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I’ve been using Logic Pro, almost exclusively for scoring to picture, for almost a year and love it. A word of caution, though: many of the more powerful sequencers, such as the ones Mr. Dantz mentioned, take some getting used to when coming from working mostly in notation software. Before really getting into film music composition I was using Finale. The transition can be difficult, but the switch will be well worth it. You’ll find eventually that you’ll get more done faster if you use a proper sequencer rather than notation software.
Oh, wow! I really can’t wait to hear the Jolly Edition of this classic dark, gothic score! Hans Zimmer has been talking about this for some time now! Thanks, Ryan!
Ryan, I agree, and I was totally wrong. This score does need more than a single listen to pass judgment, but there’s a crap-ton that I missed the first time ’round. While I think the themes still aren’t very notable in comparison to his other scores this year, he does a lot with them and they’re everywhere! This is definitely one that needs to grow on the listener, much like Hulk did for me, but I’m starting to “get it.” I can’t wait to hear it in the film’s context.
I, too, found it lacking. I think he used up his good thematic ideas on ‘Wanted.’ Will give it a couple more listens for details.
I saw the movie last Friday and the word that came to mind was “wild,” but in a good way. While several things in the film are completely improbable, I personally don’t find it difficult to just let go and have fun with it. After hearing all of Elfman’s scores so far for this year (‘Hellboy II’ included), I think this one is probably my favorite of his in 2008. I love the thematic material he brings to the film, although I think Wesley’s theme (the main theme in Success Montage), which I really dig, is underused. The “Fox’s Decision” cue, which happens toward the end of the film, is absolutely spine-tingling in about the last minute. It’s a gorgeous finale, the likes of which I haven’t heard from Elfman in a while. After seeing the film, though, I had to go into my iTunes library and re-order the tracks from the CD to reflect the film, ’cause I’m kind of anal about that. Here’s how I ordered them, but someone tell me if I’m wrong about any of them.
Wesley’s Office Life
Fraternity Suite
The Little Things
Success Montage
Welcome to the Fraternity
Exterminator Beat
Fox’s Story
Fox in Control
The Train
Breaking the Code
The Scheme
Rats
Revenge
Fox’s Decision
FateActually, I didn’t really know what to do with “Exterminator Beat” ’cause I didn’t remember hearing it in the film.
EDIT: Also, notice how nicely “Fate” leads into Elfman’s previous 2008 score ‘Standard Operating Procedure,’ quite especially the “Story of the Ants” cue. Try it.
There he goes again.
That’s a huge wad of suck right there, if it’s true. I already pre-ordered my CD from Varese. I hope at least that doesn’t get the shaft.
I’d be totally ok with Russell Shaw coming back for Fable 2. I thought he did a wonderful job on the first game exploring Elfman’s theme and giving it an “Elfmanesque” sound without being a rip-off.
Your thread title is somewhat misleading. Not that it wouldn’t be cool if Elfman came back for some more Fable, but there’s absolutely nothing in the linked article to indicate whether or not he will. It doesn’t even mention the music.
Just got my copy in the mail this morning. Might give a more detailed evaluation later, but for now, I’m gonna say it’s by far the best I’ve heard from him since Serenada Schizophrana, and the best film score from him since Charlie and the Chocolate Factory. Other thoughts?
Crap. Barely resisting the urge to buy it from iTunes instead of waiting for my pre-ordered copy. Not that it wouldn’t be worth it.
“Elfan,” Elfman is no special case. I think you’d be hard pressed to find a composer, for film or not, who has not borrowed from other composers. Just as a suggestion, if you’re looking for someone to pick on, John WIlliams would probably be more enjoyable for you to destroy.
Quite true, as Elfman himself has mentioned many times. But I think that was the point of the topic to discuss his classical influences and not so much the film music ones.
EDIT: I really should correct myself, though. Herrmann was a concert composer, as well. Of course, he’s not terribly well known for it, and I’m sure he resents that in his grave.
I know what you mean. I heard Giacchino’s “ROAR! Overture” from Cloverfield just once a while ago. After listening to it again recently, I discovered I used one of the same primary motifs from that in one of my own scores, completely by accident. Go figure.
While we’re on the subject of Prokofiev, there’s that ominous A-B-Bflat motif from Alexander Nevsky that Elfman uses as part of the main theme in Darkman.
There’s also a very obvious use of Holst’s “Mars” in “The Return” track from ‘Planet of the Apes’ about 4-1/2 minutes in.
Prokofiev has been my favorite classical composer for some time now. I definitely agree that that “Battle on the Ice” is one of the best cues ever written, though I admit to not having heard the film version (as opposed to the version Prokofiev adapted for his cantata).
