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Grant Curtis basically says the same thing he did before about Spider-Man 3’s music in his new blog replies. Look at all the Danny questions he was asked! It’s funny he doesn’t go into too much detail other than the music is “going well.” That’s a dodge if I’ve ever seen (or I should say “read”) one…
“Dear Mr. Grant,
I didn’t know if Danny Elfman and Chris Young are composing together on the film’s score, or are they composing for different scenes in the film singularly?”“Liam,
Danny and Chris are indeed both working on the film and things are going well.”They are both working on the music for SPIDER-MAN 3. Elfman’s new and old themes, Young adapting them and writing the rest of the score.
Ryan
Young’s adapting Elfman’s music now? Is John Debney too busy or somthing? You know, I like Young’s work. In fact I was re-listening to THE GRUDGE just the other day. Not bad. Never heard his work for the sequel though…
Here’s some samples from Young’s Ghost Rider:
Judging from these samples — and yes, I agree that you shouldn’t judge an entire score on little snippets — this is a dud.
Elfman’s new themes best be good.
I like how (once you scroll all the way down) the post says that the film will be released in July of 2006…
It looks tacky, but I want to see it. I loved BLOOD RAYNE too! I know, I know….shame on me.I’m currently listening to Young’s “The Fly II” and am surprised how darn good it is, especially when put up against Howard Shore’s brilliant work on the original (re-make, that is). I think he’s quite capable of writing a great Spider-man score on his own, but he’s not going to get the chance with this one. How much original material (meaning passages of underscore that do not contain Elfman’s themes) can he possibly contribute given Raimi’s affinity towards the original Spider-man score? It seems that his affiliation with these films has done nothing more than hurt his credibility.
As for Ghost Rider… man does it look bad. I can’t blame Young if his score sucks. It reminds me of that legendary story about a film producer begging Bernard Herrmann to save the film he was working on with his music. The notoriously hot-headed composer’s response: “I can dress up a corpse, but I can’t bring it back to life.”
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