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Well, I’ve listened to it and have to say that I am pleasantly surprised. You can really hear that Danny enjoyed writing the music; I think that after so many small films, he wanted to go full muscle for a short while…even though it meant using a lot of pre-existing themes. It’s nothing that you’ve never heard before but it’s straightforward and effective.
His new theme, although nothing special, morphs pretty well with Silvestri’s (which wasn’t something special either). It seems that he uses others themes as well but I’m no Marvel fan so I don’t know about that. There’s a more emotionnal theme though that sounds like a mixture of Sleepy Hollow’s main theme and Hulk’s Love Theme (the second part).On a side note, I have the impression that there are still orchestral samples left in there (especially in “Heroes” which isn’t used in the film…perhaps a demo-track of his ideas that was only partially recorded). The mixing isn’t the greatest either but I guess there wasn’t much time for crafting…
I must say I was unsatisfied by the fact that the last few tracks were Tylers’ only. That 29’s track title feels like a great conclusion and final settlement of the themes…
Yeah, I must admit that it’s really embarrassing. I don’t mind additional composers that much (film composing is very demanding) but give them a proper credit, especially for such an “iconic” piece.
It’s also quite astonishing that Elfman needs additional composers for scores like Big Eyes and even American Hustle !I’m disappointed to say the least…
It might be stretch but I always loved 2002 as well : Spider-Man, MIIB and Red Dragon. Only 3 scores but pretty ambitious one in very different genres. Hulk followed closely, although it was 2003.
I find his early busy years at bit less interesting as its scores would sound similar indeed, especially since the movies themselves tended to be similar in style/themes.
2008 could be my favourite : no scores sound alike and they were all surprisingly good (the M:I level of quality for Wanted wasn’t expected and I still think that Hellboy II is his last great fantasy score)
2012 would follow because, again, it was incredibly versatile. I don’t know why people don’t seem to like Hitchcock that much, I find it to be one of its best drama score.
I really wonder what are the additional composers contribution though…
Also, the “painting together at the parc” scene right after they met struck me musically because it sounds like the same 10 seconds of music is being looped 5 or 6 times…With that much music written by Elfman, I’m actually wondering if they just rewrote as much music as possible; if the decision to bring him in had been taken earlier, Tyler’s score could have been completely rejected.
Anyhow, let’s not forget that we are still a few weeks away from release and we all know how late changes can be made with these summer blockbusters. There might be less Elfman in the final product that we hope for…
I told you, it’s always ddddeeee…
For the rest, it’s such a bizarre idea for a live-action film that…well, I’m intrigued at least.
Yeah, who needs samples these days…
I’m totally down to help with content (news, reviews, analysis, etc.) , board moderation, etc. It would need some organization between the Team though (avoiding posting the same news, review, etc.) and I could look up for an easy solution for that, an on-line tool perhaps. Something a bit more dynamic than emails.
rkeaveney Wrote:
> I’ve emailed Richard Kraft about this and he
> responded “Danny Elfman is writing and recording
> music for AGE OF ULTRON.” That’s all I’ve got.
Reports say that instruments will be involved.
If its some themes or temp track use, I don’t see it being credits’ mention worth. So it’s gotta be original material even if it’s based on existing themes. I could see Elfman being hired for some rewrite/additional cues for which Tyler’s wasn’t available and agreeing only if he get a credits’ mention because A. He’s Danny Elfman and B. Paycheck must be higher.
Oh you got to give Mr. Peabody another try. It’s nothing special but it’s above his average animated score standard (with the exception of Burton’s animated films). Very playful.
SLP theme was more dynamic and allowed for more variation. 50SOG is more static and dull in my opinion.
But hey, it’s all about tastes after all and it’s nice to hear how people react differently to the same material.Personally, I wouldn’t be as harsh as boingomusic but I can’t say I’m excited either. It gets repetitive and it confirms that this is not the kind of score where Elfman excels; it’s okay, very professionally written but just not very interesting. I’d rank it above The Next Three Days (my most boring Elfman score to date, I think you got it) but only because there are at least 3 or 4 tracks that breaks the monotony.
Yes, it probably works fine with the images and yes, it’s what matters but still, he delivered much more convincing works in the past in the genre. And I have to agree with boingomusic the pop/rock beats are really cheesy, even embarrassing at times.
I might be completely imagining things here but I feel that, with these type of scores, Elfman needs a director to help him get out of it comfort zone. He wrote really great drama scores for Van Sant, Burton, Raimi, O’Russell or even Morris…but when it comes to Article 99, A Civil Action, The Next Three Days or this 50 shades, the only difference I see is the one-time collaboration on very average films.
