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Yeah, in four years, that was probably Elfman’s biggest drought in scores recorded.
Spy Kids is better than A Simple Plan? Elfman only wrote a fraction of score for that soundtrack
I happen to like “Instinct” a lot… guess I’m the only one, but thought “Proof Of Life” was one of his least successful. I still listen to “A Civil Action”, consider “A Simple Plan” & “Sleepy Hollow” to be among his best and “Planet Of the Apes” is not far behind – heck, I even listen to the suite from “Anywhere But Here” often (having put it on a compilation CD I made that also includes his material for Spy Kids).
I don’t think that period was weak for him at all!
I hate when threads are popular but they have long-ass titles… maybe it’s just me. It’s kinda funny!
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I apologize, then. Also, I am glad that I prompted some very nice discussion. Keep it coming, people!
I believe he has, just because my favorites are from the 85-94 era (excluding Sleepy Hollow). I dig everything he’s done, though.
I think there are two things to consider. The projects and how he writes music.
Projects: it could easily be said that Burton was past his prime after Batman, Edward, and Nightmare. Those are three magical projects. It’s arguable that Elfman will never have a chance to write for such fine projects again. He said in a recent interview that he’s still waiting for his “Godfather.” That is to say not only a chance to write for a huge cultural hit (Godfather, Star Wars, Titanic type phenomenon), but also deliver.
How he writes music: yes, it’s true that writing for film is a job. He’s written probably 100 hours of music by this point. Just like with Mozart or anything else, not all of it is sacred. I LOVE those early scores and part of why I listen to the new ones is because I’m interested in how he develops. It’s not like classical music where we are certain not to get anything new from Verdi, Mozart, or anyone. We have the thrill of being alive while this stuff comes out.
As for writing concert music, ballet, or whatever. It’s almost universally agreed upon that it’s harder to write music without suggestive parameters of film, a narrative, text or other things. It’s easier to write an opera than it is a (good) string quartet. I think this extra-curricular music he’s writing is a great exercise for him. As an artist, he’s always looking to write his best work. Sometimes he is inspired, sometimes not. Sometimes he depends on his formidable skills as a craftsman (i.e. a good score with no really good theme).
Plus since these guys are in a competitive profession as film composers, he has the pressure of remaining cutting edge and sounding new. All those cheezy Goldsmith synthesizers sounded “modern” at one point.
Williams’ later Star Wars music is new music. He didn’t write in his late-70s style. He couldn’t. He’s not that composer anymore. So while a part of me hopes Elfman finds some inspiration akin to what he had going on during the late 80s or early 90s, I’m glad he’s trying to move forward. It’s the only thing anyone with any integrity can do.
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