How the Grinch Stole Christmas
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I watched an interview with Alan Silvestri recently where he was asked why he was working less these days, and he said that it’s because he’s getting less phone calls.
Well, yes, but right now he’s working on Spielberg’s READY PLAYER ONE, and it doesn’t get more high profile than that. Hopefully, that will result in more high profile projects for him.
All that being said, I’m less and less enthused by “high profile” projects these days, especially for Elfman. I’ve said this before, but it’s been several years since I was impressed and actually liked a high profile/blockbuster/action score by him. If it were up to me, he would ONLY do indie films from now on, where he truly shines. But that’s not going to happen. At least the GRINCH thing sounds potentially more interesting than JUSTICE LEAGUE.
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This reply was modified 11 months ago by
Thor.
Well… Grinch = mischievous christmas.
When I hear “Christmas”, “Mischievous” and “Elfman” in the same project, I become really excited.
That’s what Nightmare Before Christmas was all about, and some parts of Batman Returns as well.
Elfman & Christmas go well together. In my opinion, almost better than Elfman & Halloween (if Oingo Boingo doesn’t count).
No, let’s just hope he goes for a more theme-oriented score approach, instead of a Dark-Christmas-Mood-DNA approach.
After Justice League, here is another opportunity to go back to his roots. I loved his work on Justice League, technically. But
not thematically. I really hope it will be all about themes and melodies. After all, even James Horner did some “Elfmanisms” with his Grinch score.
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This reply was modified 11 months ago by
boingomusic.
Well, Corpse Bride, Alice, and specially OZ were perfect projects that he honored with his beloved style for fairytales and magic.
He was pretty close to his 90’s roots.But I also have been disppointed with some ideal projects which sounded weaker than I had expected. Goosebumps is a good exemple. Perfect score, but not very strong melodic elements except the short main theme.
I’d say my biggest disappointment was Frankenweenie, which really lacked a melodic and memorable theme approach.
It was instead closer to “Meet the robinsons” or “Peabody and Sherman”.Only time will tell.
But it’s hard not to expect the perfect score.-
This reply was modified 11 months ago by
I sorta agree on CORPSE BRIDE (that WAS 2005, as was CHARLIE) but I think ALICE very much bears the “Serenada Schizophrana” influence more than old-style Elfman. It’s the last of the “big” genre blockbuster thingies of Elfman’s that I’ve liked, though. OZ sounds like another of those generic “big” genre things he’s done in the last few years, IMO.
I’ve NOT cared particularly for CHARLOTTE’S WEB, HELLBOY 2, TERMINATOR: SALVATION, WANTED, THE WOLFMAN, REAL STEEL, DARK SHADOWS, FRANKENWEENIE, IRIS, HITCHCOCK, MIB3, MR PEABODY & SHERMAN, EPIC, OZ, AVENGERS: AGE OF ULTRON, GOOSEBUMPS, ALICE 2 and JUSTICE LEAGUE (although several of them have had great, individual tracks).
On the other hand, I’ve REALLY cared for THE KINGDOM, MILK, STANDARD OPERATING PROCEDURE, TAKING WOODSTOCK, THE NEXT THREE DAYS, RESTLESS, PROMISED LAND, SILVER LININGS PLAYBOOK, THE UNKONWN KNOWN, THE END OF THE TOUR, THE CIRCLE and TULIP FEVER.
That’s why I won’t allow myself to have any expectations for stuff like THE GRINCH and DUMBO, even though the “thematic palette” might seem right up Elfman’s alley — on paper.
To be honest, the only good animated films Elfman was involved with were Burton-related. All the rest is just bland, trash, bland, trash…
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This reply was modified 7 months, 1 week ago by
DannyBiker.
Looks like this recorded two weeks ago with an earlier session in March.
http://noahscotsnyder.com/posts/
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This reply was modified 5 months, 3 weeks ago by
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This reply was modified 11 months ago by
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