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Forums Forums General Discussion Who did what? A comprehensive (?) list of contributers.

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    Yeah, I don’t get it really. Sure there is the money question but having the sequel handed to a close collaborator is far from unusual. Nobody would have cared if it was publicized as co-composed.


    The Grinch

    1. The Big Opening – Elfman
    2. Going to Town – Elfman
    3. Jaunty Kitchen – Elfman
    4. Mailing a Letter – Elfman
    5. It’s Better This Way – Elfman
    6. Northward Bound – Elfman
    7. Christmas in Whoville – Elfman/Bacon (Bacon helped with ‘Catapult’, but the bulk of the cue on album is by Elfman)
    8. Lost Lonely Boy – Elfman
    9. Welcome Song/Forlorn – Elfman
    10. To the Fort – Elfman
    11. Dog Tongue – Elfman
    12. Walking Toward Destiny – Elfman
    13. Loudest Snow – Elfman
    14. Puppy Eyes – Elfman
    15. Command Centre – Elfman
    16. Grinch’s Wild Ride – Elfman
    17. Kids Can’t Sleep – Elfman
    18. Stealing Christmas – Elfman
    19. Taking the Bait – Elfman/Bacon
    20. It’s My Fault – Elfman
    21. Welcome Christmas – Elfman
    22. An Apology – Elfman
    23. First Christmas – Elfman
    24. Big Finale – Elfman

    Bacon handled a few other minor cues and some of the background Christmas music. Couldn’t find anything on Lindgren’s involvement.



    Chris Bacon did some arranging on ‘Breakout’ and ‘Soaring Suite’, and Lindgren did some arranging on the ‘Rescuing the Farriers’ cue. The rest is all Elfman.


    Nooo, not Soaring Suite.

    Anyway, I always love those kind of details ddddeeee, thank you…


    No problem.

    Bacon and Lindgren are just credited with arrangements, so based on other credits for other scores, Elfman is probably responsible for 85-90% of those three cues. It’s impossible to tell because Bacon is also with BMI. But, for example, Deborah Lurie is credited for ‘additional arrangements’ for Alice, and she is credited for 13% of a track. I might be wrong, but I assume in these cases that Elfman writes a cue, the edit changes, and the other guys rejig the cue so it fits the new edit.

    Elfman’s not shy about giving either of these guys ‘additional music’ credit, so their roles must have been relatively minor.


    I treated myself to Elfman’s Masterclass and found this interesting: there’s a section where he talks about his little charts he has with the amount of days left until recording and the cue titles. He discusses writing a cue then checking it off. You get to see many of these boards at the beginning, nearer to the recording date….

    For Mr Peabody, a score with four ‘additional music’ composers, a lot of the cues that have other composers credits were some of the first that Elfman tackled. For example, ‘Reign of Terror’ and ‘The Flying Machine’ (whose final versions have other composers involved) were ticked off before many cues which only credit Elfman. It might be a one-off example, but it seems to imply that, at least in some cases, the other guys are brought in to adapt already-written music for a new edit.



    Elfman has solo credits for

    Chess Match
    Evil Deed (No idea what this is)
    Remembering Lily
    We Belong Together
    Save The Queen
    Dragon Indigestion

    The rest all have Bacon credited, too :/

    Ryan Keaveney

    My guess is that with the delays on DOLITTLE, Elfman was not available to do all of the rewrites himself. It’s probably better that way, as it’s not likely the score is destined to become an eternal fan favourite…!


    Probably. Woman in the Window seems to be a solo gig – I wonder if he’s just better off sticking to the smaller movies and concert works nowadays.


    GEMA has more information.

    1. Opening – Elfman
    2. Wonder – Elfman/Bacon (Second part of the track is all Elfman)


    Ran out of editing time…

    1. Opening – Elfman
    2. Wonder – Elfman/Bacon (Part II is all Elfman)
    3. Chess Match – Elfman
    4. Revelry – Elfman
    5. Lunchtime – Elfman
    6. He’s Back – Elfman/Bacon
    7. Teamwork – ?
    8. Betsy Chase – Elfman/Bacon
    9. Investigation – Elfman
    10. The Voyage Begins – Elfman
    11. Remembering Lily – Elfman
    12. The Getaway – Elfman/Bacon (Part II is all Elfman)
    13. Well Done Everybody – ?
    14. Monteverde – Elfman/Bacon
    15. Pep Talk – Elfman/Bacon
    16. Onward – Elfman
    17. The Dragon – Elfman/Bacon
    18. The Extraction – Elfman/Bacon
    19. We Belong Together – Elfman
    20. Save the Queen – Elfman
    21. Revelation – Elfman/Bacon
    22. Victory – Elfman
    23. Dragon Indigestion – Elfman


    Doctor Strange in the Multiverse of Madness

    1. Multiverse of Madness – Elfman
    2. On the Run – Elfman/Bacon/Giacchino
    3. Strange Awakens – Elfman
    4. The Apple Orchard – Elfman
    5. Are You Happy – Elfman
    6. Gargantos – Elfman/Giacchino
    7. Journey With Wong – Elfman
    8. Home – Elfman
    9. Strange Statue – Elfman/Giacchino
    10. The Decision is Made – Elfman
    11. A Cup of Tea – Elfman
    12. Discovering America – Elfman
    13. Grab My Hand – Elfman/Bacon
    14. Battle Time – Elfman/Giacchino
    15. Not a Monster – Elfman
    16. Forbidden Ground – Elfman
    17. Tribunal – Elfman/Bacon
    18. Illuminati Vs Wanda – Elfman/Bacon
    19. They’re Not Coming Back – Elfman/Bacon
    20. Stranger Things Will Happen – Elfman
    21. Buying Time – Elfman
    22. Book of Vishanti – Elfman
    23. Looking for Strange – Elfman
    24. Strange Talk – Elfman
    25. Lethal Symphonies – Elfman
    26. Getting Through – Elfman
    27. Only Way – Elfman
    28. Trust Your Power – Elfman
    29. They’ll Be Loved – Elfman
    30. Farewell – Elfman
    31. An Interesting Question – Elfman
    32. Main Titles – Elfman
    33. An Unexpected Visitor – Elfman/Bacon*
    34. Wanda at Home – Elfman/Bacon/Lopez
    35. Illuminati – Elfman

    *Of note – Bacon is credited with only that strange synth that opens the cue. The rest is Elfman. Makes me wonder how many other times Elfman has credited other composers for giving him a sound…

    On a side note, I went through the entirety of the Marvel Music Catalogue to get this information, and Bear McCreary doesn’t have a single solo credit for all those years of Agents of Shield. Seems a bit like the Zimmer of TV?


    Thank you for the effort ! It’s always very interesting.

    This paper from a few months ago talks a bit about the “additional composers” situation :

    Deborah Lurie paints Elfman as one of the “good guy” regarding the matter, for what it’s worth. I don’t mind additional composers, they are often a necessity as post-production is getting wilder every year, especially on these big products.
    What I do mind is lack of proper credit or ambiguous one. Additional composers should always be credited per track on releases and even in the end credits; these things last forever anyway.


    I listened to a radio interview with Elfman around the time DS2 came out, and when he was asked about his team, he mentioned Bacon and said ‘he’s great at taking over a cue’. I take that to mean that Bacon revises cues that Elfman can no longer devote time to.

    Incidentally, I love the Illuminati theme, and I especially love that action version that opens Illuminati Vs Wanda. But when I first heard it, it struck me as really not sounding like Elfman. It might be that it was him and Bacon was revising other parts of the cue or something, but that whole cue never sounded like Elfman to me.

    But then you have ‘On the Run’, which is the most Elfmany Elfman action cue that ever was, which opens the movie and introduces the Strange and America themes (and the end of the cue largely informs the end of ‘Not a Monster’ and ‘Book of Vishanti’) and there’s no way Elfman didn’t have a lot to do with that cue.

    It used to bother me a fair bit, but I’m mostly over it. I think the only time it actively bothers me still is with Fifty Shades Freed which doesn’t sound like Elfman much at all bar a few cues and was recorded when he was writing Justice League. I appreciate that there were certainly contracts and deals in place, but Elfman’s composer credit there seems…generous.


    Elfman talks more about his team and criticises ‘team effort’ scoring.

    Danny Elfman Breaks Down Doctor Strange in the Multiverse of Madness’s Biggest Musical Moments

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