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https://www.dekmag.com/lounge/2025/29/09/dannyelfman
Elfman acknowledges his good fortune in having long-term working relationships with such inventive directors as Tim Burton, Gus Van Sant and Sam Raimi. “It was a fun year working with all three of them back-to-back,” he notes, having scored Burton’s Beetlejuice Beetlejuice and Van Sant’s Dead Man’s Wire either side of his work on Besson’s Dracula; now he is about to start recording the soundtrack for his latest collaboration with Raimi, Send Help, which will be released early next year. He describes the plot as “whacked. I don’t know what to say about it! It’s about this power dynamic on a desert island, shifting between these two people, and it gets more and more crazy until – I don’t want to give away too much – things get pretty out of control.”
Both Dracula: A Love Tale and Send Help have given Elfman the chance to work on a genre for which he feels a particular affinity – “It’s a little frustrating for me that, even though I was a horror kid and grew up on horror and it’s defined my entire life, I’ve done so few horror films” – whereas many of his previous collaborations with Raimi have been on superhero films such as Spider-Man and Doctor Strange in the Multiverse of Madness. “I love working with Sam,” Elfman says. “He’s the funniest, nicest guy on the planet. So when we do a session, it would probably take me an hour to an hour and a half to present all the music I’m going to have, but we’ll probably sit there for three because Sam is going to be telling jokes and entertaining – he’s one of the most fun people ever to work with.”
https://www.youtube.com/watch?v=U-5VR6-d0ho
He says near the start of this that he’s been recording it remotely in Sydney.
Elfman said he’s ‘in the middle’ of scoring this last night in this interview.
I think I can confidently say now that this is my favourite Elfman score in quite some time. I was underwhelmed when I heard it at first. I thought the music box thing was tired (it’s a part of the movie, so that’s not really on Elfman) and I thought the Kilar influences were too on-the-nose for a Dracula movie (at least Wolfman is one step removed).
But I’m really smitten with it now. The dark stuff is more interesting and more listenable than in Elfman’s other horror scores. The interplay between all the themes, as is usually the case with Elfman, is a joy. The Dracula theme emerging from the love theme helps keep the narrative tight, but the different guises of the love theme make sure it stays fresh. I want to see the movie if only to see if there’s a narrative choice for why each version plays where it does.
More than anything, I enjoy how paired down it is – I find myself really moved when the piano solos hit in the last two tracks.
I can feel that Elfman was really inspired here.
Reviews are very solid. Not glowing but consistently full of praise.
Most reviews mention that there’s a lot of needle drops. Every other review or so mentions Elfman. The score has been described as ‘jaunty,’ ‘jazzy,’ ‘period’ and many mention that it helps keep the tension going. Sounds like it’s an eclectic score, as is often the case when it comes to Van Sant’s films.
The big climatic moment of the season is scored with…Elfman’s prologue from Dark Shadows. It superficially catches the action on screen, but Bacon had a well-established theme for the character, so it’s quite jarring musically.
Between this, Carrie’s theme appearing in Beetlejuice Beetlejuice, a fair few tracks from Beetlejuice seemingly tracked (albeit rerecorded) into that sequel, it seems that Burton’s temp-track love is strong right now. I wonder if the editor change is responsible.
Wednesday and Dark Universe were both recorded with the same orchestra, make plenty of use of electronic sounds and have (mostly) the same crews. But those sound crisp and this does not. It’s very weird. It’s a shame because the score is really interesting and lovely.
Chris Bacon worked on this, too. Here are the composer credits.
1. Dark Universe Fanfare – Elfman
2. Monstertreffen – Elfman
3. Open the Doors – Elfman
4. Victoria’s Monster – Elfman
5. Experimental Trials – Elfman
6. Pretorius Scientific Oddities – Elfman
7. Henry’s Legacy – Elfman
8. Frankenstein’s Manor – Elfman/Bacon
9. Monsters Unchained – Elfman
10. The Burning Blade – Elfman/Bacon
11. The Curse of the Werewolf – Elfman/Bacon
12. Enter the Guild of Mystics – Elfman
13. Darkmoor by Night – Elfman
14. Das Stakehaus – Elfman/Bacon
15. Nothing Stays Buried in Darkmoor – Elfman
16. Darkmoor by Day – Elfman/BaconComing next year.
The theme’s definitely still all over the show. The opening title is played during Episodes 1 and 4. Both Elfman’s end credit cues play at the end of all four episodes. I don’t think Elfman’s absence is really felt, to be honest.
The fanbase is also very…’online’, and I think it would’ve made a lot of noise had Elfman been involved – especially after they booted a lead out for sexual assault allegations. At the same time, because Bacon scored half of Season 1 solo, there’s no, ‘Why isn’t Elfman scoring?’ narrative, either. This has been a smooth transition. And if the option were between these new Van Sant/Raimi movies and Wednesday Season 2, I’d much rather have the former.
I watched the first episode and Bacon did a great job. The score had far more to do than in Season 1. Lots of scenes in which the music was front and centre. Elfman’s still all over it (the theme still plays over the opening and end credits, and he’s credited during the main title sequence, too) and Wednesday even plays her theme on cello..
It’s a lovely score but I’m struggling with the recording. Nobody else is complaining about it anywhere, so I’m wondering if I’m going mad. Does it sound really muffled to anyone else? In some of the busier cues I find it hard to separate what’s doing what.
Renewed for Season 3.
Variety lists Elfman and Bacon as composers. I wondered if they just made made the assumption, but the cast list was updated to reflect the new cast members. It’s all weirdly worded. I’m still not convinced Elfman’s involved.
https://variety.com/2025/tv/news/wednesday-renewed-season-3-netflix-1236467786/
North American premiere at the Toronto Film Fest in September.
https://deadline.com/2025/07/tiff-lineup-sydney-sweeny-dwayne-johnson-nuremberg-1236463346/
The fact that it’s not a world premiere suggests it’s going to Venice, too.
Fingers crossed for a Van Sant comeback.
Chris Bacon just said to Dan Schweiger on FilmMusicLive that he’s currently scoring the last episode of the season. Burton directed that episode, but Elfman said at Spooky Empire two weeks ago that he’s working on Raimi’s Send Help and his upcoming trumpet concerto right now.
Just a few weeks until the first four episodes air and nothing.
Either Elfman’s involved and they don’t want to make a big deal about it, or Elfman’s not involved and they don’t want to draw attention to it. I’m leaning towards the latter.
CD and LPs up for pre-order.
First time ordering a new Elfman score on CD since Men in Black: International around six years ago!
Judge approves Elfman’s bid to countersue Abadi for fraud.
Judge Approves Danny Elfman’s Bid to Countersue Pianist for Fraud
French trailer.
Nothing we haven’t seen 1000 times already, but it looks like it could inspire a great score.
Possibly! This is ultimately a Disney movie, so that’s more telling about how the industry is viewing the allegations than a European movie (Dracula) or an indie thriller (Dead Man’s Wire).
I’m curious to see if Burton was able to keep Elfman on Wednesday.
Elfman confirms his involvement here.
https://www.facebook.com/story.php?story_fbid=1042285544670727&id=1100427675235092
