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Looks awful to me. I haven’t seen an Elfman scored film since Tim Burton’s Corpse Bride and it’s certainly not this one that will change my mind…
And to be even more explicit :
Here it is (it’s the next question asked actually).
DRE: Would you work with Sam again?
ELFMAN: Not if I can help it.
It’s too bad because Sam was at the top of my list. He was actually even
easier than Tim Burton to work with and we’d never had a disagreement. To see such
a profound negative change in a human being was almost enough to make me
feel like I didn’t want to make films anymore. It was really disheartening
and sad to see the way it ended up. The end of Spider-Man 2 was a
self-induced hysteria. It got to a point where I couldn’t even adapt my own
music close enough because two thirds of their temp score was Spider-Man 1.
If I varied from one note it was like a self-induced hysteria.That’s quite virulent to my taste…
Well, Elfman did say that Raimi actually became a different person. The quote is out there but his words were pretty harsh. Therefore I think it’s a bit more than just a professional disagreement.
But of course, who I am to be aware of that ?
What a sad news. I wasn’t fond of him but you could feel that he had the potential to have an excellent career.
The Dark Knight’s is now in post-production. Ledger was actually shooting with Terry Gilliam…who likes difficulties when it comes to shoot films.Yeah, as time does by, more and more videos will deleted by the studios. I’m astonished that my videos are still up after more than a year now…
That’s great.
I’m actually working in a puppets theatre as a puppeteer and we are creating a new show this year, based on the story of Dracula. I should get in touch with Danny… :-pI’m a Tim Burton fan, always been, always will be I guess. You combine this with the wonderful score/songs and lyrics by M.Sondheim, I’m definitely in. Critics are quite positive (even the early European critics, that most of the time disliked recent Burton works – no offence, but they are not many American critics that I take seriously). It doesn’t mean I will absolutely love it, if it has flaws, I will certainly point them out. But I’m pretty sure I’ll enjoy the experience. You can call me biased but it’s not like I don’t defend my point of view with valid arguments when I have to.
And yes indeed, punchingboy, your review is extremely bad. Actually, it’s more a point a view, it doesn’t deserve to be called a “review”. Internet message boards tend to mix up those two notions…
Well, if they get along well on Hellboy 2, Del Toro may become a new Elfman regular. I’d like to actually : this project sounds way more promising than “Wanted”…
Thanks a lot Dawg ! I was in India for a month and completely lost track of the film’s news. This is everything I was looking for !
That’s great news.
Elfman is surely in a very important period of his career : he’s doing less films (fortunately, the last were not great ones) and exploring new territories; concert works, documentaries and now a ballet. While all these projects may not find their way to the cd stores, I’m really looking forward to more of these.
There was a 80’s-early 90’s Elfman, a post-1995 Elfman….will there be a post-2005 Elfman ? Time will tell…
Well, I’ve read a bunch of books about Mr.Stanley, from various kinds (from trivia to deep analysis ones) and the music in The Shining is most of the time quite criticized.
I can see why : it creates a feeling of distance that is sometimes disturbing, but not in a good way. Kubrick always included distance when he was dealing with music (Gayane Ballet in 2001, We’ll meet again in Dr.Strangelove, Beethoven’s Ninth in Clockwork Orange, etc.) but in The Shining, that distance is way too important, as if the music is actually out of the movie. Not always of course, but some parts of it.
It’s quite explicit in the scene where Duvall is threatening Nicholson with a base-ball bat (well, it’s actually Nicholson who is threatening her lol). Pendericki’s Polymorphia seems to be played by an orchestra near the room more than attached to the images…But don’t get me wrong : the music DO works most of time…and when it does, it’s spectacular.
Very classic choices….but then, you can’t deny the films he talks about are among the most important in cinema’s history !
Quite funny though that he praises the use of music in The Shining while it’s most commonly referred to as Kubrick’s worst use of non-original music.
For my part, I’ve seen the film a zillion time and I still can’t figure out if the music is brilliant or completely out of subject. Ah, Kubrick’s mysteries…
