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I’m the opposite.
Subdued scores are my favourite these days. I’m less keen on the kinetic action scores, whether it’s from Elfman or anyone else. I love stuff like MILK, SOP, TAKING WOODSTOCK, even THE KINGDOM. Less keen on HELLBOY 2, WANTED, much of TERMINATOR, 9 etc.
The calmer, the better.
I love stuff like MILK, SOP, TAKING WOODSTOCK, even THE KINGDOM.
I think the reason you find those scores so appealing has more to do with how different they are from other Elfman scores, rather than how calm it is. It’s great that he’s playing around with his voice.
And I love SOP. Though I don’t consider it that restrained. It’s actually pretty whimsical.
Heck, Gustavo Santaolalla won two years in a row. And his score for “Babel” was an assault on the ears.
Actually, BABEL was a superb score, brilliantly used in the movie, even though I understand the controversy regarding the fact that a couple of the cues were taken from previous Santaolalla albums.
…even though I understand the controversy regarding the fact that a couple of the cues were taken from previous Santaolalla albums.
What?!
Wow. If only the academy could gather a group of people that have skill or knowledge in a particular field — musical expertise, if you will — who could have caught that.
Danny Biker Wrote:
> Good Lord, I’m surprised to see how “Milk” is so
> underestimated around here. From all the great
> scores of 2008, it’s my favourite along with
> Hellboy II…and quite frankly, I was disappointed
> by both of them at first !
> These are the work of a very mature composer;
> while they have very strong themes, these scores
> are more about textures and carefully balanced
> orchestration. Early-90’s Elfman would I’ve never
> been able to write that kind of music…
> In the end, although I was really fond of Wanted
> when it was released, I just realised the score
> completely disappeared from my playlists – and
> won’t come back for a long while. Very fun
> score…but that’s pretty much it. It’s just a
> million miles away from his big brother Mission:
> Impossible…Me too. I think Milk is great, underrated, and a very mature score and it deserved the oscar nomination. Descent into Mystery just needs to stop getting Elfman ‘s scores from now on. Everytime he does a drama. He gets ticked. I remember last year at the FSM boards two users were calling Elfman the next Williams or believed that he finally reached Williams. I know all opinion. A lot of those guys up there like Elfman when he’s scoreing boring–I mean dramatic and quiet music and not when he’s scoring superhero action scores. Even in his action score listeners tend to like his drama cues more than his acton cues. BTW, I like action scores but when it comes to scores like Milk the quieter the better. I’m just trying say that just because you think his dramatic writing is boring doesn’t make it fact.
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