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Tracklisting. Be warned there are MAJOR spoilers
1. Dark Shadows – Prologue (Uncut)
2. Resurrection
3. Vicky Enters Collinswood
4. Deadly Handshake
5. Shadows – Reprise
6. Is It Her?
7. Barnabus Comes Home
8. Vicky’s Nightmare
9. Hypno Music
10. Killing Dr. Hoffman
11. Dumping the Body
12. Roger Departs
13. Burn Baby Burn / In-Tombed
14. Lava Lamp
15. The Angry Mob
16. House of Blood
17. Final Confrontation
18. Widow’s Hill – Finale
19. The End? (Uncut)
20. More The End?
21. We Will End You!Woah, some of those synths are crazy!
The clips are a lot darker and more sinister than I would have guessed them to be, based on the trailer.
A bit too dark and horror-ey for my taste, but I’ll postpone the evaluation untill I have the whole thing.
Oh man, I am loving what I’m hearing so far. Sleepy Hollow, The Wolfman, The Frighteners, and The Jar all rolled into one. I was a little worried with the music in the trailer that it was gonna be all campy, Brady Bunch stuff, but hearing the score, I see Danny has nailed the tone was hoping for. I’m sure the movie will still be funny in a ‘Beetlejuice’ way, and I’m totally fine with that. Can’t wait to see the movie now, and of course get the full score, and not just these 90 sec. clips.
Lucius
P.S. Favorite 2 cues are House of Blood and We Will End You
Apparently the prologue in the movie lasts over 8 minutes, should make up for the lack of main title cue.
Here is the tracklist with times:
1. Dark Shadows – Prologue (Uncut) 7:52
2. Resurrection 2:55
3. Vicky Enters Collinswood 1:21
4. Deadly Handshake 2:15
5. Shadows – Reprise 1:08
6. Is It Her? 0:43
7. Barnabus Comes Home 4:18
8. Vicky’s Nightmare 1:26
9. Hypno Music 0:48
10. Killing Dr. Hoffman 1:14
11. Dumping the Body 0:59
12. Roger Departs 2:34
13. Burn Baby Burn / In-Tombed 2:49
14. Lava Lamp 2:17
15. The Angry Mob 4:40
16. House of Blood 3:39
17. Final Confrontation 2:21
18. Widow’s Hill – Finale 3:47
19. The End? (Uncut) 2:43
20. More The End? 1:55
21. We Will End You! 1:10Total Time: 52:44
I just found out that Jonathan Frid (the original Baranabas Collins) passed away.
http://insidemovies.ew.com/2012/04/19/jonathan-frid-original-dark-shadows-star-dies-at-87/
Those of us in LA might be interested in this Dark Shadows-related Q&A with Elfman at Warner Bros. Records on May 8!
Here’s the announcement:
http://www.warnerbrosrecords.com/news/danny-elfman-host-live-qa-session-may-8th
Quote:Grammy Award-winning and four-time Oscar®-nominated composer Danny Elfman will visit the historic Warner Bros. Records building in Burbank, CA to host a live Q & A open to the public on Tuesday, May 8th at 6:00pm. For those unable to attend, this event will be streamed live at http://www.livestream.com/dannyelfman where fans can submit their questions in real time. Here are the details:When: Tuesday, May 8th
What: Danny Elfman to Host a Live Q+A Session
Where: Warner Bros. Records Boutique Store
3300 Warner Blvd, Burbank, CA 91505
Time: 6pm-7:30pm
RSVP: dannyelfmanrsvp@gmail.com By Friday, May 4thAlso, in recognition of the upcoming Warner Bros. Pictures theatrical release Dark Shadows-which marks the 14th collaboration between composer Danny Elfman and director Tim Burton-a limited supply of 75 signed copies of the Danny Elfman & Tim Burton Grammy-nominated 25th Anniversary Music Box and 100 signed Dark Shadows Soundtracks will be available for purchase.
The Grammy-nominated Anniversary Box will be specially priced for the event at $399.99 (regularly priced at $499.99). The Anniversary Box will also be available at this special price for one week online at http://www.elfmanburton.com from Monday, May 7th though May 14th.
You can hear the full track ‘Widows Hill’ here.
http://soundcloud.com/timburden/movie-magic-dark-shadows-and
Doesn’t it seem weird that the soundtrack comes out on May 5th, which is a Saturday? Are new releases not on Tuesdays anymore?
Yeah, the main page here at MFADP says May 5th. I guess I didn’t bother to double-check anywhere else…
Size Matters: Danny Elfman goes small to get “Dark Shadows vibe”.
Won’t let me embed, but a short video interview about the score is here: http://www.traileraddict.com/trailer/dark-shadows/interview-danny-elfman.
UPDATE: Perhaps an outtake from the new three-minute making-of featurette at http://trailers.apple.com/trailers/wb/darkshadows/ ?
Elfman was just on radio and they played a chunk of the score. The Prologue is really something.
EDIT: Here it is. http://www.eastvillageradio.com/shows/nowplaying.aspx?contentid=1284&showid=245374
I recieved the cd saturday, and finally got to listen to it.
It’s much more quieter than I thought. A lot of sensitive moments, but very dark. I thought we might get a lot of 70’s influenced music, but hopefully it’s not the case.Can’t wait to see the movie!
It’s a shame they messed up the back print of the cd though… The film credits have been slightly cut by the album credits. It’s not a big deal, but I’m surprised Sony Music doesn’t check the artwork before printing so many copies…
Full score streaming at: http://music.aol.com/new-releases-full-cds/spinner#/2
The score was great in context, except that it was mixed too low. Too many loud sound effects. But when it shone, it really shone. Great WOLFMAN/Kilar vibe alongside the 70’s grooves and the odd instrumentation here and there (some flute or theremin thingie?).
Not sure I’d get a lot of pleasure from it on a CD (a bit too horrorey for my taste), but as usual hand-in-glove for a Burton film.
I just saw the movie… I liked it… But I was very surprised by the lack of poetry…
Usually, Tim Burton’s movies are very poetic, even when they’re really dark, and even when they sing Broadway-like songs like in Sweeney Todd. But here, I felt there were way too many characters, and he didn’t get to explore them enough. At least not enough for the audience to feel anything for them. It was beautiful, funny at times, but too cold.
And in my opinion, a lot of the humor was based on jokes we had already seen in other movies. I couldn’t help but think of Disney’s Hocus Pocus, when whiches wake in the 20th century and react when they first see a car, a street, or the TV. Nothing new here… And, one must be very patient to finally hear Elfman’s music. I have a feeling that a lot of his music has been replaced by songs. I didn’t hear the track “Dark Shadows – reprise” and I was wondering if it wasn’t supposed to be played during the main titles, instead of “Nights in white satin” …? It was surprising to see a Tim Burton Main Titles without Elfman’s music… Interesting, yes, but surprising…What did you guys think ???
Are you guys seeing previews or something? I’m looking forward to it. I thought the titles might play over the prologue if at all, considering the amount of back story there is. That sounds very late in the film (if it’s track wise where the “reprise” is) for titles, Sleepy Hollow late. What’s the context of the titles might I ask? How do they play?
We live in a place called Europe where it has been released yesterday…
I disagree with you boingomusic : I’m sure the use of songs has been planned way ahead and don’t think that any of Elfman’s music was rejected. They might tried some original cues on several scenes but went for the song in the end. However, don’t you guys think it’s an issue : songs work very well and most of the time they actually really interact with the film (they are justified on screen), which confirms my feeling that it was planned all along.
As for the main title, Burton may have asked Elfman to try to write it (Taking Woodstock style ?) but I’m also fairly sure that they actually chose a song to mark the era’s change. And to be honest, it works very very well.So yes, it doesn’t leave much room to Elfman and this might be one of his shortest score for Burton, also because there are many dialogue scenes without music. All in all, it feels way more balanced than Sleepy Hollow’s over-musicality for example. Elfman’s got the prologue to shine as well as the finale and rest assure that he doesn’t miss the opportunity. His main theme has some great momentum that gives you the shivers. The rest of the score is more about experimenting with the 70’s feel (Wendy Carlos notably), atmospheric cues, etc. It’s quite an interesting score actually but more technically than melodically.
As for the film, it’s a Burton comedy with more spooky moments. It’s all about the characters, how they interact, what they represent (the protective mother, the disappointing father, the sexual predator, the outcast), etc. It has that mixture of humor, “campyness”, sex, horror that only Burton can balance right. It’s not a great movie but a good one and I really think it’s one of his most interesting work in a while, with a lot of things to be analyzed in terms of its vision of the American society, on war of genders, etc. There are also several choices made by Burton here that departures from his usual style, which is pleasant.
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