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  • in reply to: My Danny soundtrack collection #68421
    bookbinder3
    Participant

    I had to move everything to a bigger drawer recently. This lot plus Charlie, Pee-Wee and Nightbreed on Vinyl (the original pressing) and the Burton/Elfman box is packed away. Don’t have room to display it. Hope you can read the titles like this. Looks like only half the picture is coming up, but if you save it or click view the rest should appear.

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    in reply to: Family Man Promo #62356
    bookbinder3
    Participant

    About the orchestrators…if a composer writes for orchestra…he writes for the orchestra…Elfman especially. There’s no way he doesn’t choose every instrument…that is a big part of his signature style and sound…even though orchestrators come and go and Bartek (his one-time band-mate and major orchestrator) isn’t always involved. Bartek said in the Elfman/Burton book that Danny produces extremely detailed demos (and from the mock-ups we heard on that set, like Beetlejuice and early Nightmare Before Christmas songs…everything is there) and the instrumentation is part of the DNA of the piece, Danny has always written like that. Bartek also talked about how a veteran orchestrator helped them with their first few films…pointing out where trumpets would have to take over from french horns in Pee Wee because horns couldn’t play as high as had been written…this was when they were new to big orchestras…they wouldn’t have been making mistakes like that for very long…certainly not by the time The Family Man came about. Orchestrators, in film music especially, perform a largely organisational role. The business of preparing complete, playable scores and individual sheet music for 100+ musicians playing maybe 100 minutes of dense, precisely timed and complicated music is a mammoth undertaking requiring a great deal of coordination. The speed at which a composer is required to work, with digital editing allowing a director to completely recut a film in a weekend just doesn’t allow one person to do it all themselves anymore.

    in reply to: Miss Peregrine’s Home for Peculiar Children #58378
    bookbinder3
    Participant

    I don’t know…I’ll try the album incase it was very badly mixed in the film, but I wasn’t overly impressed. I might be expecting too much, but Elfman always gives you a tune, or a rhythmic impulse, or at the very least an interesting texture or colour (like the marimbas in Big Eyes) that always grab you right away and don’t let go. I thought the main title was a real missed opportunity that Elfman would have really set the stage with, but I thought the rest of the score functioned fairly appropriately. I don’t think, considering they are two complete unknowns being handed a big film to work on that they really sold themselves much. An established composer might have given the film a bit more of an identity, even if it wasn’t in the Elfman vein.

    in reply to: Elfman on ‘The Girl on the Train’? #58410
    bookbinder3
    Participant

    “I assembled a temp…as one does…” Eh. Directors always think they’re making Elfman do something he’s never done before. Like he’s never done electronics. Like he was going to write something like The Simpsons theme for Fifty Shades.

    bookbinder3
    Participant

    Those are: the album version of the main title, the film version of the main title, the album version of the main title slowed-down and pitch-shifted down a bit, the end credits and the mock-up that was released as a bonus on the Burton/Elfman collection.

    in reply to: Ermmm #58272
    bookbinder3
    Participant

    Whose project is it?

    in reply to: Miss Peregrine’s Home for Peculiar Children #59632
    bookbinder3
    Participant

    Yeah…seems to just be a schedule thing. Was bound to happen sometime. I don’t think it was like “screw you Danny, I’m gonna get these two random guys to write the score instead.” If a big name was replacing him, I’d be more suspicious, but I suspect they’re stepping in to do what Danny might have done, might even use his themes like with 9.

    in reply to: Goosebumps? #59875
    bookbinder3
    Participant

    Haven’t got my CD yet, it was delayed by a week to the 16th (anyone else?) I wasn’t sure about the samples, and like some of you was unsure about a coherent theme…but I’m really enjoying the full tracks on Youtube. I’ve only listened to “Goosebumps” and “Credits” though, as I’m waiting to hear the rest on my stereo. Love the little pieces of the main theme played by the solo clarinet etc in the Credits. Miffed that the film seems to not be coming to the UK until February, I thought those days were over. Anyone else enjoying/not enjoying the score so far?

    in reply to: Thematic foreshadowing #68301
    bookbinder3
    Participant

    I assume you all know of the links between Black Beauty and Alice in Wonderland, but I don’t see it spoken about much or analysed in any depth. The harp baseline in the Black Beauty Main Title becomes that rolling cello figure that plays under “Oh Alice dear where have you been?” I’ve seen people claim that those opening choir chords at the beginning of Alice’s Theme were nicked from Zimmer at the end of Pirates 2, but actually that again is extracted from the harp baseline from Black Beauty. Only one note changes as the harp part steps up as the violin/tin whistle theme repeats at the beginning, the same three ascending notes that become the choir part. Obviously, the main Black Beauty/Alice themes start on the same note, progress up to the same second note, and descend in a similar way. I’m probably not explaining any of this very well, but I learn a lot about Danny’s music by picking parts out on the piano. I should make a video.

    in reply to: Big Eyes Trailer #68027
    bookbinder3
    Participant

    Looks very interesting. I’ll definitely be seeing it as soon as I can. Maybe not on Christmas day, but it will do very nicely on the 26th. With regards to it looking “cheap”, I believe it is one of the lowest budgets Burton has worked with for a long time (I can’t but my finger on the exact number, but I remember reading it and thinking it wasn’t a lot). That, and Burton has often favoured that kind of look. I wonder if he’s not doing it deliberately as a kind of nod to the time period, as with Ed Wood’s more obvious conceit of black and white.

    in reply to: Mr. Peabody & Sherman #67746
    bookbinder3
    Participant

    I ordered mine from Amazon UK and got Mr Peabody with the Roman helmet. Perhaps one is expected to collect them all?

    in reply to: Rabbit & Rogue getting recorded in May! #67805
    bookbinder3
    Participant

    Excellent news. I wonder if they’ll do The Overeagre Overture at the same time. That would make my millennium.

    in reply to: Fifty Shades of Grey #67781
    bookbinder3
    Participant

    I’m afraid Danny Elfman does not visit this site (that we are aware of) and so will not receive your message through here. You would have more luck trying to contact him (or, more likely, his representatives) through his agent here:

    http://www.kraft-engel.com/contact/

    Having said that, you may be better off attempting to contact the films producers directly. Danny is responsible only for his compositions within the film, not all other music it might contain. Good luck.

    in reply to: Mr. Peabody & Sherman #67774
    bookbinder3
    Participant

    Has anyone else got the CD and found themselves really enjoying it? I think the first two tracks alone might be worth the price of admission, as it were. It’s got a really classic Elfman sound that reminds me quite frequently of the ‘Amazing Stories’ tracks from MFADT and other light hearted fare from that period. Out of the his three recent fantasy scores (this, Oz and Epic) I think this may be my favourite. The film was also my favourite of the aforementioned, as well.

    in reply to: Gus Van Sant’s ‘Restless’ #61809
    bookbinder3
    Participant

    Interesting. I couldn’t get through the film, felt too much like Van Sant light, so I don’t really know what’s in store. Obviously enough to merit an (eventual) release. Excited for it, anyway.

    in reply to: Licence to upload remix on youtube #61808
    bookbinder3
    Participant

    I’m not sure what particular insight you think we’ll have. You’re talking about a music licensing issue, which is nothing to do in particular with Danny Elfman or his fans.

    In my experience, there shouldn’t really be any problem with uploading a remix to YouTube. People upload complete songs or albums all the time and they are not removed. I think there are more suitable platforms for original music, such as SoundCloud, but in any case, I don’t really see what the problem is.

    in reply to: Danny Elfman at the Royal Albert Hall, Oct. 7 2013 #61895
    bookbinder3
    Participant

    Finally bit the bullet and booked my ticket for the Glasgow concert. I could’t really say no to the massively reduced price. Excited doesn’t begin to cover it. Looking forward to hearing impressions of the London concert and getting a taster of what to expect!

    in reply to: Van Sant’s Promised Land #39125
    bookbinder3
    Participant

    I liked it too, it was typical quality filmmaking from Van Sant (in that it looked and sounded nice), but I thought the story was pretty weak, and that A Civil Action dealt with the same issues better.

    in reply to: Van Sant’s Promised Land #39120
    bookbinder3
    Participant

    That recording session track is a bit of an anomaly with regards to the rest of the score, isn’t it? Aside from the slow passages from about 1.30 in to about 8.50 which, I think, resemble the film version of “Turn Around”, I don’t know what that (very interesting) stacatto part at the start and the tremolo part at the end are supposed to refer to in the film, or relate to in the score. Wild tracks maybe?

    in reply to: Van Sant’s Promised Land #39110
    bookbinder3
    Participant

    Got mine today. Very nice listening. I like the instrument palette of these kinds of Elfman scores, the glass and the bells, and the marimba in this is nice, especially in the more propulsive cues (I like the Classroom tracks especially). Still waiting for the melodies to become fully apparent. Not sure how I feel about that oddly layered (sampled sounding?) solo vocal line though.

    in reply to: Elfman Back with Raimi for ‘Oz’? #39071
    bookbinder3
    Participant

    That was…different. Interesting to see an Oz-themed remake of Army of Darkness. Still not sure what to make of the film, but I’m looking forward to my CD even more now.

    in reply to: Elfman Back with Raimi for ‘Oz’? #67733
    bookbinder3
    Participant

    F**kin awesome. Can’t wait for this. Not quite ready for it to be a reality. Hope the intrada release is a sign of this not being marketed to the lowest common denominator (I haven’t heard anything about a “music inspired by” album like the last two Burton/Disney films). Is anyone a fan of Return to Oz and/or David Shire’s score? One of my favourites.

    in reply to: Van Sant’s Promised Land #67729
    bookbinder3
    Participant

    It can be ordered from Amazon UK, I already have, don’t know if it will ship to the US though.

    in reply to: Lalaland’s 2013 Elfman release #67728
    bookbinder3
    Participant

    Why would that not be on Disney, though? It’s clearly an attempt to recapture some of the success of Alice in Wonderland, so they’ll be riding that piggy all the way to the bank. I think it’ll be an expansion, and that’s fine with me.

    in reply to: Van Sant’s Promised Land #67725
    bookbinder3
    Participant

    Glad I didn’t splash out on the promo now! :)

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