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It’s easy to say “I’ll believe it when it happens,” but all the major trades are reporting it.
https://variety.com/2023/film/actors/jenna-ortega-beetlejuice-2-tim-burton-1235548928/
Even with Wednesday being the phenomenon that it was, I wonder if Burton could even get any other movie off the ground these days.
I’ll look forward for the score for sure, the “pumped up” version of the Main Titles performed in the Elfman-Burton concerts really showed how Elfman perfected his craft through the years.
That being said, I agree that it’s pretty much the only project left for Burton at this stage of his career, but boy is it sad to see. I really hoped Beetlejuice would be left untouched.
Just don’t do Edward Scissorhands 2 please… 😀
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.
I love that Beetlejuice suite, too! That extended build up to the main theme is soooooo good.
I actually think the overall score to Beetlejuice is underrated. Everyone is hung up on the main theme, but I really love the whole thing. The Waiting Room Music is excellent!
I’m kinda fascinated by how Elfman will approach this. The chaos of the original score is worlds away from Elfman’s more ‘musical’ writing these days.
The original score does have a form of simplicity, even some kind of “naïveté” that is inherent to scores from debuting composers I suppose. I grew with it (discovering the Main Titles is one of the highlight of my life, really) so each track on that album lives somewhere in my head, although I revisit it less often than other Elfman scores from that era.
To some extent, I hope he goes back to that kind of simplicity, with a “modern” twist of course. His last main Burton score, Dumbo, kind of leaned towards a more “direct” music, leaving some of the complexities of the last 30 years behind. And I liked that quite a lot.
In what’s certainly the most exciting news about the movie yet, Willem Dafoe has joined the cast.
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