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  • #36848
    Anonymous
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    I just found this at the SuperHeroHype boards. Interesting stuff:

    I recently read an interview Elfman gave to a French magazine called Cinefonia. He explains what happened:

    It seems like the film as we know it isn’t 100 % Raimi’s (he says that he was certainly more free than for Spider-Man but not as free as Burton for Batman 2). A few weeks before the release, Sony decided to heavily re-edit the film and also decided to change some cues Elfman composed for the film. He refused to rewrite those parts, judging (with Raimi’s agreement) that the score was good as it was; plus he had to leave for London to start working on Burton’s Charlie and the Chocolate Factory.
    Ignoring their arguments, the studio looked of additional composers. They first asked Steve Bartek, Elfman’s orchestrator who logically declined. So they went for Debney and Young. Those two did what they could in so little time but it is obvious that Elfman’s work is by far superior (when Parker’s stops the train in the score cd, you actually feel the effort, the tension, it’s amazing!).
    Plus, to save time and money, they asked some music editor to use the score from the first movie for transition scenes. That’s why we get the Main Titles on the rooftops or the love theme for the Aunt May monologue (instead of the wonderful Aunt May Packs from the cd). So that’s not Elfman’s choice. The few times he uses music from the first film, he wrote new orchestrations for it – the best example would be the “End Credits” from Spider-Man becoming the impressive “He’s Back !” in Spider-Man 2. So, sorry Visionary, I know you like to find the lamest arguments when it comes to destruct Elfman’s work, but once again, you’re completely wrong.
    About Spider-Man 3, Elfman says “Why not? But the conditions will have to be very clear this time”.

    As for the score on cd Vs the score in the film and beside the problems I talked about, Elfman likes to include on the cd some cues that didn’t make it in the final print; stuff he likes and that will never exist if he doesn’t put it on the cd (like Big Fish’s End Credits to take a recent example). That’s why sometimes you can’t identify some cues. The very tender ending of “Peter’s turmoil” is a good example from a scene that was certainly cut from the film.
    The college cue was surely too short to be included on the cd, plus it seems like the score length can’t exceed 45 minutes.
    For the End Credits, I guess Elfman was not very pleased by how they treated his End Credits in the first film (it lasted almost 2 minutes on the cd and was cut to 30 seconds in the film !), so why should he waste his time anymore ? It’s pretty obvious that the studio prefers to have 13 crappy songs during the credits than an orchestral score (even if Elfman proved many times his skills when it comes to compose long suites for end credits….Batman 2, Red Dragon, etc.).

    #52270
    Anonymous
    Guest

    Yeah, that’s mine…
    I really intend to translate the main answers of the interview during the week but you already get the idea with that.
    If you know french, I can send you the article (4 scanned pages). Just mail me…

    #52271
    Anonymous
    Guest

    YES!!! HE WANTS TO DO SPIDER-MAN 3!!! I swear, if Sony messes this up…well, there’s nothing I can do, and it’s not like I can boycott the movie or anything…still, they will have my disappointment, which counts for something! A least we know that he won’t mind doing a third. Stupid Sony…

    #52272
    Anonymous
    Guest

    That’s no surprise. If Raimi had anything to do with it, though, he probably would not do the sequel, I’m guessing.

    #52277
    Anonymous
    Guest

    Lol, who said he “is doing” the sequel?
    He just said that he might want to do it, plus he mentioned reservations.

    I think the first part of the original post is really nice, because it speaks out what many thought.

    #52304
    Anonymous
    Guest

    The whole Spidey 2 situation was a b*tch, but I have to give props to Sony on the fact that they hired a composer who has worked with Elfman before, and a composer who worked with Raimi before, so it’s not like they set out to sabotage the film.

    Still, they should’ve left it well alone. Leave Raimi to his own devices and stay out of his affairs, you get a classic like Evil Dead 2.

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