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It’s not the most original Elfman score, but it works for the film. That being said, I got a kick out of The Munchkin Song. I’m always thrilled when Elfman does a song for a movie.
Raimi gets asked about falling out with Elfman at 14:25 in this interview. He says that he’s mostly to blame.
Wow. Glad to finally hear Raimi’s side to this finally. I’m also glad that they both moved on and put aside their differences to work together again.
Interesting take on The soundtrack:
Main Titles
Danny Elfman’s soundtrack gets off to a fantastically glitzy start, with orchestral and choral bombast to spare – perfect vintage Hollywood fare.
A Serious Talk
Delicate woodwinds form the main part of this conversation.
A Strange World
While the visuals in this film are predictably stunning and other-worldly, the music has to match it – Danny Elfman’s score is full of wonder here, with ethereal effects designed to evoke the mysterious and sumptuous world of Oz.
Fireside Dance
Another sumptuous number from Elfman, this time with added dulcimer and a glorious (dare we say Rieu-esque?) waltz.
The Emerald Palace
The location that so many people recognise from the original brings out the most lush orchestration you could imagine from Danny Elfman’s score – it’s foreboding and triumphant at the same time.
Treasure Room / Monkey Business
We’re pretty confident in suggesting that this particular portion of the movie will feature Finley, the flying monkey voiced by Zach Braff. As you’d expect, it’s a suitably cheeky piece of scoring from Elfman.
Glinda Revealed
This ethereal theme announces the arrival of Glinda, played by Michelle Williams.
The Munchkin Welcome Song
A classic slice of Elfman whimsy and a return for some of the most notable characters from the first time round – The Munchkins!
The Bubble Voyage
Mystical and exciting sounds from the orchestra give a fantastical sense of the visuals here – Elfman is the go-to guy for visually stunning stuff like this.
Meeting The Troops
A lumbering theme for the titular troops from Elfman, and another highlight in the soundtrack. Listen out for the gentle celesta in the background as well, something that Elfman has often used in his scores.
What Army? More bombastic excitement from Elfman’s score here.
Theodora’s Entrance
Mila Kunis made quite an entrance at the Oscars, but we bet her arrival in Oz The Great And Powerful is even better, if the score is anything to go by.
A Threat
You can imagine how this slice of Elfman sounds just from the title alone – expect nervous strings and a sense of dread in the brass…
Bedtime / The Preparation Montage
This is the soundtrack’s longest section and is quick to assert Elfman’s rather deft way with quieter passages.
Call To Arms
…Danny Elfman’s score things have gotten decidedly more dramatic…
Destruction
Another dramatic bit of scoring, this time with lower-register brass dominating.
Oz The Great And Powerful
The title track from the film, this is about as anthemic as Danny Elfman gets. Lovely stuff, and a great iconic way to cement James Franco’s on-screen performance.
Time For Gifts
A sweetly emotional finale to the film, which has by this point taken in some seriously breathtaking scenery, some lush orchestration from Danny Elfman
End Credits
From Oz Danny Elfman’s epic score finishes with a bang, and a little tour of some of the best themes in the film. Another corking soundtrack from one of the modern masters of the genre.Here is the source: http://musikfilm.blogspot.com/2013/03/danny-elfman-oz-great-and-powerful.html
Saw the movie, had a blast. Score is mixed very well for the most part, the score survives sound effects but succumbs to cheering from the citizens of Oz a fair few times. Elfman’s score plays out the movie too which was a relief, the crappy Mariah song doesn’t play until after Elfman’s end credit cue.
The main titles are a phenomenal mix of imagery and music, really fantastic stuff there.
That was…different. Interesting to see an Oz-themed remake of Army of Darkness. Still not sure what to make of the film, but I’m looking forward to my CD even more now.
I didn’t care for Kunis or the overly Disney ending but I really enjoyed it otherwise. I probably could have happily left after just the main titles, those were fantastic.
Raimi doesn’t seem to think he’ll direct the sequel.
Bookbinder, nice to see someone saw that parallel between OZ and AOD. Clearly the preparation montage, hero from another time, etc. Sorry, don’t want to put up any spoilers!
Noticed the main titles were mixed different in the film — not just the narrow stereo field (for obvious reasons), but the first 15 seconds.
The score is OMNIPRESENT. A few unreleased cues I’d like to hear (China Girl scurrying to the Emerald City for one.)
I really enjoyed the film, and would like to go back to these characters and place. It’s nice to see a good fantasy pic that’s got scares, laughs and a bit of offkilter charm. I’m so tired of cynical Michael Bay shit.
The scene were Oz repairs China Girl had some lovely unreleased music. The music when Oz is chased out of Kansas and when Glinda summons all the cloud over the field are missing too. Sounded like there was more action music for the end fight than there is on album too.
Elfman was going to score Spider-Man 4.
Poor Christopher Young. Elfman was Raimi’s first choice for The Gift, Spider-Man 3, after Young scored SM3 Raimi still wanted Elfman for the fourth and after Drag Me To Hell Raimi said he missed Elfman on his last picture.
Disney have released the main titles of the movie online.
http://www.cinemablend.com/new/Watch-Beautiful-Opening-Credits-From-Oz-Great-Powerful-36511.html
I heard the score before watching the movie and enjoyed it. But I finally watched the film last week, and now, I absolutely love the score. Danny did a great job. I think I might like it more than Alice in Wonderland. Alice has the better thematic material but the music in Oz works better within the context of the movie.
Elfman gets a feature on the Blu-Ray.
http://www.seat42f.com/oz-the-great-and-powerful-dvd-and-bluray-release-details.html
Career retrospective interview with Empire magazine focusing on OZ.
http://www.empireonline.com/interviews/interview.asp?IID=1652
Only new info seems to be that he has no recollection about why they used “Beautiful Dreamer” in the score.
CD is going out of print…
http://store.intrada.com/s.nl/it.A/id.8018/.f?sc=16&category=66697
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