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Justice League -> Fifty Shades Freed -> Grinch -> Dumbo
This is the highest profile Danny’s been for a while, and he’s still managing to do smaller films and side projects.
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.
On a slightly related note, I really like the score Desplat wrote for the directors’ last film, The Secret Life of Pets.
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.
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.
FAMILY MAN…NOW we’re talking!
I was never a big fan of Horner’s GRINCH score, to be honest. I also don’t think Elfman has “returned to his roots” at any point since 2005, at the very least (although there have been individual moments). I just don’t think he’s able to do that anymore. There have been MANY projects in the last few years where we thought this would be the ideal platform for this, but it hasn’t happened yet. That’s why I’m hesitant to apply it to the new GRINCH score, even if — on the surface — it looks like another ideal platform.
Sorry for being all “grinchy” about this myself, but outside the wonderful indie scores in the last few years, my Elfman enthusiasm has been considerably reduced due to the ‘blockbuster’ things he’s done.
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.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.
Well that’s the great thing about being a Danny Elfman fan in 2017 — you can be satisfied by JUSTICE LEAGUE or THE CIRCLE. Either way everyone wins. 🙂
This is going to be huge. Illumination’s track record at the box office is insane, and it’s a beloved story released at Christmas.
Definitely going to be one of Elfman’s highest grossing films.
Looks like this recorded two weeks ago with an earlier session in March.
Danny said this is about to record, but he was recording in March and April – the latter with 9 lead singers…
Pretty sure we’re getting a song or two.
Still nothing on a CD release and the movie is three weeks from release.
I hope this isn’t a ‘Big Eyes’ situation, where the involvement of a popular artist (Tyler, the Creator) means that their team take control of the release and shove out a half-assed digital release.
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