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Well, the album on the streaming services are all Chris Bacon, so I guess that ends the investigation.
Wow, completely forgot about this one, it’s like I’m reading it for the first time again. Still excited and Robbie is a big name nowadays, it might be a higher profile project than anything he did in the last 15 years.
Also, it looks like he’s developing a new animated feature.
I mostly agree with you, although I wouldn’t go as far as thinking he’s “innocent” yet, it’s just too soon to settle on that for me.
But Abadi’s case does look weaker and weaker, to the point where one can wonder if something reprehensible happened at all, which is not a turn of event I would have thought possible two years ago when the allegations were made public.Something isn’t clear for me : is there still a legal case ongoing currently ?
Twitter courtroom isn’t the most sane place to pull sources from. I’d take everything from there with a massive grain of salt. 😀
I read the article and listened to the podcast and while we do have more information and details now, it’s still a hard situation to unravel because of its “I say, You say” nature. The journalist does make it rather clear that there are inconsistencies in Nomi’s testimonies, and I get the feeling he is leaning towards a “flirting going wrong” interpretation of the case; especially since he says that there is no evidence that Nomi was ever employed by Elfman. It’s still very much possible that Elfman used his position to try to seduce a younger aspiring composer, which I suppose is not illegal but the expression of the masculine toxicity that is plaguing Hollywood nonetheless.
Anyway, this still confirms that Elfman is probably semi-cancelled in Hollywood and that his recent push towards his rock career & concerts is not only the expression of a choice but a strategic move to where the money can still be coming in.
Well, that’s nice to see.
I wonder if Van Sant will ever get out of the “based on a true story” field….Publication was removed. I suppose it was the one with Elfman posing with Luc Besson in a studio (it’s still on Facebook).
Who knows why it’s gone, but let’s say there are many possible reasons…
Yeah, I could understand some action cues not matching Raimi’s expectations (especially if he didn’t really formulate them from the start) but these quieter scenes, I just don’t get what was wrong with what Elfman brought. They fit the scenes better, and let’s be real, it’s not like anyone beside film music nerds like us would have really cared about how these scenes were scored.
“Spider Fall” is also one I’m still salty about. That grand Spider-Man theme statement at the beginning is so better fitting to the emotion of the scene than the mashing up of 3 unrelated cues from the first film within 20 seconds.
I don’t remember that one either, but it was a long time ago.
I do remember seeing a “featurette” (that’s how they used to call it :D) where we could see the listing of all the cues planned for recording, and it contained an “End Credits” cue that never surfaced; it’s not in the latest LLL release either.Wow, I thought we would never get this, with how complicated this score’s production ended up.
The presence of all additional cues would allow editing the film with Elfman’s original music back in. I always wanted to do that, and I suppose AI development would really speed up the process nowadays.But with the recent Elfman news, I’m not sure if I want to spend my free time on this… :/
Well, finally saw it and I can only agree on how little we have to celebrate for; basically the Main and End Credits. So I guess the soundtrack release is fine after all…
To me, it’s probably a mix of Elfman being put aside due to the allegations and a heavily temp-tracked film, with songs & score cues from the original. It could have been indeed handled by a B-lister composer at this point or even an arranger.
I don’t really get the usage of Donnagio’s Carrie theme at the end for instance. I thought it would make sense because it would refer to De Palma’s film more directly, but I don’t think it did and it would have been a great place for Elfman’s music to shine. But perhaps I’m missing the reference here, I haven’t seen Carrie in quite a while.
The film was ok, Burton bringing a long-lost sincerity to it but I would lie if I’d say it left any kind of impact on me.
I’m not too sure actually, we don’t really know how much of his current work assignments are conditioned by the allegations or by him not giving much attention to film/TV scoring anymore.
I suppose I wouldn’t mind him skipping Wednesday but there’s some prestige and money in there so I’m sure he will be involved in some way or other. Between Raimi & Van Sant, I’d go with the latter, he always delivered really great scores for Van Sant. Raimi’s scores can be hit & miss.
Lots of parameters we don’t have to jump to any conclusion really, but I suppose that if some songs were there since the editing room and Burton already considered they were perfect, there’s a chance Elfman indeed probably never worked extensively on these scenes.
There is this quote, though : “Tim never questioned it, but it was something that some people questioned.” I wonder who “some people” is/are… 😀
Waxwork Records will release this on Vinyl/CD, although no tracklisting is available : https://waxworkrecords.com/collections/cd/products/beetlejuice-beetlejuice-cd
Can we also talk about how bad the opening of the Main Titles is ? The mix is awful, even after quite a few listens, I still can’t figure out what I’m listening to. It gets better as the track starts and the theme kicks in, but those 20-30 first seconds feel like a first draft that somehow made it into the final product.
I don’t get how Dumbo can get such a wonderful treatment from him while a sequel to Beetlejuice falls flat. I still haven’t seen the film (I’ll wait for streaming) but it’s quite sad to read. 🙁
Well if it’s the kind of directors he will be working with in the future, he might as well stop film music for me… 😀
It’s hard to say because he had already slowed down the pace on his film music scoring activities since the late 2010s, regardless of the accusations. We won’t have 4 scores a year though, that’s for sure. No matter what, we are entering the last years of his career.
To go back to the topic, it looks like tomorrow’s release is going to be mostly songs from the film + 2 Elfman tracks (Main/End Titles).
I’d have to check, but I think that release will complete my Danny Elfman CDs collection. Never got the big Burton box (didn’t have the money back then) but I don’t really miss it and I never bought the original Nightbreed CD. It’s not a score (nor a film) I know much about, so I’m curious.
Yes, it wasn’t the most needed expanded reissue, the original album is quite solid and its edits even make the tracks more focused for a listening experience.
I’ll just forever regret that he didn’t come up with stronger themes for this one, especially since he composed killer ones for other scores that year. With a more memorable Hellboy theme, it would be one of his best scores.
