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Dolores Claiborne came on BBC3 lastnight, and it was my first time watching it… woah! That film’s pretty damn heavy… it basically depressed me! hehe
Anyhoo… Don’t think I’m mad, but has anyone noticed a few parallels between the Dolores Claiborne score and the Spider-Man score – listen to Farewell, then just about any cue from Dolores Claiborne that has piano in it. (There are more similarities between them than just the fact they both have piano, by the way ;o)
Any notice this, or have any other thoughts?
>¦:o)
The JNO but i will watch it and find out.
“Any notice this, or have any other thoughts?”
Sorry, I meant: AnyONE notice this…
Dolores Claiborne? That’s MY baby. I’ll talk about that score till the cows come home. I’m glad someone has BBC 3, by the way. Dolores is, in my view, the PIVOTAL Danny Elfman score. Although Sommersby comes close to detatching the composer from his comedic/gothic/fantasy scores, it is with Dolores that you see how his style was shifting, that he wasn’t afraid of experimentation. Dolores is a different kind of film – its key characters have a lot to say, but there are also moments when they just stand there and think. It’s arguably the first film to include a number of lengthy cues for the composer to have got his teeth into. It’s the film that showed a glimpse of him forging a new string technique for himself – a style of writing which permeates most of his music since, laying to rest the more block-like writing in previous scores. The mood is one of realism, even when the events are not, and the atmosphere is one of oppression rather than just depression.
There is a “Composer’s Edition” of the score floating around, and I expect Ryan’s got details of it on this site, but to be honest, it can all start to become very difficult to wallow in after a while, so I recommend the commercial release, whose first track is somehow a more effective opening than what you first hear on film. It’s almost like the music is defining itself out of a still sea fog. The first time I heard it I was completely astonished that it could be the same composer, and that, I believe, is the biggest complement you can pay him.
Blunt
Wow – quite interesting, Blunt. That composer’s edition – it’s not some rare artefact, is it? ie, can I pop into HMV or order it over amazon, or is it some relic that I can only get my hands on for $400 on Ebay or something?
So, have you seen the film a lot? It was great and all, but don’t you find it horrifically depressing?
>¦:o)
The JIt IS some relic that you can only get your hands on for $400 on Ebay or something.
I doubt anyone who has the actual CD will sell it, unless they don’t know what they have.
Aww, god dammit… I was ready to expand my collection there. Oh well…
>¦:o(
The JWell, you can buy a CD-R.
Where from?
I don’t know. I know some people around here have the soundtrack (Ryan does, of course), but I don’t want to name names. I don’t have it. If I did, I’d let you have a copy.
Thanks, Dantz. I might post a request for one later on, then. Thank you!
>¦:o)
The J
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