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Hi all – if you haven’t nabbed your copy of SPIDER-MAN yet, you can check out some soundclips.
Ryan
Spiderman the movie has started in Germany today. So I didn`t see the movie yet. But I`m looking forward to it. Hope they will release the score in Germany soon.
The soundclips are pretty cool. Danny was and is the best composer ever.Spiderman sounds Elfman’s most interesting score to date in terms of addressing the gap between his ‘old’ and ‘new’ styles.
In terms of action scoring it sounds like he’s using a lot more of his ‘old’ methods (which isn’t a bad thing!) It also manages to sound a little “retro” because of the guitars and pop rhythms he’s playing with, along with the resurrection of some of his old ‘leitmotiv’. And all this from small, bad quality clips (which I’m more than grateful for, btw!)
Ok, so the themes aren’t amazing. So? They’re still good and LOOK at what he’s doing with them!
Can’t wait for the movie\score cd to come out in the UK!
In regards to your “ok, so the themes aren’t amazing” line…
Why am I the only one who thinks that 5 note/3 note descending french horn “Great Power, Great Responsibility” motif (heard at the end of the main titles, the opening of the city montage, and the opening and closing of farewell) is one of the most appropriate, coolest themes Elfman’s ever written? While I’m not particularly smitten with the main theme itself (which is very long) as a very MELODIC piece of work (though it’s great nonetheless), that one motif more than makes up for every critical thing being hurled at this score. It’s perfect, “walking toward the camera and looking all torn, cool, and determined” music.
I just a read a post from somebody at another board who said (very rationally, at least) that Spiderman’s score didn’t fit their “image” of Spiderman (Ryan, you know who I’m talking about). I guess I’m just nuts, cause that one motif alone will forever be seared into my brain as THE SPIDERMAN theme (moreso than the main theme)… much like Williams’ theme for Schindler List will always be associated with that film only (even when composers like Horner put it in their war films).
Maybe it’s just me.
Peace Love and all that Jazz. . .
TexIt’s rather late, and I’m sitting up listening to Elfman’s “Spider-man” score for the 3rd straight run-through this evening. (You’re thinking: “Duh! What else would you be doing?! Ah yes, so glad to know that there are fellow film score geeks!) I’m in love with what Elfman’s done. Jeez, I just keep discovering more about his style with each new score…pigenholed, he’s not! (At least in my book…it’s always something wickedly, deliciously new!) The electric guitars work well, but I may just be hearkening back to the ol’ Boingo days of Danny. Without falling all over myself and sounding like a big freakin’ idiot: IT’S SO GORGEOUS! The main titles are quite scrumptious…so much so, in fact, that I made myself a big batch of chocolate chip cookies! (Mmm…cookies and Elfman at midnight. How could it get any better than this?! Well, uh, maybe if I wasn’t dancing around in my apartment alone it would be slightly less odd, but hey, it works for now!) I’ll actually try to write a bit of my own analysis of it when I’m in a coherent frame of mine, not flying on chocolate and coffee…
-E
Absolutely marvelous work. I kinda dipped out of listening to Elfman for a while. I got started on listening with Batman (kinda has a special place, the Elfman Batman score is kinda how my wife and I got together, but save that explanation for another time) and started listening to his other stuff (Beetlejuice and others). I managed to get a copy of this Sunday evening (hey, I know people who work in music stores) and have been listening to this at least twice a day since.
Batman was so melodramatic and in-your-face, and that’s what I loved about it. Of course, at the time I was 22 and really dug that kind of progression. It was very thematic and powerful.
And I do agree with Ranger on the 5/3 descending horn. When you see the movie, this progression always accompanies anything with Peter being reflective upon his responsibilities as Spider-Man, or rermembering anything that has to do with Uncle Ben.
There are three solidly identifiable themes. The above progression, the progression that begins at about 1:45 of the Main Titles, (which accompanies alot of the heroic scenes, aka the burning building) and any of the pieces that deals with Peter/Spider-Man and MJ.
Without a doubt, though, my favorite is “Parade Attack”. The opening six measures are classic Elfman..bone chilling as he introduces the Goblin on his glider.
Superb work. I’ll be buying more of Danny’s old stuff now…without a doubt.
“Superb work. I’ll be buying more of Danny’s old stuff now…without a doubt.”
*Cough* Nightbreed/Darkman *Cough*
Here’s my analysis, and then you can take this to the bank.
I hope MiB 2 sounds similar, and it probobly will, because it looks like he recorded these back to back with the same company.
The only thing that caught me off guard was the Goblin theme everyone’s talking about…that smarmy, sneaky little motif or whatever. I found this refreshing to hear. Of course, all of us think this score is the best thing since sliced bread at the moment, so what the hell am i talking about?
The one saving grace about this and the other soundtrack is the cutting they did on the main titles and farwell, so i’m actually glad i bought the other one, because i get the extended Farewell instead of the cut version. Why they did this i have no idea…Kinda sucks, but oh well. You’d think these people can put 70 or so minutes onto a disc, for chrissakes. You know what i think? I think whoever is in charge of this should just plan it out one time and just release the whole uncut score and sell it for 20 bucks. I’d buy it. All these music inspired by, special editions and complete scores, etc that follow a film are really making me annoyed. All the crap people do to make a few extra bucks. id say form a coalition and just stop buying all these inspired by crappy soundtracks with two cuts from the film just so they can feel the dip in sales and get the message and start producing better cds…but that’s just wishful thinking.Anyway…i don’t need to bark anymore on this idea. And i don’t need to slobber on the Spiderman score, either. Hallelujah to it’s release and MiB 2. Elfman seems to do better when he’s got only 2 scores a year, i think.
Hey Ryan — Family Man score? Can i have a copy dude? I’m still messing with cassettes and people are telling me i’m so 80s retro and i have no cd burner yet. I’m such a tard. Heh. This coming from a man who’s role model is ASH from Evil Dead…oy vey. At least it’s not Freddy Prince or the BAckstreet Boys. Now i know why i have no friends…heh heh. See you guys.
Bare in mind I have yet to actually see the movie or hear the score properly so all my comments are based on everything that’s available on the web.
When I said the themes aren’t amazing I mean that (to me; everything’s personal preference in music) they’re not batman, beetlejuice, star wars, indiana jones, etc.
I think you have to conclude that because (for me as a composer and music student) for music to be clearly out of the ordinary it would have had to have been automatically reverred (sp?) by the moriarty-s of the world.
I do think that they good for their subtlety.
And as I said before: it looks like he’s doing amazingly interesting stuff with regards to emotionally scoring the film, and properly addressing his old style in the action sequences.
One of the most interesting comments he made was when he said that to be a film composer you have to get inside the director’s head… be the director.
One wonders if we are seeing raimi through elfman-goggles in spiderman.
Still can’t wait to see the movie\head the cd…
Dobbs –
Ash rocks! Did you get Bruce Campbell’s book? I think it was published last summer or something like that…I got mine from a friend a coupl’a weeks ago…
-E
The CD was produced by Ellen Segal and Danny Elfman, so they were the ones to choose the tracks for the score release. I’m not sure who produced the Album, but I know Elfman was not involved. Although the score is missing a few great cues, I must say the score really flows well, and I sure as hell don’t want to rock the boat.
Okay, you guys want to hear something funny (and more than a little disturbing, I might add):
On June 4, 2002, I go to this record store at the mall (which is creepy in and of itself, but I’ll even go to the mall for Danny). And they’ve got this huge display of the crappy Spiderman album, and so I go frantically searching through the aisles trying to find Elfman’s score–on account that I’m all mortified that the hacky “various artists” album seems to still be getting all the press.
So anyways, I find the score. There’s only two. Two copies of the Elfman soundtrack in the entire store! (And in my little fantasy world, I’d say it’d be because Danny sold out–but the sad truth is, no one around here knows who the hell he is! Well, that, and the store had just opened).
But then–and here’s the kicker–I go up to the cashier to pay and all (on account that I don’t shop-lift), and the guy has the nerve–the nerve!–to ask if I know that it is the original motion picture score! Yeah, that’s what I’m sayin’!
And I ask you, what is wrong with the world?!
Needless to say, I looked at the clerk like he was smoking something, and then went home and proceeded to play Resident Evil (I pretended that the zombies were record store clerks)….
I used to work in a Music store, and you would be suprised at how many times people would pick up the Blade SCORE instead of the SOUNDTRACK. As a “good” employee I thought it was my duty to point out their error, and show them to the SOUNDTRACK and if they ever wanted the SCORE I would then have someone to talk to, but did that ever happen…?
Well, yes it did…
Once !!!
Something is indeed “wrong with the word” Evid Dead, something is indeed wrong.
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