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“White Noise” dramatizes a contemporary American family’s attempts to deal with the mundane conflicts of everyday life while grappling with the universal mysteries of love, death, and the possibility of happiness in an uncertain world.
Seems like a great gig with a good director.
https://inews.co.uk/culture/danny-elfman-bigger-messier-interview-film-music-grim-reaper-1788548
Oh wow, great news. It’s always nice to see him on smaller projects with high-profile indie directors.
It’s actually opening the Venice Film Festival at the end of the month.Yeah, I’m assuming this has already been recorded? Very out of the blue.
Trying not to get to excited that this could be an Oscar gig, but it’s great to see him attached to a prestige project. Maybe between this and Doctor Strange
his flop era is at an end.Normally when Elfman has a new upcoming project, I listen to scores regularly that I think it’ll sound like, but I’m stumped here. Milk? The Next Three Days? Standard Operating Procedure? The End of the Tour? I’ve no idea what this’ll sound like, and that’s exciting.
The movie is 136 minutes long and will be finished for its premiere at Venice in two weeks according to the woman who helps run the festival.
Gonna assume this has very little music. Really don’t see how Elfman could have written much when he was two out of four episodes into Wednesday a month ago.
Probably a “David O Russell” kind of collaboration, with just bits of music here and there. Which is fine, movies tend to have too much music these days anyway. 😀
I’m over halfway through the book and can only assume this is being mismarketed.
The book goes from being almost slapstick comedy to deeply profound in seconds. It’s a really weird tone. It’s also way bigger in scope than I was expecting. Elfman’s hiring makes more sense to me now.
Some press mentions of Danny’s score:
“The score was done by Danny Elfman, who Baumbach encouraged to revisit some of his own scores from the time period that he had long put to bed — like “Midnight Run” — to inform the music.”
https://abcnews.go.com/Entertainment/wireStory/noah-baumbach-white-noise-life-death-89108464“The feeling remains that Baumbach is more in command with character-driven material than with this kind of accelerated absurdist plotting, which works to the extent it does in part thanks to Danny Elfman’s dark funhouse score, an exuberant return to vintage form.”
https://www.hollywoodreporter.com/movies/movie-reviews/white-noise-adam-driver-greta-gerwig-noah-baumbach-netflix-1235207331/“But it moves with purpose from the get-go as composer Danny Elfman’s Coplandesque strains herald a new school year coming to life for Jack, a protective husband/father in a bustling family with kind, attentive fitness instructor Babette (a crispy-permed Greta Gerwig) and their hyperaware brood…”
https://www.yahoo.com/entertainment/white-noise-film-review-adam-180000332.htmlThis definitely sounds like some score.
Tremendously elegant. Thrillingly original.
Recap from the Venice world premiere of #WhiteNoise. pic.twitter.com/2SwhNSGfMh
— White Noise Film (@whitenoisefilm) September 1, 2022
Baumbach talks about Elfman at 18:45 here. Sounds really interesting. Elfman revisited Midnight Run and channels Tangerine Dream? Sounds like it has a substantial amount of music.
Oooh, Tangerine Dream? Sounds interesting indeed. I’ve always felt the opening theme from WISDOM was kinda RISKY BUSINESS in style. More of that, please! Between that reference and MIDNIGHT RUN, I’m very stoked for this score.
Baumbach says Elfman was “alive with ideas all the time” when creating the score for @whitenoisefilm.
Baumbach set up shop at Elfman’s studio and cut the film while Elfman composed in the next room. The score influenced the edit and the edit influenced the score. @thenyff https://t.co/OtIeAvCDJj
More details on the score on this site, which makes MFADP look positively modern… 🙂
Elfman’s doing the awards circuit this year. I don’t think it has much of a shot due to the movie’s reviews being good, not great. Hopefully I’m wrong!
Really excited to hear this one. It’s been a wild year for him, really showing off all his facets & skills as a composer/performer…
This is the Elfman that I love. It’s like his recent classical work cross-pollinated with MILK and DARK SHADOWS.
just getting my ears around this and loving it. it’s as if the cues “d’s memories/chase” from ‘men in black’, “gamelan” from ‘rabbit & rogue’, and “foghorn marimba” from ‘unknown knowns’ had a twisted but cogent triple helix love child. some novel things happening in the palette as well – the roomy orchestration not heard since maybe ‘to die for’; close dry mic-ing on par with his recording of ‘psycho’; a full nod to mozartian choral writing.
stand out tracks:
“duel” – iconoclastic in its simplicity and juxtapositions–a career highlight!
“up there” – that build!
“highway disaster” – what even are those progressions that begin the piece!?
“trash” – doesn’t stop once it starts!
“nebulous mass” – is this the new new elfman?
“sunrise” – and still a twinkling, super sweet resolution from what can only be a dark, twisting, aloof, absurd, brooding film if this soundtrack is any indication.my preferred listening experience with some slight programatic tweaks: https://open.spotify.com/playlist/2zIzfXWO4VYR0a1WQQSQm7?si=t4SOkpwZQtqVEZ_An89Ogw
I’ve listened to it a few times. I like it, but it doesn’t make any sense to me. I’m sure it’ll all click when I see the film.
An interview with Elfman and Baumbach.
https://variety.com/video/danny-elfman-noah-baumbach-on-white-noise-score-strategy/
I managed to catch this in the cinema, but it didn’t really work for me.
I tend to like Baumbach even though his self-obsessed characters often keep me from loving his work. Here the DeLillo dialogue is ripped from the pages of the novel and it’s really quite painful to listen to. The ‘heightened reality’ of the book isn’t recreated so it all ends up feeling painfully stilted and artificial.
The score is good. The mix is a …mixed bag. Large sections of many cues are lost in the sounds of cars and crashes and people and general madness (which I appreciate is often the point in a movie called White Noise), but many cues are front and centre (‘Up There’, ‘Trash’ and ‘Sunrise’ standing out). The last two tracks are album-only as the end credits (which are really fun!) are set to a cool LCD Soundsystem song.
I would say there were maybe ten or so minutes of score not on the album. Mostly synth, atmospheric stuff, but a nice little montage cue near the beginning and another take on Babette’s theme did stand out.
FYC has the score up – with a fair few cues not includes on the soundtrack release.
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