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DannyBiker
ParticipantPersonally, 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.
ParticipantLooks like he pulled another The Next Three Days, by far the most uninteresting kind of music he writes..
ParticipantThank you the Internet for allowing to see those featurettes that were once limited to the DVDs…
ParticipantThat put a dumb smile of satisfaction on my face…
ParticipantTell 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)…
ParticipantYes he tended to do that a lot back when scoring the end credits was a thing…
ParticipantIt 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…
January 27, 2015 at 8:40 am in reply to: Danny Elfman’s Living Idol, Philip Glass, will co-score the upcoming Fantastic Four reboot. #68156ParticipantHoly shit. Well, that’s new…
ParticipantYeah, 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.).
Participant“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.
ParticipantSchedule conflicts perhaps ?
ParticipantYeah, I think it’s a mixture of the score being very low-key and not working well as a CD release…
ParticipantPretty 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 ?ParticipantThat first track…I’m with ddddeeee on this, I don’t buy it.
ParticipantI’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.
ParticipantHe made a sound go “iiiii” then “brammmmm”. Give that man an award !
ParticipantMerry Christmas Elfman fans. You get nothing.
ParticipantIt was a joke of course…
ParticipantThey are four on the picture…4th of January confirmed for the score’s release date !
ParticipantI think we can safely assume that the soundtrack won’t be released alongside the film.
ParticipantWell, 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.
ParticipantIndeed, 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.
ParticipantIs 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.
ParticipantVery cool !
ParticipantHaircut battle !
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