- This topic is empty.
- Posts
Guys, i read somewhere that John Williams’ prodigy in the event of his death will be Giacchino — the guy who scores for Medal of Honor. Seems to me that Elfman doesn’t have anyone that even comes close to being called such. The guy’s not gonna be around forever, so i’m just wondering who the HELL can he pass the torch to…To be honest, i’d venture to say Horner could pass remotely, but Horner doesn’t pull out his crazy stylings very much at all (Casper and Grinch), so nix to that guy. Looks like the Golden Years are gonna be fairly devoid of quirky, weird music…Unless someone mounts such a popularity to be considered….That’s too bad, really.
Elfman should do something REALLY cool like doing deconstructions and revamping some of his old scores…i could see that making money.
Horner and Elfman came up at the same time, so passing a torch to each other doesn’t make any sense really.
The guys I seeing big in the future are Edward Shearmur (REIGN OF FIRE, K-PAX), Brian Tyler (FRAILTY), Theadore Shapiro (HEIST) and Michael Wandmacher (MODERN VAMPIRES, MAX KEEBLE’S BIG MOVE). Of the composers listed, it’s Wandmacher who really could continue in Elfman’s shoes, probably because he totally “gets” Elfman and appreciates what he’s done.
Ryan
The song played in the end credits of Medal of Honor, Berlin, is classic! I’ve been thinking, should I buy the game just for the song?
I haven’t heard any of the composers mentioned above, well, I doubt any of those will be released here. I like The Time Machine score from Klaus Badelt very much, looking forward to K-19.
Are ya actually contemplating Danny’s death? ‘Cause that’s just kinda creepy! You should think about people who compose shitty music as dying of an untimely death. Just kidding–kind of!
Hm, I really don’t know many “big time” composers outside of Elfman all that well, so I can’t really speak on that. I can speculate on several of the indie composers, but I think you all have an idea on whom I’d nominate
On a related note, a friend of mine mentioned a while back that Danny has taken Herrmann’s (sp?) place as “the composer” of the age (what age that might be, I’m not exactly sure…Herrmann was in what I’d, along with FSM, classify as the “golden age,” but I’m not sure if this era has been classified yet or not…). Anyway, I really had no idea how to respond to that. Of course, I’d give a resounding “yes” to that question simply based on my own opinion, but in the general scope of things, I’d have to give “the composer of the age” spot to Williams – albeit begrudgingly – due to his immense commercial success both inside and out of the film scoring industry, as well as his exceptionally lucrative pairing with Spielberg. (Yes, Danny is often paired with Burton, but let’s face it: the general public would probably choose Williams/Spielberg over Elfman/Burton any day). Not trying to start any arguments or any such thing, but any other takes on that question?
-E
I agree – – Williams is “the” composer. He’s the most well-known by the general public and the general public is very aware – – at least on a certain level – – of his scores. Everybody knows at least parts of the scores to Jurassic Park, E.T., the Indiana Jones movies, and . . . hello, Star Wars and Jaws!
The most recognizable Elfman scores (to the general public) I can think of would be Batman . . . and . . . Batman. There would be a couple others that people are semi-familiar with, like Beetlejuice and maybe Pee-Wee’s Big Adventure, and of course the title theme to The Simpsons, but other than that, he’s really got nothing. I’m not suggesting that he’s an inferior composer, but when we’re talking easily recognizable music, commercial success, etc. Elfman doesn’t come close to Williams.
Well…HEy The Time Machine DOES sound pretty good, doesn’t it? But KLaus sounds more like Horner…At least his this score is pretty solid. Speaking of which, klaus comes from the “Hans Zimmer factory”…
I have to say I did like the music to the TIME MACHINE, but some of the music sounded like Karl Jenkins. Maybe it was temp tracked with his music.
As for who would take over scoring for Tim Burton if something happens to Danny then I think it should go to Steve Bartek, he has shown himself capable in the few outings he has had — in particular his unreleased score to CABIN BOY!
If not Bartek then John Ottman seems to have a similar sensibility in keeping with an Elfman-ish style.
Just some raving thoughts from a lunatic
Nat (like the… well you know).
I think of all the composers presently working, Mark Mothersbaugh has time and time again shown a flair for creative originality much like Elfman did when he broke onto the scene. Mark’s music sounds nothing like Danny’s, of course, but I think they share a kindred spirit. I’d much rather hear him do movies with an original take than people who just rip off Elfman or emulate his style.
- You must be logged in to reply to this topic.