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“What are you most looking forward to audiences seeing with this film?
WALTZ: Not only do I not know, I haven’t thought about it either. I can tell you what I am most looking forward to apart from the cut and how it all fits together: I want to hear Danny Elfman’s music!”
https://collider.com/christoph-waltz-dracula-a-love-tale-luc-besson/
Well if it’s the kind of directors he will be working with in the future, he might as well stop film music for me… 😀
I’m conflicted.
I can’t imagine there’s anything more to say with this story, nor can I imagine it doing well or being well-received. Also, working with a director with a lot of allegations when you have allegations is a bad look regardless of whether either person is guilty or not.
On the other hand, for a composer, this must be as enticing as it gets. I also loved Desplat’s score for Valerian (another genre entirely, but hearing Desplat being allowed to be 100% Desplat on a big movie was a treat). I love Sleepy Hollow and Wolfman, and it’s been ages since Elfman scored a horror movie.
“Elfman is currently scoring the film Dracula: A Love Tale for the director Luc Besson.”
Awesome! Is there anything that’s like coming down the pike that you’re really excited about?
Caleb Landry Jones: I’m excited for this Dracula film that’ll come out soon. Danny Elfman, who I love, he’s making the music for the film. [Caleb gestures again at the Burton Batman poster, which Elfman soundtracked.] Very excited, yeah. It was a real honor to get to meet him. He came to the studio for a few days, just to get a feeling of the movie and what Luc [Besson] was doing.
“At Times It Seems You’ve Been Known to Tell”: An Interview With Caleb Landry Jones
Publication was removed. I suppose it was the one with Elfman posing with Luc Besson in a studio (it’s still on Facebook).
Who knows why it’s gone, but let’s say there are many possible reasons…
I was going to post a screencap, but that seemed like an old-fashioned way to share the post when Instagram lets you do that already…
This will open in France on 30th July.
Serra’s score for Besson’s previous movie, Dogman, was released on CD in France. Fingers crossed the same happens here.
French trailer.
Nothing we haven’t seen 1000 times already, but it looks like it could inspire a great score.
The album is out on Spotify.
And it’s pretty much a mix of everything that made me love Elfman’s music.
The main music box theme reminds me of Corpse Bride and Edward Scissorhands. While the action scenes are remeniscent of Hellboy II and Nightbreed. And of course, you can hear The Wolfman and Killar’s Dracula all along. Nice score.It’s a lovely score but I’m struggling with the recording. Nobody else is complaining about it anywhere, so I’m wondering if I’m going mad. Does it sound really muffled to anyone else? In some of the busier cues I find it hard to separate what’s doing what.
I just realized that today. In some cues, there’s a synth bass that is mixed waaaay too heavily and it just bursts your ears.
Maybe it works fine on the theater’s subwoofers but at home, it’s just so loud that it covers most of the instruments. A perfect exemple is the second part of the end credits, between 0.55 and 1.16. There’s this loud “woooooooom” going on below every single chord. It works fine on small speakers but whenever you play it on a full range sound system, it’s just too much.
I’m surprised they didn’t do a better mastering for the album.Wednesday and Dark Universe were both recorded with the same orchestra, make plenty of use of electronic sounds and have (mostly) the same crews. But those sound crisp and this does not. It’s very weird. It’s a shame because the score is really interesting and lovely.
Funny, this came up. I’ve been a bit cool on DRACULA. Not entirely sure why, but I find it’s missing some clarity, perhaps in the orchestration. It sounds very streamlined, missing many of the burrs that Elfman’s style and voice bring to things. Consider DARK SHADOWS, for instance, versus DRACULA. Perhaps it’s in the recording, but to me DRACULA doesn’t have that overtly decorated feel I expect from Danny.
I think I can confidently say now that this is my favourite Elfman score in quite some time. I was underwhelmed when I heard it at first. I thought the music box thing was tired (it’s a part of the movie, so that’s not really on Elfman) and I thought the Kilar influences were too on-the-nose for a Dracula movie (at least Wolfman is one step removed).
But I’m really smitten with it now. The dark stuff is more interesting and more listenable than in Elfman’s other horror scores. The interplay between all the themes, as is usually the case with Elfman, is a joy. The Dracula theme emerging from the love theme helps keep the narrative tight, but the different guises of the love theme make sure it stays fresh. I want to see the movie if only to see if there’s a narrative choice for why each version plays where it does.
More than anything, I enjoy how paired down it is – I find myself really moved when the piano solos hit in the last two tracks.
I can feel that Elfman was really inspired here.
I had somewhat of a similar journey with it. It kind of felt like auto-pilot Elfman for me at first, but I’ve grown to really love it.
Blu-ray featurette on the score has been announced:
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