- This topic has 5 replies, 2 voices, and was last updated 2 months, 4 weeks ago by
.
- Posts
Wow, I thought we would never get this, with how complicated this score’s production ended up.
The presence of all additional cues would allow editing the film with Elfman’s original music back in. I always wanted to do that, and I suppose AI development would really speed up the process nowadays.But with the recent Elfman news, I’m not sure if I want to spend my free time on this… :/
I don’t remember that one either, but it was a long time ago.
I do remember seeing a “featurette” (that’s how they used to call it :D) where we could see the listing of all the cues planned for recording, and it contained an “End Credits” cue that never surfaced; it’s not in the latest LLL release either.This is an excellent release. Though you can still hear the temp track bleed through, Elfman’s original music is such a mature extension of his score for the first. Excellent storytelling going on here. Such a shame so much of it wasn’t used (Aunt May’s speech being set to the love theme, to this day, drives me insane).
No other composer got Spider-Man like Elfman did. He really did nail it.
Yeah, I could understand some action cues not matching Raimi’s expectations (especially if he didn’t really formulate them from the start) but these quieter scenes, I just don’t get what was wrong with what Elfman brought. They fit the scenes better, and let’s be real, it’s not like anyone beside film music nerds like us would have really cared about how these scenes were scored.
“Spider Fall” is also one I’m still salty about. That grand Spider-Man theme statement at the beginning is so better fitting to the emotion of the scene than the mashing up of 3 unrelated cues from the first film within 20 seconds.
- You must be logged in to reply to this topic.