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Too bad you don’t perform in July, I’ll spend several days in Switzerland then. It would have been a great occasion to discover more of your work….
http://www.youtube.com/watch?v=7Iq8z2WDbKo
That’s an amazing surprise, although I doubt there will be a score CD release. Probably a few tracks stuck between songs…
Agreed boingomusic.
So, who would be a part of it ? Once the list established, someone should volunteer to buy the card and we’ll come up with its journey from there…I agree with Mr. Dantz, I also like the idea of sending him an international birthday card. It’s quite close to be a highly nerdish thought but in the end, it’s not…
Although imdb is no reliable source of information, I am still not convinced that Elfman will score this. A description on the Apple trailers website is no official announcement…
Meh amateurs : I’ve got the first Region 1 special edition (because it wasn’t available in Europe then), the Region 2 first special edition (because it then became available) and the latest Region 2 2DVD edition…
…my life sucks.
I just fixed that problem by turning off the music from Spider-Man: The Web of Shadows and replacing it with Danny Elfman’s scores in the 360 music player. Pretty nice…
Revenge is not really representative of the soundtrack best moments. Listen to Success Montage, Rats, Welcome to the Fraternity or Fox In Control; all are great action cues, quite reminiscent of one of Elfman’s greatest action score (and my personal favourite), Mission: Impossible.
As to choose between Wanted and SOP, it’s quite a dilemma that just won’t be solved : go with your instincts and get the other score later (“as soon as you can” that is).I wouldn’t go that far Descent. Sure, Elfman has his distinctive sound and we know quite much about it but the guy keeps surprising me every year. At the beginning of 2009, Wanted was the score I expected the least and it turned out to be an incredibly rich and thematic score filled with rather original ideas (the Russian ballet quality to Success Montage being just one of them) while Milk also provided unexpected choices (the use of electronics and sax, etc.).
I see your point but if there wasn’t anything to expect from Elfman, I would just stop listening to his music…I downloaded his Gremlins theme on Kazaa…
More seriously, it was Beetlejuice then Batman’s main titles that got me into his music. I remember watching them for hours when I got the film’s VHS copies; I was around 6 years old and it was the early nineties.
I always enjoyed what he wrote since and knew his name by noticing it when it popped up in movies or TV Series credits (most notably The Simpsons end credits).
I rediscovered his work at the end of my teenage years, buying the Sleepy Hollow Soundtrack. Since then, I’ve never missed one release, eagerly looking forward for the next and buying every single one I’ve missed in the past. And I’m pretty sure it will only stops when he will…I really enjoy Roxie’s Suite where Elfman displays his ability and talent to write fun and nervous jazz from the 20’s but After midnight sounds too much like a Duke Ellington’s leftover to me (Mood Indigo anyone ?).
I’m not sure what to think of this. It’s great that we will get another big year from our favourite composer but at the same time, I’ve never been a huge Terminator fan and I’m not sure Danny will fit with the material. Nevertheless, as you pointed out in the posts above, the guy is a master of versatility and this new Terminator film looks rather different that the previous films of the franchise anyway.
Time will tell…
I would certainly call this a “melodic” score boingomusic. While there is a work around textures and some very good uses of electronics (others more debatable to be honest), this a mostly “theme and motif-driven” score; much more than what Hellboy II has offered us earlier this year for example. After 4 or 5 listens, the themes get obvious and if they are more dim than the themes in Big Fish, they grow on you quite easily.
This is certainly the work of a very experimented and mature composer who doesn’t need much instruments, effects or notes to reach the emotion he is seeking. Everything feels so simple with this score even though it hides a tremendous sense of balance.
You mentioned Charlotte’s Web and I consider this score to be the exact opposite of it : while his 2006 effort seemed too dramatic and “talkative”, Milk is all in economy with the exception of Harvey’s Theme that get quite Americana from time to time.
Of course, all we need now is to see how this plays within the film !This was truly a marvellous year for us fans and I think it is time that the Academy gives the man a new nomination. We know he doesn’t care much about that (nor do we I think) but it could mean at least that they’d acknowledge that American film music shouldn’t be spelled without “Elfman” this year.
On a site note, I doubt that he will be nominated if the film itself doesn’t turn out to be a major Oscar contender…I got my copy yesterday. It’s definitely a good score that will certainly grow on me, like all Elfman’s 2008 efforts. It’s something between Big Fish, SOP and classic Elfman/Van Sant standards.
By the way, don’t be afraid when purchasing this in stores if the last two tracks are missing on the artwork : they are on the cd.
