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Uh, did we all just get our wishes to come true? Jesus Christ, what a happy bit of news. Hope it turns out to be true…
And I guess it kinda comes full circle. Watch this just past the first minute mark.
IMDb sure is wonderful…
Last I heard, Joe Johnston was directing the Wolfman, but that could have changed. Johnston usually works with James Horner, although his recent films were scored by Mark Isham(October Sky), Don Davis(Jurassic Park III utilizing John Williams’ themes), and James Newton Howard(Hidalgo). I’m not sure if He has directed anything since Hidalgo, but If He’s doing the Wolfman I’m interested, and now that Danny is involved I’m doubly Interested.
Joe Johnston is director-for-hire after Mark Romanek committed career suicide and left the project. Bennicio Del Toro is a major force behind the film and I’m sure with Danny’s past Universal gigs, it just seemed appropriate.
I’m pleased as fucking punch that he’s doing this movie….
Excellent, exactly what many of us wished for! I love Joe Johnston’s work (ROCKETEER!!!) and I’m sure that he’ll do a fantastic job on this film. I couldn’t think of a more appropriate film for Danny to score. Yaaaay!!!
Ah yes. I am pleased to say the least. Especially since, as I said in one of my previous threads, that he would be great for this.
Well, I’m sure that it will sound just like the same mash up of the chord progressions he uses in every film. HB II sounded like TNBC, Scissorhands, Corpse Bride, etc. and the only way “his” sound might change is if his he uses a different crew other than:
Edgardo Simone,
Steve Bartek,
Mark Mann, along with
music editor Bill Abbot,
Bob Fernandez,
assistant music editor Denise Okimoto,
score mixer Dennis Sands,
Music Editors Bob Badami, Nancy Fogarty, Denise Okimoto, etc.I would be typing in names all morning if I listed all the people that actually do his job for him! Yes, most Hollywood composers have a team to help out, but most of the composers can orchestrate their own material if need be, where if Elfman was left with a piano, paper, and a pencil- we’d get musical poop. Yes, he has some nice ideas, but he needs to learn how to orchestrate! He didn’t even orchestrate his serious “art music” album “serenade schizhophrenia.” WHAT THE F**K?? Also, he needs to expand his harmonic language other than his usual minor scales- try some non-diatonic church modes fro a chance.
I couldn’t live with myself as a composer that only creates MIDI sketches and gives it to about 20 other people to get the end result… I guess the music is a product though and who cares then, right? It’s not like he is Brahms, Prokofiev, Stravinsky, Bach, Beethoven, Liszt, Mahler, Vivaldi, or Chopin. What a shame it is when people actually believe that the music in the film is 100% Elfman… sad, sad state of affairs it is! At least for film music.
I’m sorry, I just can’t stay silent on this.
Elfan — first off, if you insist on bashing a reputable composer on his own discussion board, I would choose a different screen name so as to not confuse those who read posts such as this. You clearly don’t desire to be associated with “Elf”man, nor are you a “fan” of his.
Also, I’m a film music composition graduate student currently attending the University of North Carolina School of the Arts, of which veteran conductor John Mauceri is the chancellor. Don’t recognize the name? He conducted the official CD recording of Elfman’s concert work Serenada Schizophrana, as well as commissioning Elfman to write a piece for Mauceri’s last concert conducting the Hollywood Bowl, known as The Overeager Overture. So who am I talking about here? I’m talking about an extremely knowledgeable musician who has been in the world of music for film and television, as well as being known for his concert activities; he was a protege of Leonard Bernstein, for goodness sakes!
What am I getting at? I’ve had several discussions with Mauceri, a good few about Elfman. I was fortunate enough to get a glimpse of the very score to Overeager Overture, and even though Elfman cites Steve Bartek as orchestrator for the work, Mauceri explained that he didn’t know why. This man, this very upstanding musician and conductor, continued to explain to me that Elfman did so much of the orchestration himself. He even said he tried to convince Elfman to remove Bartek’s name!
In conclusion, how dare you, sir. I thought this particular argument about Elfman was long, long refuted. You, sir, are stuck in the late eighties and early nineties when people were saying the same sorts of things you just did. Also, the very fact that he has survived — nay, been successful — for almost 25 years in Hollywood says something, and that doesn’t even count the fact that he’s written concert pieces and a ballet. I don’t know Elfman personally, but I’ve seen, heard, and read enough interviews to know that if, indeed, he was the kind of so-called “composer” you, “Elfan,” describe, he would be ashamed of himself, and strive to be better than that. But he’s not that kind composer, and it is you, sir, who should be ashamed of yourself.
You stand corrected. That is all.
Hugo Weaving
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