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What you hear on the CD and in the movie are pretty much the full versions. It’s as far as Elfman got in writing the piano music at least, what with his schedule and all.
With that said, I love Elfman’s work, but he isn’t John Williams, who pulls alot of his score from a massive concert theme or piano piece that’s never fully heard in the movie it’s self.
Come on man,
I’m not going to criticize a kid’s movie for being too “kiddie”. Elfman got the tone absolutely right. The music fits the movie like a glove. Sure, I’ll submit that the songs weren’t as cool as those in Nightmare Before Christmas, but the structure and the nostalgic timbre of the score it’s self (which harkened back his work in the early nineties) overshadows that ten-fold.
I found it great to hear him lose the synthy electronic sounds of his recent efforts and return to a fully orchestral treatment again with a CLEAR, recognizeable theme (like Batman, Beetlejuice, Black Beauty, you name it…).
I remember some college professor wrote a scathing review of Elfman’s musical “ignorance” in a keyboard magazine some time ago, way back. It was fun to see Elfman write a followup, basically telling the guy that he was wrong and to go screw himself.
In truth, I think all this anger comes from a certain amount of jealousy in the academic world. Talent makes the composer, not book smarts.
Monsters R Us Said
Actually I’ve heard videogames use major layering when they wanna expand a score – they just strip down the main music to where it’s only the beat in some parts, or just the flutes in other parts, but the rhythm is the same, and it’s still the same song…I don’t know if it’s considered great to layer stuff, so as long as you dont make the music one gigantic layer…Kinda like what MIB 2 was…I like his more mature works, myself…this music just comes off as “kiddie” to me…much like Charlie
Well, maybe that’s because, like Charlie, it’s a kid’s movie…*crickets chirping*
Well, I would if Danny would still be frontman. That’s just me though.
You might want to wait until February, if you’ll be flying anywhere…
http://www.stipkocontent.com/contentengine/publish/buzzine/news/article_886.shtmlA cluster is sort of a dissonant, avant-garde “mega chord”. In other words, just throw your hands down in that particular area of the piano and you’ll get the effect. You’re not going for perfection. That’s the part of the solo when Victor screws up.
The theme for the movie (which can be heard in the piano solo) is one of the best Elfman’s ever done. I’m sorry, recent works aside, I don’t think he’s written a theme so catchy and evocative since Black Beauty.
Also, I love it when he pounds the theme into our heads, using it so much. That’s what makes stuff catchy. Some critics originally criticized John Williams for using the Imperial March so many times in The Empire Strikes Back but look at how ‘that one’ has stood the test of time.
Yeah, you have to aquire the licence first I believe. Go on the VH1 site and play the files from there first. Then try those links.
Here’s the bonus tracks…
VH1 has the track titles screwed up but here they are, in full. Paste the links into your Media Player.
mms://a1979.v0534a.c534.g.vm.akamaistream.net/7/1979/534/v001/vhonecomstor.download.akamai.com/8603/_!/vh1.com/audio/v/various_artists/tim_burton_corpse_bride/84fq96lrel/cb_track_20_64k.wma?auth=caCcndPcBczaDdsdKdQbDcIbtadaIdEbpau-bdkUQS-dHa-yFFyuE&aifp=ver_03I’ll probably submit a question about his style shift over the 1990’s. Either that or one about whether he’ll ever release MFADT III with that damn Nissan ad.
Ah yes, MSN “chat”…
As I recall you don’t really “chat” at all. The moderator takes one of your questions (if your lucky) and passes it on, so make sure you ask a good one. I was on the Anthony Hopkins chat when Red Dragon came out and submitted an ass load of questions but the one I wanted answered most was if he’d score another movie. The one the moderator ended up using was something like “How do you think audiences will respond to Red Dragon”. Christ, I felt like that ‘Inside the Actor’s studio’ guy.
Ofcourse, in truth, that kind of moderation does make sense, considering all the kooks out there.
Speaking of kooks,
I’ll be there.johnmullin Wrote:
> Yeah, I think it’s a combination of that, and that
> the first set of demos were probably used as
> playback for when they were shooting the movie.
> Once the film was all together, Elfman probably
> went back and better molded the underscore to the
> picture. The vocals seem to be the same between
> both versions.
>
> Personally, I like all the songs except for “Tears
> To Shed,” which leaves me a bit cold. I love love
> love the Wedding Song, especially the last 90
> seconds or so.He did the same thing with Nightmare Before Christmas, if you listen to those demos — the ending to “This is Halloween” in particular.
Also, I have a feeling that Elfman’s going to re-work the Bride’s solo in “Tears to Shed” as her theme in the overall score. That’s just my assumption though.
Yeah, I agree. Danny usually does initial mock-up’s himself, as we heard on the regular site. Nothing spectacular. He then has someone, usually Marc Mann, (someone much more experienced in the technical aspect of midi programming) silumate more realistic sounding demos.
SB.com Wrote:
> Dawg Man Wrote:
>
>
> > Now “this” is funny. Oingo Boingo is having
> a
> > reunion concert but (get this) without Danny
> > Elfman. Doesn’t that defeat the purpose?
> Check it
> > out…
> >
> > http://www.stevebartek.com/
>
> Now “this” is even funnier–no one ever said the
> word “reunion,” or “Oingo Boingo reunion” for that
> matter.
>Really? I thought Danny shortened Oingo Boingo to Boingo in the early nineties. So when we se a banner that says “Boingo Lives”… well, nevermind. It’s not important. I’m sure the concert will kick ass.
By the way, I see you changed the logo. Thumbs up.
