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http://www.deadline.com/2010/06/judd-apatow-producing-new-pee-wee-pic/
So, is Mr. Elfman gonna return?
His first movie and his first sequel. Danny has to return. Just for the sake of honoring his early days.
Since it’d be a Universal movie, Elfman would again not be able to use any of his Pee Wee themes, either from BIG ADVENTURE (Warner Bros) or BIG TOP (Paramount).
Nevertheless, it’d be really cool if he returned to do the picture. NACHO LIBRE is the closest sort of thing he done to it in a long time, although I didn’t think that movie had much going for it as a whole.
I guess Big Top doesn’t count as a sequel. But, nonetheless, it was the first time Elfman re-visited a character.
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But after Mr. Apatow read these scripts, Mr. Reubens said, “He was more interested in something closer, in the same vein and the same genre, as ‘Big Adventure.’”
What Mr. Apatow wanted, Mr. Reubens said, was “a reality-based world and a linear road movie.”
So that’s the path that Mr. Reubens and a co-writer, Paul Rust, are working along, for now.
So, yeah, Elfman is likely to return. Apatow is a fan of the original, so will try to re-capture as much of the magic.
Really? Haven’t there been cases in the past where a film theme has carried over to sequels or reboots, even if the company producing the film is different?
Thor, I guess it depends on whether the new studio wants to pay for the rights. Also, remember that sometimes a production company, not a studio, owns the rights. Take “Star Wars” for example. George Lucas is the one in charge. So, regardless of whether he’s making a movie for FOX or a TV show for WB he can do whatever he wants since he owns the property.
Sure, it’s up to the producing company. Still, if they want to do it, they’ll do it. There is no “rule” that makes it impossible for film themes to carry over to sequels produced by other companies.
Regardless, Danny isn’t the same composer he was 25 years ago. If given the option I’m sure he’d want a clean slate. Besides, this movie isn’t technically a sequel to “Pee-Wee’s Big Adventure” so there’s no reason to re-visit its themes.
If Danny should do this, he will OF COURSE use the themes, irrespective of how much he has changed as a composer. I’m confident that any other composer will reference them too. I’d be willing to bet my apartment on that. But let’s just wait untill the production gets on its way first.
Danny created new themes for “Big Top Pee-Wee.” Themes that were just as good. So, he probably feels like he can pull it off again.
I guess Big Top doesn’t count as a sequel. But, nonetheless, it was the first time Elfman re-visited a character.
Really? They reference the first movie with the tequila dance.
At any event, Elfman/Pee-wee music written today(!) would be a welcomed gift.
It’s funny… Elfman was barred from using the Big Adventure theme in Big Top because of the change in Companies but… if you listen… he still snuck a massive subtheme it in there.
Remember the “Turning Point” music in the first film — the Stolen Bike sequence — which was a big homage to Bernard Herrmann — all strings?
Big Top’s major turning point was the storm that brought the circus and, if you listen to that CD (which I just did the other day… or watch that part of the film), Elfman actually orchestrates a more bombastic version of that same melody near the end of it. I’m sure this was mentioned here before… but I thought it was cool that continuity does exist, outside of style, if you look for it.
So, sneaky sneaky.
I imagine if he ever returned to the series he would perhaps do as he did with those two films, and handle it like a seperate score but in the same fashion and mindset (just as Nino Rota did for Fellini’s films, while retaining the same DNA). I always thought that was interesting. Big Top was closer to Rota’s 8 1/2 while Big Adventure had a percussive feel that parts of Casanova had — in addition to 8 1/2 type bass lines.
Maybe the influence will continue…
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