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Really excited to hear this one. It’s been a wild year for him, really showing off all his facets & skills as a composer/performer…
At this stage, I don’t think I’d even be excited by a Burton “passion” project. I wonder if he even has some left… 😀
I had high hopes for Big Eyes for instance, and it turned out to be just ok. I really feel that he gave all he got in the 90s.I guess it looks more promising that I would have thought but I’m still not sold. I wonder how much Burton/Elfman will actually be involved if the show is picked up for a second season (if at all).
Probably a “David O Russell” kind of collaboration, with just bits of music here and there. Which is fine, movies tend to have too much music these days anyway. 😀
Oh wow, great news. It’s always nice to see him on smaller projects with high-profile indie directors.
It’s actually opening the Venice Film Festival at the end of the month.Thank you for the effort ! It’s always very interesting.
This paper from a few months ago talks a bit about the “additional composers” situation : https://www.vanityfair.com/hollywood/2022/02/the-ugly-truth-of-how-movie-scores-are-made
Deborah Lurie paints Elfman as one of the “good guy” regarding the matter, for what it’s worth. I don’t mind additional composers, they are often a necessity as post-production is getting wilder every year, especially on these big products.
What I do mind is lack of proper credit or ambiguous one. Additional composers should always be credited per track on releases and even in the end credits; these things last forever anyway.Yeah, when you’ve been fed 80/90s composers music all your childhood, it’s hard to make the newer generations understand that most of the current scores sound poor in comparison. Hook and Batman Returns are filled with amazing themes and even sometimes with motives that would serve as great themes too.
It’s indeed one of Burton bests, although I still have a “sweeter” spot for Edward and Ed Wood. What a run these two had in the 90s, it’s crazy. I know people like to diminish Burton’s past work because of his recent one but that is certainly unfair, he directed several masterpieces in a row. Not that many directors achieved in their career what he did back then.
Batman Returns is still the best Batman film for me (not a fan of Nolan’s work) and certainly the kind of superheroes movie you can’t make anymore. Burton went full Burton in a way that Marvel would never agree to.
As you say, it’s a film about a million things and it achieves almost all of them.
And the music is one of Elfman’s best indeed. It’s one of these scores with 0 filler.
I like that theme, actually. Sure, it’s not highly original or very elaborate but I do feel like it’s a perfect fit for what I envision the character is about. But I don’t know much about it…it just has that “magician” feel.
It’s available actually, I thought it was released later in the month. I only gave it one listen for now but I was less engaged by the three other movements. But I’ll give it other listens, of course.
What is Strange theme actually ? I haven’t seen the film (and don’t really plan to) and while I identified a few of them, I have no idea to who/what they relate to.
And no CD release it seems but this instead : https://mondoshop.com/blogs/news/doctor-strange-in-the-multiverse-of-madness-2xlp-on-sale-info
Thanks for the playlist Ryan.
I wonder if we’re ever going to get some details regarding the additional composers on this one.I’ll copy my comment from the FSM board :
It’s definitely a thematic score. Just gave it a listen and you can clearly identify themes and motifs during the all thing.
Now it’s certainly a very functional score too. It’s Elfman in comic book/monster music mode with brass pounding down, swirling strings and choir grandeur. Very effective but with no real risks taken, therefore a perfect fit for one of these products Disney and Marvel are committing since a good decade. I still feel we get the Elfman twist with reminiscent harmonies and colors of the monster music from the old days of cinema and some slavic influences.
I don’t know or care about the film and where it belongs in the series and have only heard Giachinno score this week to prepare my listen. From what I understand out of it, Elfman didn’t touch Dr Strange musical personality, he uses the theme from the first film, giving it some variations and one big statement. Nothing like Avengers 2 where he wrote a new theme to lead to Silverstri’s. But I can be wrong.
For the rest, it quotes a lot of stuff from Justice League’s Flash theme for a brief moment to…Beethoven/Bach for one crazy short track. One of the themes is also a reuse of a motif he developed in Improv for Alto Sax on the Serenada Schizophrana CD and Charlie and the Chocolate Factory. I wonder where that comes from.
So he will use Giacchino’s theme extensively, it seems. I’d have to give that score a listen until Wednesday then…
From what I read, he totally owned that stage. Lots of very enthusiastic reviews online.
And well, don’t forget to check archive.org, just sayin’…
The film cue is slightly extended at the end, with some repetition in the theme to probably fit the cut. Where do you hear a difference ? It sounds similar to me, although I couldn’t listen to it in details.
I just want a way to listen to “Flight little one” properly… :'(
