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Nice! I’m thrilled, and can’t WAIT for it to hit theaters
Burton’s back, baby!-E
A movie that sad can only mean one thing…….a great score.
On the imdb message board for the movie (http://www.imdb.com/title/tt0319061/board/threads/), they put this kind of reviews everyday. I must say i’ve never seen that. I can’t wait.
Reviews that mentionned Danny’s score said that it is very discrete, even restrained. So i’m curious but in the same time skeptical. The other thing that scares me is that only 2 or 3 reviews talked about that score while i’ve read so many of them.But, wait and see !
Don’t read that review on IMDB. It’s crap.
***spoilers***
The guy was obviously coming to conclusions. In some cases he was stating things we already knew (who was in it) and stuff he was just guessing about. Example: The end is not Ed Bloom dying in a bed but in his son’s arms. He then is carried to a river and let float away. Anyone who read the Tim Burton NY Times Article knows that. Come on!
I’m talking about the one on the main page (from the user)
Yeah but i was talking about the reviews on the message board…
Ah
Dang. I was hoping Elfman would do the main titles song. I guess Pearl Jam got to do a song for it.
Actually . . . Edward Bloom *is* shown dying in his hospital bed, after the “being carried in his son’s arms” fantasy bit.
I saw BIG FISH a week or so ago at a screening for critics. Frankly, while I enjoyed it, I was also a bit let down. It’s a very sweet story, and a nice holiday type of film, and probably has a lot of appeal as a father/son bonding film. However, it just doesn’t fit as a Burton film, in my opinion. Even visually, it only looks like Burton sometimes, maybe for a third of the film. It’s nowhere near as quirky or absurd as I’ve come to expect Burton films to be. Part of what I love about his movies is the strangeness of what is supposed to be the real world — the real world in a Burton film is always at least a little off, a little odd. In BIG FISH, the real world is just . . . the real world. Part of the point of the very realistic portrayal of real life, I assume, is to contrast with Bloom’s over-the-top, glorious technicolor life stories. But I searched for tell-tale signs of Burton, expecting to find them like little signatures, but a good portion of the movie just lacks his inflections.
Emotionally, I think the film shows a lot of growth in maturity. There’s a lot of sentiment without something absurd happening to draw attention away from the core emotion, and without the sentiment being melodramatic and falling into Hallmark shite. I think Burton was a lot braver here than he’s been previously in terms of dealing with real life, complex emotions.
I think the film will do very well, and I think it’s the type of movie to draw in non-fans of Tim Burton as well as his core audience. Unfortunately, I think some of the core audience will be left a little let down by the overall lack of the signature Burton sensibility.
Having said that, I did like the film, and am looking forward to seeing it again when it is released.
As for the score, there were moments that made me suck in my breath and think, “Oh, that’s lovely!” It’s a strange score, really. I am very eager to listen to it on its own.
Maure
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> Elfman did the Main Titles. The rock song was tacked on as the credits rolled, and seemed very inappropriate. Also, it was very out of character — when’s the last time a Burton movie had some rock song as its End Credits music?
Maure
Assuming “Face to Face” (from “Batman Returns”) doesn’t count (and I don’t think it does), the last real tack-on song, rock or otherwise, was “Scandalous” at the end of “Batman.”
Thanks Maure !
Does Elfman have at least one or two minutes of end credits or is it just all Pearl Jam ?I listened to the song several times now. It’s not bad, but highly unoriginal. And the main problem is that it doesn’t seem to fit to the movie for what i’ve seen of it.
I think Pearl Jam’s choice was a mistake; a band like Eels would have been more appropriate in my opinion.Actually, I don’t remember. I think as soon as the credits starting rolling, and the PJ song started, I tuned it out. I don’t *think* it plays for the whole of the credits, though.
It really didn’t fit with the film. It was actually a bit jarring. “Face to Face” I don’t really count, because it’s still an Elfman song . . .
Maure
Damn. The song during the End Credits? That’s even worse.
And what about electronic stuff??? Whether uses Danny Elfman electronic stuff (synth, …etc) in this score???
I hope that no…I found this video :
http://extratv.warnerbros.com/dailynews/extra/11_03/11_26a.htmlAre the first seconds of the clip from the score ? I doubt it but would be great !
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