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Surprised no one mentined this. I’m sure we’d all love to see and hear Del Toro and Elfman collaborate on this one…
I doubt Elfman will be involved. Howard Shore is very likely to return/
Perhaps, but remember, it’s Del Toro’s movie. If Elfman becomes Del Toro’s choice composer, I wouldn’t be surprised if Elfman ended up with the job.
I thought that Marco Beltrami was his choice composer. Because he was replaced by Elfman on Hellboy 2, does that mean del Toro will never use him again? Or did they have a Raimi/Elfman-style falling out?
Well, maybe, maybe not. It would be nice, though. Del Toro seems to be getting lots of Elfman-y projects.
I wonder how the two pared up. Perhaps they had a meeting and really hit it off. (It believe Del Toro loves Herrmann, also).
Peter Jackson may not be directing, but he’s still involved with the project. Howard Shore will return.
That is very likely. But Del Toro is directing the film (I think), Jackson has little power over him.
I think that Jackson and Del Toro will come to a mutual decision – IF – he makes the films. And considering Shore’s sudden depature from KONG, there could be some Raimi/Elfman type issues between the two, which could have an effect on any involvment in the LOTR pequels.
There’s no Raimi-Elfman situation between Jackson and Shore. They just had a disagreement during Kong and thats it. It wasn’t like Spidey 2 where Elfman and Raimi got pissed at each other.
It wasn’t like Spidey 2 where Elfman and Raimi got pissed at each other.
I don’t think that was the case. Raimi wanted Elfman to ape a temp track (Williams Minority Report, I believe), and Elfman wasn’t going to do it. It’s not like they hate each other, but Elfman won’t work with directors who make him do that.
Well, Elfman did say that Raimi actually became a different person. The quote is out there but his words were pretty harsh. Therefore I think it’s a bit more than just a professional disagreement.
But of course, who I am to be aware of that ?
Well, Elfman did say that Raimi actually became a different person. The quote is out there…
>>Sam was not there.
He was there, but he was not the Sam that I knew. As you said, I’ve known Sam for almost 15 years. It was my fifth movie with him and all I can say is that the person who was there at the end of Spider-Man 2 was not Sam. I don’t know who it was, but it wasn’t Sam. It was as close to living out Invasion of the Body Snatchers, as I’ve ever experienced. There’s a lot of micro-managers out there. Tim’s a micro-manager musically in his own way and there’s moments where he’ll get real obsessive over a certain cue. But we work it out. Never in 20 years have I come across a situation where I couldn’t work it out. For a director to be a micro-manager is nothing new. If anything I would say most of them are. But to get to the level where you don’t need a composer, you just need a musical arranger to adapt note for note as close as possible. There’s nothing for me to do as a composer here.<< Harsh words?
Here it is (it’s the next question asked actually).
DRE: Would you work with Sam again?
ELFMAN: Not if I can help it.
It’s too bad because Sam was at the top of my list. He was actually even
easier than Tim Burton to work with and we’d never had a disagreement. To see such
a profound negative change in a human being was almost enough to make me
feel like I didn’t want to make films anymore. It was really disheartening
and sad to see the way it ended up. The end of Spider-Man 2 was a
self-induced hysteria. It got to a point where I couldn’t even adapt my own
music close enough because two thirds of their temp score was Spider-Man 1.
If I varied from one note it was like a self-induced hysteria.That’s quite virulent to my taste…
I don’t think Elfman comes across as bitterly hostile, but rather, upset and saddened over Raimi now being a pod, which, upon hearing the tracking in Spider-Man 3, Elfman is completely right.
Jackson didn’t “reject” the score. That is a strong word. They just couldn’t agree. It didn’t end in a feud or whatever. They’ll work again. You’ll see.
Jackson didn’t “reject” the score. That is a strong word. They just couldn’t agree…
… and then Jackson rejected his score.
You can hear some of Shore’s music on one of Jackson’s Kong video diaries, titled, “Post Production Diary – 13 Weeks To Go”:
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