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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.Comic book adaptations, remakes and se/prequels are the only things Hollywood has been greenlighting in the last 15 years, no big surprises. Not that Burton has been able to deliver anything else anyway.
Taking that in account, it’s at least a remake of a mostly forgotten/unknown IP in a genre we haven’t seen in a while. That’ll do.
Oh my God, ten years…
Yeah I remember PotA sounding quite rough, it won’t be missed and with Wednesday’s success, it makes sense.
There was a live recording that we streamed somewhere a few years back that I used to listen to sometimes. But it was mixed with Elfman interviews so it was actually missing some suites.
Thank you for the write-up, I’ll listen to the podcasts If I have time. I mostly share your view on the topic, even though we indeed don’t know the full story (and we probably never will).
It’s just really sad and clearly leaves me with a bitter taste (to say the least) regarding Elfman’s work. I never idolized personalities, I’m always a fan of what they bring to the world. I rolled my eyes during a few Elfman’s interviews, when he was commenting some other topics and I wouldn’t relate to it. Who cares, I like the music, not the man.
But I just can’t continue to enjoy Elfman’s work as I used to, from now on. Whatever people do in their private life is their business, as long as all parties involved are very much aware and at ease with what they are doing. Even if Elfman never did something wrong “legally”, if he abused of his name and fame to lead another person in a territory she wasn’t comfortable with, it’s already too much.
Yeah, reading the original Rolling Stone article nuances quite a bit the depiction of the situation that the Variety one presented. Obviously, some “things” happened but what and to what extent, it’s not really clear from the information we have (and we’ll perhaps never know more). Enough happened for Elfman to settle for a paid solution in the first place, however; so it doesn’t put him in a good spot in my book.
I guess we’ll see but I agree with Thor, whatever the truth is, it’s not good.
As for the lack of coverage, my take is that, as high profile Hollywood composer that he is, he still “only” is a film composer, accused by a relatively unknown person. I imagine it doesn’t make a dramatic enough title these days.
Oh ffs…
I kinda of thought of it sometimes while contemplating my CDs collection of his, “If the guy ends being a creep, I’ll look like an idiot”.Of course, he might be innocent but it doesn’t smell too good by the content of the article and I think the victim should always be believed first; so there’s no reason to think otherwise here.
We’ll see what the coming weeks have in store but it’s probably the end of his career.
I just don’t get why so many men feel the need to behave like that. And I am one.
I highly doubt. Time has passed but would it include Elfman’s only music, or Young’s contributions as well ?
Oh nice, I always like when Elfman starts working with new directors, especially when it’s a low-profile project. Even though it’s not scores that I go back to very often, I must admit… 😀
He does look in significantly better shape than 15-20 years ago, it’s kind of crazy. And to be honest, I kind of feared the moment where the film music production would slow down but I didn’t anticipate it would be in favour of a rock comeback and concert music shift. His career really changed in the last years towards something more exciting (than two blockbusters and 2 smaller films a year), which is impressive for an artist reaching that age.
So Happy Birthday M. Elfman, hope we still have many more years of surprises to come.
So did Monica Bellucci, to the surprise of no one.
I must say, that Dafoe addition had me rising an eyebrow in interestThe original score does have a form of simplicity, even some kind of “naïveté” that is inherent to scores from debuting composers I suppose. I grew with it (discovering the Main Titles is one of the highlight of my life, really) so each track on that album lives somewhere in my head, although I revisit it less often than other Elfman scores from that era.
To some extent, I hope he goes back to that kind of simplicity, with a “modern” twist of course. His last main Burton score, Dumbo, kind of leaned towards a more “direct” music, leaving some of the complexities of the last 30 years behind. And I liked that quite a lot.
I’ll look forward for the score for sure, the “pumped up” version of the Main Titles performed in the Elfman-Burton concerts really showed how Elfman perfected his craft through the years.
That being said, I agree that it’s pretty much the only project left for Burton at this stage of his career, but boy is it sad to see. I really hoped Beetlejuice would be left untouched.
Just don’t do Edward Scissorhands 2 please… 😀
Complete releases can be tedious indeed (I feel they sometimes serve more as historical references than real musical experiences) and while for Spider-Man, the original presentation is rather effective and representative of the score, it misses major cues that make it completely obsolete to me. “Fire”, “New Powers”, extended “Costume Montage” and “Revenge” and key moments from the final action sequence cues are highlights of the score that are impossible to dismiss when I listen to the score.
It does help that this score is themes-driven, contains very little fillers and almost no tracks that are of little interest without the images.
Edit : also, I suppose the release wasn’t really discussed much because these tracks have been available for more than 15 years now online. There are only a few bits of tracks here and there that were never released.
It’s available on streaming services and as expected, it’s mostly a Bacon score with Elfman credited on 5 tracks, alongside yet another composer (Gad Emile Zeitune) on some of them.
And also as expected, the film looks like a stinker… 🙁
Nightbreed would be nice, I think it’s the only major score of his I don’t have a physical copy of… 🙂
Well I saw some commenters mentioning that the show sometimes feels like it was written by an IA to please the target streaming audience, so it makes sense I guess… 😀
