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I’m sorry, the way it was phrased, I thought he had worked with him on an earlier date. Danny Elfman is working with McG — not worked. The score isn’t finished. Correct your tenses, mister.
Are you dissin’ Little Women? Or Newsies? Because I know you couldn’t be referring to Transformers… I mean Pirates of the Carribe… erm, Batman.
After reading about what McG is saying. I’m worried that he’s trying to make Elfman copy temp tracks off of the first two movies. You know what that could lead to ….
Wow, Marco Beltrami seems to be pretty angry. In a way, though, it is hard to blame him.
And I find McG’s comments about “Wagner by the way of John Williams” reassuring, even though it seems as if he is saying that the score is already written. Danny just started last week, right?
What’s in it for Danny Elfman to copy a temp track? He’s walked away from big movies before because of that. I don’t see him reversing the trend.
Marco’s scored more sequels than any composer I know: UNDERWORLD 2, THE CROW 3, TERMINATOR 3, DIE HARD 4, BLADE 2, XXX 2. So if anyone knows sloppy seconds…
Marco was being asked directly about TERMINATOR, so what makes you think his comment is re: HELLBOY 2?
I don’t know how he felt about being replaced on Hellboy II. I thought I heard He was busy, but then it sounded like Del Toro went after Danny in the first place and was wondring if there were hard feelings on Beltrami’s part.
Really I should have stressed that I was speculating if Beltrami was referring to Hellboy II as well as this project.
Just saw this at Wired.com today:
Machine Music: “I wanted the sound of the resistance to be very delicate, reminiscent of Gustavo Santaolalla’s analog guitar, so I thought of putting Gustavo together with Thom Yorke of Radiohead for the machine sound,” said McG. “But their schedules were too tough, so then Danny Elfman articulated his sonic vision for the picture. He’s a huge Terminator fan. I wish I could show you his house. Elfman lives in a haunted house that has strange prosthetic limbs from the turn of the century hanging on the wall.”
http://blog.wired.com/underwire/2009/01/terminator-dire.html
NEW TRAILER:
http://movies.yahoo.com/feature/need-to-know-terminator-salvation.htmlCan you hear the Elfman score?
Forgive me for misinterpreting your question, then. Comprehension is not one of my strongest assets, it seems.
To answer the question, then, the answer is still “No”.
Forgive me for misinterpreting your question, then. Comprehension is not one of my strongest assets, it seems.
My answer remains, however. Danny Elfman is a far more capable composer than I, so I will leave the score-imagining to him….
You’re not even trying. What do you think Elfman is gonna do? Is he gonna take a “Kingdom” approach or a “Wanted” one or something else entirely? When watching that trailer what do you expect from Elfman?
That is the thing, I do not know what to expect of Danny Elfman. I have learned from past experiences that the only thing I can expect from Danny Elfman is “the unexpected”, to use the cliched phrase.
But since you mentioned those scores, I will say this: I have not listened to Wanted, so I cannot comment on that, but I hope Danny Elfman does not use “The Kingdom approach”, as that is my least-favorite score by Danny Elfman.
And I sincerely apologize if I have been acting in a frustrating manner.
Listen to Danny Biker, Nick. You need to listen to Wanted…like now. Run, do not walk, to the iTunes or Amazon store.
Yes, Wanted is the best score Elfman has done since like Spider-Man 2. Secondly, as much as I love Elfman he has been doing this since 1985. At this point there are no surprises. I can almost guarantee that Terminator will be a percussion heavy score like Dead Presidents and Mission Impossible with some Kingdom and Wanted thrown in.
I wouldn’t go that far Descent. Sure, Elfman has his distinctive sound and we know quite much about it but the guy keeps surprising me every year. At the beginning of 2009, Wanted was the score I expected the least and it turned out to be an incredibly rich and thematic score filled with rather original ideas (the Russian ballet quality to Success Montage being just one of them) while Milk also provided unexpected choices (the use of electronics and sax, etc.).
I see your point but if there wasn’t anything to expect from Elfman, I would just stop listening to his music…
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