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Tell me about it. Even Burton isn’t much into Opening Credits nowadays. I mean, it’s not like it’s mandatory, it should always serve a purpose but still, I can’t remember that last time I’ve actually seen an opening credits sequence worth mentioning.
And for the End Credits, every movie gets a song now, even Big Eyes. When you only get 2 or 3 possible minutes of score after a song, it’s normal that you’re not going to put a lot of efforts in it and just re-use a cue from the film. It’s a shame because I think Elfman’s End Credits are as good as his Main Titles (if not better)…
It sounds interesting. Reminiscent of The Next Three Days although a bit more engaging. However, it’s really not my favourite kind of Elfman score : they work well with the film (and that’s the most important) but they can be really dull on their own.
Edit : yeah you beat me to it dddderee, ‘Bliss’ is something really new for Elfman (or is it based on classical work ?). I’m also wondering what it depicts but I’m afraid I’m going to be disappointed. Not that I was going to watch the film…
Yeah, I think you sum it up pretty well. From the way he talks about his involvement with a film or another, it always either comes down to wanting to work with a specific director, either to work on a project that will allow him to do something different; the fact that it’s a big or low budget doesn’t seem to matter to him, at least since the last few years – I guess he’s got enough money and a big enough address book now to have the privilege to get to chose with that in mind, instead of the pay check/opportunity the project will give him.
It’s just that it seems to be the case for so many talented composers out there (Giacchino, Desplat, Powell, etc.).
“Her” was lacking depth but worked well in the film. I doubt we’ll every get a release but I don’t recall Elfman going so minimal (Freeway perhaps ?) so I hope we’ll have the opportunity to get some tracks with time…
A thought : although it seems rather clear that Elfman decided, since the last ten years, to explore new musical territories, avoiding blockbusters for much smaller films, I can’t help to think he’s probably not as demanded for big budget movies as he used to, seeing how the Zimmer-mafia scores pretty much all of those these days. Don’t get me wrong, I love his low-key scores but I’m wondering if it’s only about his choices or also due to the era we are in.
Pretty cool. Nothing new for Elfman fans but I wasn’t aware of the Batman Returns trivia in the Mars Attacks story…
The hired composer for Mars Attacks was Howard Shore, right ?I’m confused : I like to see Elfman working on smaller films (in terms of budget) but it generally means no proper score release. Or wait for Varese or Lalaland to fill the void.
Well, I think the FYC presentation doesn’t help but I kinda like it. It is perhaps more discrete than, let’s say, Hitchcock, Restless or Silver Lining Playbook but I really “independent Elfman” (little Seinfeld reference in there). These scores really grow on me and I end up listening them more than I thought when I first heard them.
And I really thinks it’s a score that will need the images to be best appreciated.
Indeed, tracks like “Seeing Things” or “World’s Fair Stinger” are less than 20 seconds long and are of no interest on a traditional release; it’s just transition cues. However, there’s no fade out, so in more than a few cases, it’s the full tracks.
Grab it while you can guys, I smell a ‘Promised Land’ situation with tracks that we won’t get access to again for a while. However, while the song is encoded at 320 kbps, the score is encoded at…50.
We need a proper release because so far I really like it but you gotta love the VanSant’s Elfman.
Is it me or is it the full score ? The timing makes it look it’s just parts of it but every track ends, there’s no fade/cut out.
