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    Holy shit. It’s not bad music, but not right for this movie. What a contrast. Thanks for sharing!

    Ryan Keaveney

    Dude, I sent you this track for you to ID. It’s library music! LOL


    Hahahaha….whoops! Hey, blame Chud. Anyway, did you hear Elfman’s score on the Alice website…it’s awesome…and not Brand X at all! Well, I’m gonna take a cold shower and cut myself now.



    Library music, eh? Who/what is its source? I’ve never had much respect for Online Horror “Journalists” – but now I have even less. Ha!


    From what I read on another board, tracks 6, 8, 13 and 16 contain additional music by Edward Shearmur and Thomas Lindgren. That’s apparently what the album booklet says…

    Ryan Keaveney

    It’s true. I got my copy yesterday and confirmed. Here is the full set of FILM credits:

    Music by: Danny Elfman
    Additional Music by: Conrad Pope, Ed Shearmur, Thomas Lindgren
    Orchestration: Steve Bartek, Edgardo Simone, Dave Slonaker, Mark McKenzie, Michael Byron, Marc Mann, Tim Davies, Rick Giovinazzo, Cliff Tasner
    Music Supervisor: Kathy Nelson
    Music Editors: Jay Duerr, Shie Rozow, Alex Gibson, Scott Stambler, Bill Abbott, Christopher Newlin, Barbara McDermott
    Assistant Music Editors: Derek Somaru, Vincent Cirilli, Georgiana Ramsland
    Digital Recordists: Vincent Cirilli, Bryan Carrigan, Adam Olmsted
    Digital Score Editing: Noah Snyder
    Digital Orchestral Timings: Richard Grant
    Score Recorded by: Bobbie Fernandez, Adam Michalak
    Score Mixed by: Alan Meyerson, Chris Fogel, Damon Tedesco
    Technical Production: Sean Popejoy, Travis Smith, Suzi Civita, Chris Kahwaty
    Score Mixed at: Todd AO, Hyperion Sound, Mobile Disc
    Score Recorded at: 20th Century Fox Scoring Stage
    Scoring Crew: Denis St. Amand, Tim Lauber, Tom Steel, Dominic Gonzales, Greg Dennen, Stacey Robinson
    Music Contractors: Gina Zimmitti, De Crescent/Rotter
    Music Preparation: Reprise Music Services
    Vocal Contractor: Bobbi Page


    Shearmur and Lindgren were involved from the beginning. Because Elfman had to score the movie early, they were there both to help Elfman make it to the original recording dates (the ones where all the material that’s on the album was recorded), and also to be familiar with the music in case they had to step in and compose music for the pick up sessions, should Elfman be unavailable due to ALICE IN WONDERLAND.

    They were NOT involved with the pick-up sessions that ultimately did happen with Conrad Pope in January, however. That was all Pope, who seemingly did not use any of Elfman’s thematic material in his music anyway (not sure if there are legal reasons for that or what).


    Did anyone else really really like this? I really enjoyed the album, not so much the music’s treatment in the film but when I got home and heard the whole album I enjoyed it a lot. Sleepy Hollow-esque with a dash of the gypsy sensibility from Drag Me To Hell (not by Elfman, I know…but another score I enjoyed a lot).


    I love this score!


    johnmullin Wrote:

    > Shearmur and Lindgren were involved from the
    > beginning. Because Elfman had to score the movie
    > early, they were there both to help Elfman make it
    > to the original recording dates (the ones where
    > all the material that’s on the album was
    > recorded), and also to be familiar with the music
    > in case they had to step in and compose music for
    > the pick up sessions, should Elfman be unavailable
    > They were NOT involved with the pick-up sessions
    > that ultimately did happen with Conrad Pope in
    > January, however. That was all Pope, who
    > seemingly did not use any of Elfman’s thematic
    > material in his music anyway (not sure if there
    > are legal reasons for that or what).
    > Edited 1 times. Last edit at 02/24/10 04:09PM by
    > johnmullin.

    I looked up Lindgren and it says according to IMDB that he also wrote Additional music for T4 as well as Alice. I know he didn’t write additional music for Salvation b/c it’s not stated on the end credits or album
    but maybe Ryan can confirm that . Also is that true for Alice is it stated in the end credits and album that there was additional music from TJ Lindgren ? Can you confirm this for us Ryan.
    BTW, I know IMDb is an unreliable source but they got The Wolfman correct.


    I saw ALICE today. In the end credits, I remember seeing…

    Additional _Arrangements_ – TJ Lindgren and Deborah Lurie

    Ryan Keaveney

    Yes, TJ Lindgren is credited with “additional arrangements” with Deborah Lurie.

    Alice in Wonderland
    Produced by Danny Elfman
    Executive Soundtrack Album Producers: Tim Burton, Richard D. Zanuck, Joe Roth, Suzanna Todd and Jennifer Todd
    Supervising Music Editor: Bill Abbott
    Music Editor: Mike Higham
    Assistant Music Editor: Denise Okimoto
    Additional Music Editor: Ryan Rubin
    Additional Arrangements by TJ Lindgren and Deborah Lurie
    Supervising Orchestrator: Steve Bartek
    Orchestrations by Edgardo Simone and Dave Slonaker
    Orchestra Contractor: Gina Zimmitti
    Orchestra Conducted by Pete Anthony
    Score Recorded and Mixed by Dennis Sands
    Choir Recorded by Peter Cobbin
    Midi Supervision and Preparation by Marc Mann
    Additional Midi Preparation by Ron Vermillion
    Technical Support: Shie Rozow, Noah Snyder and Greg Maloney
    Concert Master: Bruce Dukov
    Choir Contractor: Isobel Griffiths
    Auricle Operator: Richard Grant
    Music Preperation: Rob Skinnel, Reprise Music Services and Jill Streeter, Global Music Services
    Orchestra Recorded at Sony Scoring Stage
    Choir Recorded at Air Lyndhurst Studios, Abbey Road Studios
    Score Mixed at The Eastwood Scoring Stage
    Recordists: Adam Michalak, Tom Hardisty, Chris Barrett, Fiona Cruickshank and Lewis Jones


    I liked the music and I did the score…very heavy on the Kilar but that’s ok by me. Is that Rotten Tomatoes interview real?

    Anyway, I liked both films but there’s definitely something up with a large part of both scores not seeing final picture. But putting that aside for a moment, I find it’s weird that both scores rely heavily on only one real theme that’s developed. I know I might face arguments on that point, but I really feel that it’s true.

    Mr. Dantz

    You did the score, eh?


    Apparently the DVD release will restore 17 minutes of footage to the film. I wonder what that will mean in the context of Danny’s score – I’ve got to imagine that cues previously cut will return along with the accompanying scenes.


    Um this may sound like a stupid question…but where is Wolf Wild #1?

    Ryan Keaveney

    “Wild” refers to wild track, a piece recorded with the purpose of not fitting into any specific scene, but to be taken from piece by piece if the editors needed music.


    I saw an ad today for the DVD and Blu-Ray that said it was an expanded director’s cut. Does that mean more Danny Elfman music?


    I don’t know, but it certainly could. The version that Elfman scored at the end of summer 09 was apparently around 2 hours. Most of the music that Conrad Pope did was for scenes that had been trimmed way down for the theatrical version (the 103 minute one), mainly because Elfman’s score didn’t come anywhere close to fitting anymore. Obviously, the Pope material wouldn’t fit the “long” version, which restores a lot of scenes in the first 1/3 of the movie. If the producers didn’t object to what Elfman ultimately recored for those scenes, there’s no reason to think that they wouldn’t use it.


    I just watched the directors cut on blu-ray. It is ten times better than the one released in theaters and it sounded like only Danny’s music was in it. There was a lot of music missing from the score album. Fingers crossed that a complete score will surface one of these days.


    Cool. I’ve heard that the director’s cut is quite an improvement. When I saw the theatrical cut, I felt that the first part of the movie was just completely hacked to bits. They blew through it so fast that things like “set up” and “motivation” were completely lost.

    The theatrical cut doesn’t start using much of Elfman’s material until “Gypsy Massacre.” Everything before that… “Prologue,” “Dear Mr. Talbot,” “Wake Up, Lawrence,” “The Funeral” was all omitted and replaced by the Pope material. So if any of those are in the director’s cut, it’s probably mostly the original sessions. Pope also did a handful of actiony cues toward the very pre-credit end.


    The directors cut was pretty good…except for this one gigantic glaring error in editing that just bothered the crap outta me. But it offered a little more of everything. The treatment of Danny’s score is still just so-so in my opinion. The whole finale sequence (from the fight in the manor until the end credits) was pretty much wall to wall score, but it was edited so poorly. Honestly, how many times can the last :30 of “Reflection/2nd Transformation” be played before its just overdone? Plus the Finale from the score album is entirely different from what was played in the movie. I’m actually kinda at odds over which version of the Finale cue I like better.

    Ryan Keaveney

    Bit of info on Danny’s THE WOLF MAN score and how the filmmakers adapted the score to the recut picture.

    Ron Aston is a Los Angeles based music programmer who specializes in contemporary drums/percussion programming, as well as sound design for motion pictures and television.

    I know you were working on one of Danny Elfman’s projects recently and he is one of the most ‘A’ level of ‘A’ level composers so I would assume he can get a fair amount of time.

    He probably could, but the funny thing is, it doesn’t always happen as you would think. I worked on his “The Wolfman” score that he did for Universal and that was an interesting, as well as technically challenging project for me. Danny had already completed the score when it was decided that it needed more ‘energy’. I wasn’t involved with the movie at this point so I’m only repeating what was told to me by others who were involved at the time.

    It was decided that a new, more contemporary sounding score should be done by a different composer, keeping in mind that Danny gave them exactly what they asked for. But then they (Universal) thought the new composer’s score might’ve gone too far the other way, and about 8 music editors later, a music editor that I know named Jay Duerr became involved and suggested they they use Danny’s original score and maybe add some additional percussion to it. He presented a temp to the producers that he put together using Danny’s cues, but Jay added some temp percussion and low drum elements of his own, just to get the idea across and that was enough for them to say “OK, well let’s try that.”

    At that point I was brought in to add some active drum-percussion programming with an emphasis on big low drums. I also added a number of eerie FX here and there, as well as some sound design in a few spots. As I mentioned earlier, Danny did exactly what they wanted him to do in the beginning. Then they changed their minds and it went through a lot of evolutions. I should also mention that at the time I was brought in, Conrad Pope was also brought in to write new compositional material to bridge together the cues where basically the music editor took bits and pieces of Danny’s score and reworked new cues to accommodate more recent picture changes, whether the music was written for these scene or not. Jay did as he saw fit and Universal was happy with the final product which included additional music by Conrad Pope as well. Conrad, Jay Duerr and myself worked as a team. We spotted a lot of the movie together and I added my elements where they felt that they were needed throughout the score.

    Because most of the final score was created from editing together various parts of Danny’s original score, the most challenging part of this project was that there was written music for me, no tempos, no meter maps, no anything so what I had to do first was take the picture and guide tracks that I requested and create a Pro Tools session for each reel. I normally try and get picture and guides if possible because I find it very helpful to actually see what’s happening on the screen as I come up with my sounds and parts. This was particularly a technical challenge because I had to go through and create tempo and meter maps, beat by beat in Pro Tools for each cue of the live orchestra tracks and it really got challenging where there were tempo changes. Not to mention that there were a lot of mixed meters as well. After that process was done, I just went through each reel and did my programming, cue by cue.

    That’s an awful lot of work! I hope you were well compensated.

    They took care of me. (Ron laughs)

    Things That Go Boom In The Night

    Ryan P

    I must say that I thoroughly enjoyed The Wolfman score and thought it was one of Danny’s best pieces in a long time.
    Even it was spliced and hacked to death in the end, it was still very haunting.


    rkeaveney Wrote:

    > The latest issue of FSM Online has a 27 minute
    > audio podcast by the Kaplan Bros. They talk about
    > TERMINATOR SALVATION, and then preview about 20
    > seconds of Elfman’s THE WOLF MAN
    > You’ve gotta pay and login, but it might be your
    > only way to hear this for awhile…

    rkeaveney , where I can listen to it? I need this very.

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