- January 2, 2019 at 2:19 pm #98777DannyBikerParticipant
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.
February 22, 2019 at 7:52 pm #98807
- This reply was modified 1 year, 1 month ago by DannyBiker.
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.July 7, 2019 at 10:44 am #98986
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.July 16, 2019 at 7:20 pm #98988DannyBikerParticipant
Nooo, not Soaring Suite.
Anyway, I always love those kind of details ddddeeee, thank you…July 16, 2019 at 8:05 pm #98989
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.January 3, 2020 at 11:53 pm #99096
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.
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