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I tend to view electronics as just another musical instrument for a composer to use in his/her palette, along with every other instrument in the orchestra. However, as with any instrument, it all depends on how it’s used, how tasteful it is. I personally love Elfman’s use of electronics, while other composers’ approach to them might give me a headache.
It should be noted that if you’re familiar at all with anything Terminator-related, you should already know that people running around naked usually has something to do with being transported through time, as time-traveling in the Terminator world is impossible to do while carrying any sort of possessions on one’s person, including clothing. This seems more likely to me than the scene in question being a love or sex scene. Though again, as Ryan has said, we’re really nitpicking here. There probably won’t be much more than a few seconds’ difference.
Shaw most definitely explored Elfman’s theme in the first game — not so much in the second — and did a great job, too. I thoroughly enjoyed not just the theme, but the rest of the score, as well. I think any Elfman fan would do well to pick up a copy of the album if you haven’t already.
Definitely don’t judge the rest of the album from the “Revenge” cue. Initially, I didn’t take to it, but I did warm up to it eventually. I enjoy the second half of cue more.
But dude, Wanted is far and away my favorite score of 2008 (though the movie itself fell far short of that for me). According to iTunes here, “Success Montage” is the most-played track in my iTunes library right now.
Listen to Danny Biker, Nick. You need to listen to Wanted…like now. Run, do not walk, to the iTunes or Amazon store.
On the way home, listening to it on the CD player in the car my dad fast forwarded it through “Up the Cathedral” cause it was boring (you all agree, no one likes that song enough to listen to it on its own).
Really? No one?
We all agree?
I actually think it’s a very powerful piece of music, and quite enjoy listening to it. I suppose that makes me a boring person, though.
I’ve probably mentioned this here before, but it was Elfman’s first Spider-Man score that did it for me. Coming from a musical family with a sci-fi geek for a dad, it was pretty fitting that I be exposed to lots of Star Trek and Star Wars music. My dad was a huge audiophile, too, and he was a fan of some of the earlier Cincinnati Pops Orchestra film music compilation CDs, which were astounding recordings. One of those had albums had a 15-minute suite from Batman. I would imagine that “planted the seeds.” Fast-forward to 1997 after seeing Men in Black. My younger sister bought the “inspired by” album, which included Elfman’s “Main Title” and “End Credits” from the movie. I definitely liked those tracks more than the songs on the album, but still didn’t really think much of it.
Time warp five years ahead to 2002, at 15 years old, decided spontaneously to see Spider-Man with a buddy of mine. I wasn’t really even a fan of the comic books, so I had absolutely no preconceptions of the film. Three and a half minutes into the movie, I was absolutely hooked, and it was all due to the music. There was another part of the film that jumped out at me and showed me what music could really do in the context of a scene, and that was the first time Peter wall-crawls up that brick building. The way Elfman animated Parker’s movements with those low brass punches, and then develops the crawl into a rhythm was just fascinating to me, not like anything I’d ever bothered to notice in film music before. I found the score album as soon as I could and irritated my family to death by playing that disc dozens of times over. When I couldn’t get enough, I did some research to find out who this Elfman guy was, and proceeded to start my collection. Now seven years later, Elfman is to me as Herrmann was to Elfman. I wouldn’t be a film composer if it weren’t for him.
Got my copy in the mail today! Just in time, too, since it looks like it’s sold out now. Can’t wait to give a proper listen to it.
I’ll second (or third…fourth?) the consensus that this score had to grow on me, as well. I was disappointed initially in the lack of really interesting and memorable themes. In that area, I think we were spoiled by Elfman’s contributions to Standard Operating Procedure and Wanted — especially Wanted, which is still my favorite score of Elfman’s from 2008. But once I kind of “figured out” what Elfman was doing with Hellboy II, my enjoyment of it grew with each successive listening.
Some of my favorite cues include “Father and Son,” “In the Army Chamber,” and “Finale.” The last thirty seconds or so of “A Dilemma” is beautiful. It was also interesting the way he began to morph the Prince’s (and Princess’s) theme during “Finale” into one of his Edward Scissorhands themes, but it wasn’t done in a lazy, ripoff-ish way. I do wish “Hellboy II Titles” was much higher in the film’s mix; that was disappointing. “Where Fairies Dwell” is another favorite cue from this score. It’s so delightfully eerie and uncomfortable.
Never? This discussion has come up before, and I think it’s been established already that Elfman did the Hollywood Pictures logo.
Good God, this is so awesome, I can’t stand it. 2009’s looking like a great year so far for Elfman scores, with Terminator: Salvation, The Wolf Man, and 9! Cannot freaking wait.
If the trailer is any indication, the movie looks just awesome.
Might I point out that this is not directed by Burton, just produced. There have been other Burton-produced films Elfman hasn’t worked on. Although, it’s tough to tell whether or not that really means anything since some of those non-Elfman-scored projects fall in that short period of time when the two had a little falling-out.
I figured a buck spent on iTunes would be worth it just to hear how badly they messed up the Spider-Man 2 Main Title.
Oh…oh, dear God.
First off, the recording itself is terribly “wet,” in the sense that it’s all a complete mush of sound. No clarity to it whatsoever. Waaaay too much reverb. Second, it sounds pretty bare without the electronics and Elfman’s added percussion. But third, and most horrifying of all, the tempo is UNGODLY slow. I’m truly sorry that the director, while conducting this piece, was not struck by lightening on the podium, for the tempo’s sake alone.
Ryan, you are correct. This album needs to be boycotted, and so I gladly join you in your disgust. Please do not buy this album, people.
I remember exactly the FSM podcast episode you’re referring to. I echo Spider-Fan’s question: anyone out there have this cue?
Unfortunately, it doesn’t sound to me like Danny contributed any more material for Fable II. The ones that appear to be credited to Shaw and Elfman simply contain Elfman’s original theme he established from the first Fable game. That’s not to say, however, that Shaw’s work isn’t good. I thoroughly enjoyed Fable’s score, and definitely look forward to hearing more of what he has to offer to the sequel.
I’m sorry, I just can’t stay silent on this.
Elfan — first off, if you insist on bashing a reputable composer on his own discussion board, I would choose a different screen name so as to not confuse those who read posts such as this. You clearly don’t desire to be associated with “Elf”man, nor are you a “fan” of his.
Also, I’m a film music composition graduate student currently attending the University of North Carolina School of the Arts, of which veteran conductor John Mauceri is the chancellor. Don’t recognize the name? He conducted the official CD recording of Elfman’s concert work Serenada Schizophrana, as well as commissioning Elfman to write a piece for Mauceri’s last concert conducting the Hollywood Bowl, known as The Overeager Overture. So who am I talking about here? I’m talking about an extremely knowledgeable musician who has been in the world of music for film and television, as well as being known for his concert activities; he was a protege of Leonard Bernstein, for goodness sakes!
What am I getting at? I’ve had several discussions with Mauceri, a good few about Elfman. I was fortunate enough to get a glimpse of the very score to Overeager Overture, and even though Elfman cites Steve Bartek as orchestrator for the work, Mauceri explained that he didn’t know why. This man, this very upstanding musician and conductor, continued to explain to me that Elfman did so much of the orchestration himself. He even said he tried to convince Elfman to remove Bartek’s name!
In conclusion, how dare you, sir. I thought this particular argument about Elfman was long, long refuted. You, sir, are stuck in the late eighties and early nineties when people were saying the same sorts of things you just did. Also, the very fact that he has survived — nay, been successful — for almost 25 years in Hollywood says something, and that doesn’t even count the fact that he’s written concert pieces and a ballet. I don’t know Elfman personally, but I’ve seen, heard, and read enough interviews to know that if, indeed, he was the kind of so-called “composer” you, “Elfan,” describe, he would be ashamed of himself, and strive to be better than that. But he’s not that kind composer, and it is you, sir, who should be ashamed of yourself.
You stand corrected. That is all.
Hehe.