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I wonder what will have the air this film as well as the music which, with my direction, really does not require to reboot…
Spider-Man without original Elfman’s themes, it’s like JAWS without Williams’s score…
I disagree.
Sure Elfman’s music is perfect for Spider-Man… but it is NOT in anyway JAWS.
Ask someone to sing the score from JAWS: “Oh sure! Dun dun dun dun dun dun dun dun…”
Ask someone to sing the score from Spider-Man… not happening.
I’m not super fond of a reboot, but I am looking at it with an open mind. Maybe it’ll be a bit more serious than Raimi’s films…
It’s gonna suck for the composer to steer clear of quoting Elfman! I’d imagine it being pretty hard.
….
Well, from what pitures i’ve seen so far, i’m not overwhelmed. Currently, the vibe i’m getting is of a high school comedy in which the guy happens to be spiderman. I can’t tell yet if the films needs a traditional superhero score (the kind Elfman can do better than nearly everybody) or something more subtle.
P.S I believe “Elfman1972” means that Spiderman without Elfman’s theme would feel as wrong as JAWS without William’s music. And elfboy, I don’t think comparing Spiderman’s theme to JAWS (in terms of memorability) is really fair. Spiderman works in different, often brilliant ways, just because it’s not simple enough for the man off the street to be able to hum, it’s not a half bad theme.
I totally agree. It’s just, I feel with a new adaptation of this franchise, like you said, it may deserve a new type of score. It wouldn’t be a crime for Hollywood to reboot Spider-Man without Elfman.
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I never really expected them to, and I don’t think Danny would do it anyway. I don’t have tremedously high hopes for this film, and I worry that a poor score is going to make it even worse for me. Time will tell.
It’s guaranteed that Elfman won’t be anywhere near this project, but can anyone think of other composers you’d like to score this film? Elfman’s “Spider-Man” scores are my favorites of his (in fact, they introduced me to him in the first place), but I’m curious to hear what the new composer will come up with.
I’m thinking the only possible route is for (whoever it is) to orchestrate the original spider-man theme (the “spider-man, spider-man, does whatever a spider can”) into a sort of jazzy heroic fanfare, the film is called “The Amazing Spider-Man” after all. I don’t know who’ll they’ll get. Giacchino maybe because of The Incredibles. Mychael Danna did 500 days of summer”, maybe him. The only knowledge I have of him is with his brother in Parnassus, and it was a truly underwhelming score for such an amazing film, I don’t think it matched up.
I’d be game for Giacchino, who I think is one of the best working composers today. What about John Powell? His work has been incredible lately. Whoever it is, I hope they create the thematic score that Spidey deserves, and not some droning ambient music. And PLEASE don’t let the cartoon theme sneak its way in.
I can not imagine the Superman’s Theme without Williams theme !
To me, there’s no more theme who could replace Elfman’s Spidey theme
Danny Elfman’s Spider-Man theme wasn’t all that great. The score themselves were pretty good, but the actual THEME was under-whelming. After giving us an iconic Batman theme he disappointed with Spider-Man. Ultimately, I think this is why Sam Raimi was so harsh on Danny. He expected something better.
I think anyone can easily top Danny’s Spider-Man theme. Michael Giacchino. John Ottman. Alexander Desplat. James Newton Howard. Howard Shore. Any of them can do it with their eyes close. Even Hans Zimmer and his team of 50 additional composers.
On the contrary, I think the Elfman Spider-Man theme was very well defined and highly versatile. It could be used in bombastic fanfare or reverent quiet cues. It was accompanied by the aforementioned good score, which is why it ranks so highly on my list of Elfman scores.
I wouldn’t be very happy with Alexandre Desplat scoring, as I haven’t heard a score of his that I’ve listened to more than once. Zimmer’s a bit too erratic to be content with, although I’m sure he’d do something interesting. Ottman or Howard could do well. Heck, I’d even love to hear a sweeping James Horner score.
Superhero themes are most effective when they’re simple and to the point. Having an identifiable motif that can quickly be played when the hero pops up is the way to go. That’s why John Williams’ Superman theme works so well. Clark Kent rips his shirt open to reveal the Superman suit, Williams plays the theme, and moves on to the next cue. It worked with Danny on Batman. The Dark Knight crashes through a window to save Vicki Vale, cue the Batman march, and proceed to the car chase.
In Spider-Man, the theme is too overly complicated and has too many elements that aren’t needed. We don’t need a choir and strings and exotic instruments. Just a simple brass section with drums and that’s it.
Spider-Man needed a march. An anthem. Not “heavenly music.” Save that stuff for the emotional scenes. For the action. For the heroic scenes. Keep it simple.
Wow…I think you should copyright this as “The only way to score a superhero film. Period, you idiots.” So we can all live in your wonderful musical dictatorship.
Not that Danny Elfman’s score was highly experimental either. But in theory, you can score anything any way you want, as long as it works. Reducing a genre to drums and a brass section is the best way to kill any chance left to one day get something fresh and new.
And no, Spider-Man didn’t need a fanfare, it would have been a huge mistake. You have to distinguish “SPIDER-MAN the Stan Lee kick ass superhero that finally comes to the big screen” and “PETER PARKER, the kid who is discovering himself new powers that are a metaphor to adulthood as it is depicted in this particular film called SPIDER-MAN”. I’ll let you imagine which approach Elfman went for…
Descent Into Mystery Wrote:
> Danny Elfman’s Spider-Man theme wasn’t all that
> great. The score themselves were pretty good, but
> the actual THEME was under-whelming. After giving
> us an iconic Batman theme he disappointed with
> Spider-Man. Ultimately, I think this is why Sam
> Raimi was so harsh on Danny. He expected something
> better.
>
> I think anyone can easily top Danny’s Spider-Man
> theme. Michael Giacchino. John Ottman. Alexander
> Desplat. James Newton Howard. Howard Shore. Any of
> them can do it with their eyes close. Even Hans
> Zimmer and his team of 50 additional composers.Thanks I needed a laugh. Raimi was harsh on Elfman b/c he was doing a better job capturing the essence and spirit of Spidey/Peter Parker and his universe better than Raimi and team did behind the camera, Add on the fact he doesn’t know jack about music as much as I thought. With his temp track fetish. I’m sorry but i lost alot of respect for Raimi b/c of that incident with Elfman on Spider-man 2.
Danny Biker Wrote:
> Wow…I think you should copyright this as “The
> only way to score a superhero film. Period, you
> idiots.” So we can all live in your wonderful
> musical dictatorship.
>
> Not that Danny Elfman’s score was highly
> experimental either. But in theory, you can score
> anything any way you want, as long as it works.
> Reducing a genre to drums and a brass section is
> the best way to kill any chance left to one day
> get something fresh and new.
>
> And no, Spider-Man didn’t need a fanfare, it would
> have been a huge mistake. You have to distinguish
> “SPIDER-MAN the Stan Lee kick ass superhero that
> finally comes to the big screen” and “PETER
> PARKER, the kid who is discovering himself new
> powers that are a metaphor to adulthood as it is
> depicted in this particular film called
> SPIDER-MAN”. I’ll let you imagine which approach
> Elfman went for…Well said.
Parker is who Spiderman really is and not the other way around unlike Batman and Supes. Bruce Wayne trained most of his life to become Batman and Supes was born and destined to become Superman or a hero period. B/c both of his biological and adopted parents were good people and raised him well. And knew he had a gift that could help his new home planet and others.There alter egos are facades unlike Spidey. That’s why it makes complete sense for Spidey to have a motif and not a march. Plus Descent Into Mystery needs to realise this isn’t 1989. Film music and composing have changed considerably now. Plus Elfman has done a ton of these movies in this genre. I’m sure he wanted to keep things fresh by trying something bold and new. I think he pulled it off really well.
I’m curious to what direction the reboot will go with the score. Will they go with a march (yeah right) or with Elfman’s approach (a motif ) ?
How about songs ? And I want Justin Bieber to write the Spider-Man theme, Lady Gaga the romantic theme and Mika the bad guy theme !
Danny Biker Wrote:
> How about songs ? And I want Justin Bieber to
> write the Spider-Man theme, Lady Gaga the romantic
> theme and Mika the bad guy theme !In a world where Trent Reznor gets an oscar and Elfman, Silvestri, Morricone, Young, and The Newmans
still have not received theirs. I can see this actually happening. Especially how studios for these type of movies don’t really give a crap about the scores anyways.Spider-Man didn’t need a fanfare, it would have been a huge mistake. You have to distinguish “SPIDER-MAN the Stan Lee kick ass superhero that finally comes to the big screen” and “PETER PARKER, the kid who is discovering himself new powers that are a metaphor to adulthood as it is depicted in this particular film called SPIDER-MAN”. I’ll let you imagine which approach Elfman went for…
I love the theme that Elfman wrote for Peter Parker. It fits the character perfectly. But the Spider-Man theme was pretty bad. You want a FANFARE when Spider-Man is saving MJ and a group of kids from the Green Goblin. You want a FANFARE when Spider-Man swings into a burning building and saves a baby. You want a FANFARE when Spider-Man rescues Aunt May after she was dropped to her death by Doc Ock.
I can guarantee you that if Danny Elfman had given Spider-Man an iconic theme, like he did with Tim Burton’s Batman, Sam Raimi would have sat back and allowed Elfman to do whatever he wanted. He wouldn’t have questioned a thing.
I mean, look, I understand what Elfman was going through. He had already scored a few superhero movies and TV shows. So, he wanted to do something different. I respect that. But he also needed to understand that he was hired for a specific reason. Sometimes you gotta compromise. Look at Ennio Morricone. He was hired to compose dozens and dozens of westerns in the `60s. He made those assignments interesting for himself, but also stayed in the realm of what he was being asked.
Um, wasn’t the problem that Raimi loved what Elfman did so much that he didn’t want anything else for a lot of it?
ddddeeee Wrote:
> Um, wasn’t the problem that Raimi loved what
> Elfman did so much that he didn’t want anything
> else for a lot of it?True. I was just joking earlier when I said Raimi was jealous of Elfman doing a better job of capturing Spiderman with his music than Raimi and his team was in front and behind the camera.
I’m pretty sure I heard fanfare variations of his theme during the aforementioned portions of those films. They were my ringtone for a while.
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