he’s getting older after all). Because he didn’t write that much scores in the last 3 years, at least big ones, and it’s not like the Elfman-Burton project is a 100 dates tour…I don’t think scheduling conflicts can explain everything*.
Again, he may have reached an age where working 12h a day for 8 weeks several times a year isn’t his cup of tea anymore.
* Additional words written by my wife.
January 20, 2016 at 4:47 pm #59582lonzoeParticipantYeah it’s frustrating as an Elfman fan. Especially when even his small films have additional composers. It’s probably why some of his more recent scores are lacking that Elfman touch. And I thought Oz didn’t have any additional composers.
January 20, 2016 at 5:18 pm #59583DannyBikerParticipantWith such an empty schedule ahead of him in terms of films (Alice and Tulip are done for him I guess), I just hope he’s not sick or something.
Yes, 2016 has made me paranoid.January 20, 2016 at 7:05 pm #59541ddddeeeeParticipantI don’t think Alice has recorded yet.
I don’t mind if it’s made clear like it was with Nightbreed and Darkman, but this is all so hazy. Am I listening to Elfman? Am I listening to Chris Bacon? Both? I mean good music is good music but some clarity would be nice.
January 20, 2016 at 8:14 pm #59542Ryan KeaveneyKeymasterIn the case of EPIC, do we know if any of that additional music is on the album? Elfman might be taking a more open role here giving additional music composers credit for stuff that’s in the film, but since it is rarely ever credited directly to another composer on the album, I tend to think it’s all his. In the case of FIFTY SHADES, well “Bliss” was not credited to Buckley in the notes, was it?
January 20, 2016 at 8:37 pm #59488ddddeeeeParticipantI’d love it if that were the case. Elfman did omit the cues that weren’t his on Darkman and Nightbreed.
Paul Mounsey, who wrote additional music for Epic (and Goosebumps incidentally), is a Powell regular. Pretty much everyone noted how much it sounds like Powell and it’s a sound pretty exclusive to Epic as far as Elfman is concerned. I can’t help but be skeptical about that one. Then again, Powell scored all but one Blue Sky film at that point so he was probably all over the temp.
‘Bliss’ is a dodgy one in that we don’t know how much Buckley was involved. But I don’t think he would boast about it on his website if it weren’t a significant contribution. He doesn’t get cue specific for any other movie Elfman hired him on.
This seems to be really common practice nowadays. Beltrami, Powell and seemingly 99% of composers are in the same boat. I’d love to hear him talk about it.
January 21, 2016 at 9:48 pm #59489ddddeeeeParticipantThis is enlightening. David Reynolds, who wrote additional music for Wanted, has uploaded the music he wrote. None of which made the album.
https://davidreynolds.squarespace.com/wanted/
I distinctly remember reading that T.J. Lindgren was involved with ‘Atom Vs Twin Cities’ from Real Steel.
January 22, 2016 at 3:30 am #59490lonzoeParticipantYes the liner notes of the Varese Sarabande album of Real Steel credits TJ Lindgren’s assistance on three cues “Atom Vs Twin Cities”, “Twin Cities’ Intro”, and “This Is A Brawl”.
January 22, 2016 at 6:19 am #59491AnonymousInactiveBliss sounds like a canned choir chord progression for when you need a “heaven” sound or something, and is not much of a composition. Probably why they overlooked it.
February 17, 2016 at 2:14 pm #58732ddddeeeeParticipantThe Wolfman score also references the specific tracks the additional composers worked on, I take it this is a Varese thing?
February 20, 2016 at 12:28 am #58661ddddeeeeParticipantDoes anyone know what is meant by ‘Additional Arrangements’? I’m guessing that’s maybe when a scene has been edited and the music needs slightly rearranged to fit the footage?
Deborah Lurie is credited for writing additional music on ‘Rats’ and ‘The Scheme’ for Wanted.
February 23, 2016 at 1:58 pm #58663ddddeeeeParticipantI know I’m dragging this out but Paul Mounsey wrote additional music for ‘Theodora’s Entrance/Puppet Waltz’ for Oz and for ‘Escape’ from Epic. There’s a cue for Ultron there that isn’t on the album too.
http://www.kraft-engel.com/clients/paul-mounsey/
For all the grief Zimmer gets at least there’s a website with all of this sort of information.
February 23, 2016 at 5:36 pm #58664lonzoeParticipantI knew TJ Lindgren was credited for additional arrangements on Oz however I did not know the score had any additional music b/c nobody received any credit for it during the closing credits or in the liner notes of the soundtrack album. Did Mounsey assist Elfman on those Epic and Oz cues or just wrote ’em himself? I agree I wish it was made more clear who wrote what under these circumstances.
February 23, 2016 at 7:01 pm #58665ddddeeeeParticipantThey’ve all got an asterisk to signify ‘Additional Music’ so I’m guessing these cues are a mix of both composers.
Interesting that he also wrote music for ‘Forbidden Friendship’ from How To Train Your Dragon, probably the most beloved moment from that film and score.
The Epic cue isn’t a big deal since a huge chuck of it is recycled from ‘Ambush’ anyway.
March 2, 2016 at 4:11 pm #58693ddddeeeeParticipantA guy who was at the recording sessions for Goosebumps said that Chris Bacon was at the sessions and wrote around half of the score…
March 3, 2016 at 5:07 pm #58694Ryan KeaveneyKeymasterI don’t see any irrefutable evidence on this German soundtrack board that confirms this poster was in Los Angeles during the recording of this score…
March 3, 2016 at 5:32 pm #58695ddddeeeeParticipantYeah I can’t see the images either, he did accurately describe the score long before a note was available though. Granted, it was scored exactly as one would expect. He’s been saying some pretty damning things about Beltrami and additional composers too.
March 20, 2016 at 11:40 pm #58600ddddeeeeParticipantHalli Cauthery contributed to ‘Doorway’ from Hellboy II.
http://www.hans-zimmer.com/index.php?rub=disco&id=875
Paul Mounsey wrote the last 1 minute and 40 seconds of ‘Escape’ from Epic.
http://www.hans-zimmer.com/index.php?rub=rcpmember&numid=122
Clay Duncan wrote additional music for Hulk
http://www.hans-zimmer.com/index.php?rub=rcpmember&numid=31
Peter Bateman claims to have written additional music for Fifty Shades of Grey although he is credited for ‘Additional Arrangements’ in the album. Same with Epic.
http://www.peterbateman.com/projects.php
There’s an American Hustle cue by David Buckley here. I don’t remember it in the movie though.
June 15, 2016 at 8:33 pm #58285ddddeeeeParticipantApparently Deborah Lurie wrote additional music for Charlie and the Chocolate Factory, Hellboy II and Charlotte’s Web – according to her website anyway.
July 4, 2016 at 12:34 am #58315Descent Into MysteryParticipantIf Shirley Walker were still alive, I wonder how much music she would have claimed to have written. And I’m surprised Steve Bartek never claimed to write anything. He did write the score to Cabin Boy, so he does have the chops.
July 9, 2016 at 8:51 am #58319ThorParticipantSteve Bartek has written several scores, not only CABIN BOY.
July 9, 2016 at 6:34 pm #58320Descent Into MysteryParticipantThor Wrote:
> Steve Bartek has written several scores, not only
> CABIN BOY.Cabin Boy was the big one. The rest were teen comedies and B-movies. Also, for reasons I’m still confused about, he was an orchestrator on Pirates 3. Considering Hans Zimmer’s history with additional composers, it’s possible he might have written something, but not big enough to be officially credited. Zimmer is usually good with acknowledging his cronies, even if its buried in the end credits.
July 10, 2016 at 4:42 pm #58329ThorParticipantWell, I’d argue that NOVOCAINE was at least as “famous” (relatively speaking) as CABIN BOY, even if he did with Danny. Or the two episodes he did of DESPERATE HOUSEWIVES.
July 12, 2016 at 12:12 am #58336Descent Into MysteryParticipantThor Wrote:
> Well, I’d argue that NOVOCAINE was at least as
> “famous” (relatively speaking) as CABIN BOY, even
> if he did with Danny. Or the two episodes he did
> of DESPERATE HOUSEWIVES.I wasn’t referring to the movie’s popularity. Only people who were alive in the 90’s know what Cabin Boy is. I was talking about the music. Cabin Boy was Steve’s BIG score. If the movie had been a success at the box office, Steve could have become an in-demand film & tv composer. He could have left Danny and just done his own thing. It’s funny to think how Cabin Boy making money could have re-written Danny Elfman’s post-1995 career. How different would his scores have sounded without Steve as his main orchestrator?
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