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How do we know a composer does not need extra help, even on smaller scores? Is it not possible that additional composers are brought in to satisfy studio brass and directors, writing alternate cues to chose from? Sounds like we should be upset at the state of the film industry, not the craftspeople who work in it.
Descent Into Mystery wrote:Danny Elfman using additional composers is nothing new. Shirley Walker wrote some cues for Dick Tracy and Jonathan Sheffer wrote the helicopter action scene in Darkman. But I agree with Danny Biker. Elfman shouldn’t need additional composers for movies like American Hustle, Big Eyes and 50 Shades. That’s very weird.In fact it doens’t depend on the quantity of music, but on the time given to the composer to write it, and on the conditions of this writing…And, as you say, it’s not something new in Elfman carreer, I think most of his scores have in fact some additional composers. It’s the case for most of film music composers in the industry, even if for most of them they don’t do it at a Zimmer’s scale. And it’s not even something recent, it was already the case with “old age” composers (Morricone, for example…). I have no problem with the process, even if I prefer too when they are credited. So much things can cause changes in the music : wishes of the director, of the producers, new editing, money issues…A composer just can’t stay available for a project during six monthes. Well, in fact he can, but that would mean quite a lot less soundtracks for each of them…
Concerning “Bliss”, maybe Elfman wrote the main idea for the music, and David Buckley just made it correspond to the picture ?Patrick Doyle had one year to compose Cinderella, Branagh let him have free reign, and that still needed an additional composer and Doyle never used one before Cinderella. Times are changing.
The music for the interview is so lovely, wish it were on the CD.
You can hear some of it at the start of the Elfman featurette.
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