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Last night I watched Room and was very impressed with the music. It’s about a woman and her son being held captive by a rapist. The story is told through the point of view of the son who’s only 5 years old so the music had to reflect that and it presented a great challenge for the composer. So that got me thinking, why isn’t Danny Elfman getting hired for these type of movies? Instead of working with Gus Van Sant and David O. Russell who require minimalist scores that get buried, why not work on something like Room?
ddddeeee Wrote:
> Have you seen The End of the Tour? Terrific movie.I wasn’t necessarily attacking the movies. I was just criticizing what they offer Danny Elfman. I love Silver Linings Playbook but it was pointless to have Danny Elfman work on it. His contribution ultimately made no different. A film like Room, on the other hand, benefited greatly from the score, whether the audience realized it or not. I would love to see Danny Elfman work on film projects like that. I understand he no longer has passion for blockbusters, and for very valid reasons – even John Williams doesn’t do it anymore unless it’s Spielberg or Star Wars, but if he’s gonna focus on small movies he should get better choices.
Sounds like Room got the score it deserved and it worked well in the film; I’m still not sure what you are asking, because Elfman’s work last year was so diverse and I believe that would be more rewarding to an artist like Danny. I assume he takes that into consideration (as well as director) when he chooses projects, and as for why he wasn’t asked, that’s not his fault but the fault of the film makers.
I think despite music being used sparsely, Sliver Lining’s Playbook’s score makes a big impact. Probably bigger than any of his 2012 scores other than Frankenweenie.
I think Elfman’s got the best career right now alongside Desplat and Newman. Despite having their obvious niches their projects are so diverse that I’m not surprised to see them attached to… anything really.
I’d like Elfman to land ‘Room’-like gigs too, if only because I want him to win an Oscar. But realistically, 95% of movies don’t want their music to stand out much anymore and Elfman’s voice is so idiosyncratic that it probably rules him out of countless gigs.
Natrebo Wrote:
> Elfman’s work last year was so diverseIt was diverse but it was also beneath him. Fifty Shades? This is a movie that even his die-hard fans didn’t wanna watch. Avengers 2? Another blockbuster where his score gets drowned by the sound effects. Goosebumps? Maybe if it were based on one of the actual books. The End of the Tour is the only respectable movie he scored last year. That has to change. Danny Elfman used to be one of the top composers in the film industry. Now he’s just getting scraps. These are some movies that Danny Elfman should have been considered for: Bridge of Spies, The Martian, Steve Jobs and Spotlight.
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