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****Danny is not listed in the final production notes dated 2-22-23, so unless there is some sort of “theme” credit or the like, he is not involved in 65.***
True, but that doesn’t really say anything about a possible unused score, does it?
Well, the french poster lists Elfman and Bacon in the credits.
Elfman has a credit on five tracks. No idea if that’s down to a theme or reworked material that Elfman wrote.
The first track, INFINITY OF SPACE sounds Elfman-ish for sure. Do we know what five tracks he’s credited on?
This whole thing has been confusing… Elfman is listed as co-composer on the poster, but not the soundtrack album cover? 🤯
I guess we’ll find out tomorrow when it’s available to stream, uh, legitimately 😉
I spoke to someone who worked post-prod on the film and she confirmed that some tracks share Elfman’s credit.
It’s available on streaming services and as expected, it’s mostly a Bacon score with Elfman credited on 5 tracks, alongside yet another composer (Gad Emile Zeitune) on some of them.
And also as expected, the film looks like a stinker… 🙁
As I’ve written elsewhere, here’s my weird downward spiral experience of this whole score development:
1. I first get exicted when I hear Danny Elfman is doing this 65 thing, what I – at the time – think and hope is the ambitious, heady space sci fi he hasn’t yet done in his career.
2. It turns out NOT to be an ‘ambitious, heady space sci fi’ at all, but something involving dinosaurs, and largely earthbound. Bummer, but still looks like fun.
3. Bacon becomes solo composer. Oh well, it wasn’t the ‘heady space sci fi’, so the Elfman connection wasn’t as important anymore. Bacon can be good. Dig his SOURCE CODE stuff, for example. Still another bummer, though, as an Elfman fan.
4. Michael friggin’ Giacchino, my no. 1 disliked composer, steps in — as ‘score consultant’ (whatever that is), but still. Big red flags now!
5. And then, when I finally get to listen to it, it is incredibly disappointing, with lots of generic, contemporary “trailer tropes”, as I call them (aka “RC-isms”). Some potential in the first track, “Infinity of Space” (which was co-written by Elfman), and hints of something worthwhile in “Whistle” and “Rest”, but not very interesting, overall. I’ll keep the Elfman-credited tracks for completism’s sake (plus Bacon’s “Whistle”), and delete the rest. A neat, 18-minute selection.
Looking through this thread trying to construct a narrative… Elfman posted an Instagram about 65 in the first week of February that’s no longer there… how could he not be available to consult by randomly Michael Giacchino is?
Anyways, the film’s main theme firstbhear in track one reminds me of the last part/resolution of a theme from Dr Strange 2 (I think the “America” theme…)
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