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I loved it as a kid…. can’t understand what I saw in it now. Anyway, I was listening to some of the music, and my sister who was visiting said that some of the music sounded Simpson-esque. She said she actually remembered saying that at the time as well, since the Simpsons had just begun their run… that, I don’t remember.
I checked the composer, and it’s James Horner. Anyone else think his music for that film sounds alot like Elfman’s work, especially the work he did in the late 80’s early 90’s? It’s uncanny. I’ve never thought of Horner as all that original, and the music certainly doesn’t sound like his individual style, but did he sample some of Elfman’s stuff to come up with that score? It’s so strange. Just wondering if anyone else noticed it.
Also, since we’re talking about Horner and Elfman, I saw a clip of Nacho Libre where Jack Black puts on his fighting uniform w/ cape in a very “Zorro” kinda way. Sounded like a ripped cue from Zorro (the lead-in cue that starts the movie). Anyone else heard this? Wondering if it was just my imagination.
I’ve never thought of Horner as all that original, and the music certainly doesn’t sound like his individual
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Funny you should say that, as Horner was sued for the work he did on HONEY, for his use of the tune “Powerhouse”. He did not give credit to its composer Raymond Scott. (It’s used during the opening credits, I can’t remeber if the tune pops up in the actual movie) R. Scott won the lawsuit.R.Scott’s highly infectious “conveyer belt” music was licensed to Warner Brothers for use in many classic Bugs Bunny cartoons. It was in fact an original composition – but many people assumed it was just some littlle bit of music you used to hear in old cartoons, and it just reflects poorly on Horner for not knowing, or looking into see if anyone actually owned it.
All Elfman fans should no about R. Scott, easily one of the most influential and prolific American composers on the 20th Century:
I recall watching that movie recently and thinking that same thing. I believe it came out in around 1987 (before I was born), right when Danny had established the “Pee Wee” sound, so maybe it was the craze back then. I’ve always liked Horner despite what people say about him. Just remember that his next collaboration with director Joe Johnston after that movie was “The Rocketeer,” which was just fantastic.
By the way, do you have a link to that “Zorro”-esque clip of Nacho?
As usual, I’ll point out Elfman’s quoting Scott (he’s one of my favorite composers):
“Beetlejuice” quotes section A of “Powerhouse” throughout the whole score. Mainly the clarinets. It’s also in the “Castle on a Hill” track of “Edward Scissorhands”, and, in the same movie, “The Cookie Factory” sounds alot like “Powerhouse”.
I purchased “Reckless Nights and Turkish Twilights” and heard ALOT of music I recognized from Looney Tunes. I highly recommend that CD or The Beau Hunks recording of Scott’s music called “Celebration on the Planet Mars”.
Raymond Scott was also a pioneer in electronic music, and wrote some crazy, crazy stuff.“Honey” was ’89… so Elfman had put his style out there for a couple of years at that point. Nothing maybe that would sway someone like Horner, (I’m not sure how established he was at that point).
Horner is okay, I do like his music, but he’s without style in my eyes… mostly because he seems to sample and rip others work. Like I said, not so much his music I’m attacking, but his reputation and lack of individuality (from what I can see). But some of his work has a very distinct flavor. Mask of Zorro are still amongst some of my favorites.
As for the Nacho Libre clip, sorry… no link. I believe I saw it on Ebert & Roper… (first time I actually watched that show).
Quotes or just similarities? I think Elfman’s work is just similar to Scott’s really. Indeed, Scott’s electronis music is great – and if you really want to round out your music collection, pick up THE MANHATTEN RESEARCH CO. CD. Crazy stuff man, carzy….
“The Cookie Factory” is a similarity. “Beetlejuice” is a quote (or sounds extreeeeeeeeemely close to it). It’s the trills in the woodwinds. Section A of “Powerhouse”. Also the trill that runs in the IBM Paperwork Explosion.
Yes, I have Manhattan Research. Crazy stuff. “Pygmy Taxi Corporation” scared me to death.
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