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If the money was good enough/projects were thin on the ground I guess they’ll do anything. We all need to eat. I don’t think that’s the case for Elfman, though. He gets to pick and choose. Unless there were other reasons he felt compelled to score a film (a long standing collaboration with the director etc). I suspect he’s worked on several films he wouldn’t have based purely upon the quality of the film itself. If you mean artistically, I’m sure a good composer can write for anything, regardless of their personal interest in the project. I even suspect musically, personal interest in the project doesnt equal better music.
That’s a shame about the no more Burton scores for a while. The music box, expansion wise, was a disaster. Im assuming Ryan’s firmness with Black Beauty comes from a place of enlightenment. Which is nice. Watched the film a few months ago to check out the score situation, and most of the darker cues (the less album-friendly ones, I guess) are missing. The fire in the barn and the bridge in the storm for instance. There are also a lot of fiddly album edits that it would be nice to see longer versions of. Looking forward to it.
Yes i’m looking forward to it whatever it is. Where does it say it’s not a Burton film? (not doubting you, just wondering)
Ryan’s mentioned Black Beauty previously (which would be nice), but there’s not much I wouldn’t like to see. Is there anything left totally or mostly unreleased (like Scrooged) that merit a whole album release? Or will it probably just be an expansion?Nice. Wasn’t really holding out for that. Is it mp3 only? I do hate not having a physical album. Oh well, that seems to be how things are going.
Awesome tracklist. This was to be on my christmas list but this might be too good to wait for. Can’t wait.
Really lovely, but one of the most laid-back main titles I think Elfman’s ever done. I guess all will become clear when the film comes out. I was expecting an Ed-Wood style title sequence via Victor’s own monster movie. This sounds more like Victor and Sparky playing catch to me.
Possibly but I wouldn’t fret. Weren’t we pretty near release when the Alice samples came out? And they were plugging it a bit more vigorously than this. Clip above sounds good, very Scissorhands with it’s choir and strings, don’t believe that will be it’s signature sound, expecting alot of 50’s sci-fi leanings.
I meant A Civil Action, not A Simple Plan. I always get those titles confused. It could be prepared piano, I hadn’t considered that. It’s solo for the first few seconds of the End Credits from A Civil Action. Is that prepared piano?
If these titles are real then i’m THRILLED. It seems to be everything album-wise that Alice wasn’t. There was so much missing from Alice I was worried for future Elfman/Disney scores, but this looks like it could be almost complete. Considering the shortish running time and bonus tracks.
Yeah. Essentially, the role of orchestrator is more technical and organisational than creative. I can’t believe people still won’t credit Elfman’s sheer ability because of his less than traditional musical background. Why can people teach themselves to paint or act or dance on their eyelids but not write music? My music teacher has often told me that she can teach anyone the theory of writing music, but not the creativity to do it.
A really fun film. Still nothing on the first, but certainly more obviously better than the second. Re-watched the first two last week (they’ve been on every channel, it seems) and the second was actually better than I remembered, but I think it was that I didn’t remember it that was the problem. A bit of temp-track love of cues from the first two films I think. There was a quick edit of the main titles from the first film at one point and the entire Logo cue from the second later on in the bowling alley. Obviously it’s those little things that get left out if one’s rushed for time. Considering how close together this and Dark Shadows must have come in Elfman’s schedule, these are really solid efforts in areas he’s pretty much explored to their fullest. Did anyone else spot Tim Burton on the alien display at MIB headquaters?
Now have both albums, and I’m thinking that “The End?” from the song album is the film version of the end credits. The End on the score album is extended, and I remember that drum/cymbal crash at the start of the cue that isn’t on the score album version. Can anyone back that up before I have to go see the film again?
There’s always something different. I remember some interesting stuff with bells when she sees the painting of Barnabas in the film version. Not sure if it’s just been cut short or if it’s all different. Will have to see it again/wait for the dvd to check everything out properly.
Just back. It was fantastic.
Score was used sparingly. Not nearly so front and centre as the likes of Charlie or Alice, or any of the other Elfman/Burton films. But when it did come in, it really worked a treat.
Thought the songs were used very well. Already bought the score album, will probably buy the song album and mix the two together.
Definitely destined to be one of my favourite Tim Burton films. more re-watch value than Alice, I think.I too, live in a place called Europe. The UK part. Where, despite the fact Tim Burton lives, works and recently made a film called “Dark Shadows” here, it’s not out until tomorrow. Ho hum. Still looking forward to it.
Are you guys seeing previews or something? I’m looking forward to it. I thought the titles might play over the prologue if at all, considering the amount of back story there is. That sounds very late in the film (if it’s track wise where the “reprise” is) for titles, Sleepy Hollow late. What’s the context of the titles might I ask? How do they play?
This sounds glorious. A wonderful extension of the previous scores that, pleasantly, harkens back to the first more than to the second. I’m really liking the guitar over the more pronounced ostinato riff theme-the jazzy brass was more in focus in the sequel score-and I’m loving the reprise of the finale music from the first film in track 21. Certainly better then the 18 seconder of a finale we got in MIBII. All that from the samples! Another great addition to this Elfman renaissance (not that I ever thought anything was lacking, but anything that gets him in better standing in the film music world is great).
They’re not similar. The film version doesn’t have the any of the initial string beats (though that might be a film edit) or the synth at the end of the first ascending horn theme, and the album version doesn’t have the pan pipes that echo the horn theme. Go compare them. They’re completely different.
*Currently being discussed on the FSM board. Still not sure what that main title track will be. They say the pan pipes were tracked in during the dub, but the rest of the track under and around those pan pipes is different too. Guess i’ll find out.
