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‘A Wonderful Awful Idea’ is just a mash-up of two of the tracks from the score. If you have the score, you have no need for that track.
It was recorded, so I imagine this will get a release down the line…
Music department consists of Elfman regulars so far. Fingers crossed.
It’s lot of fun.
I hope we get pictures/videos from future recording sessions.
My CD arrived. Unlike most (all?) of the Backlot releases I own, this one came in a jewel case.
*Emily, not Victoria. My bad.
The family in Beetlejuice are the heart of that movie, though. It’s their story – despite the title of the movie. Charlie’s home life is ‘normal’ and what have you in CatCF, but, again, that’s what the movie is about – the good child is the one who pulls through (it helped that, unlike with Dumbo, Highmore was/is a talented actor).
The Corpse Bride comparison works – but I’d hold that against that movie too. When Corpse Bride is about Victoria, it really works. But that’s only when it really works.
You’re right that Burton’s leads have often been ‘normal’ in contrast to the wacky goings on. But Keaton’s Bruce Wayne was always interesting and had wonderful interactions with the other characters. Highmore’s Charlie was sweet and earnest and a much-needed contrast to the other kids. Alice’s story is the part of AiW that works best.
Victor in Frankenweenie, Jake in Miss Peregrine and Millie in Dumbo? Just dull characters I don’t want to spend time with – not least when there’s an adorable elephant that I’m 100% invested in.
The Dumbo stuff is great (bar the Baby Mine scene which took place too soon/would’ve been more effective without the song). It’s the human stuff that bogs it down. Thandie Newton’s daughter is a robot and, as much as I love him, Keaton’s performance is so off. I loved Eva Green’s character though; she does so much with so little.
I did like it more the second time, but this really could’ve been something special if they’d just kept the focus on the elephants.
I saw the movie again. A few observations…
1. The ‘Fly, Little One’ cue is absent because the beginning of ‘Nightmare Island’ is Elfman’s original take on it. Elfman mentioned that, during the recording sessions, Burton wanted more of the ‘soaring’ Dumbo theme – hence the film version. I’m 99% sure of this.
2. There’s a ‘Colette flying Dumbo’ theme. It takes up a lot of ‘Breakout’, and this kind of explains the lack of Dumbo’s theme during a lot of the later flying scenes.
3. There’s a lovely cue that plays as Mrs Jumbo looks out to the sky before giving birth.
4. This score is just brilliant.
Vandevere’s theme – 1:37 in ‘Final Confrontation’. It plays a fair bit throughout the score, but it largely passes by unnoticed.
I love how Dumbo’s theme is played in woodwinds each time he’s in danger, giving it a slight Indian vibe – this predicts the (wonderful, new) ending, and it also subtly reminds us that Dumbo really doesn’t belong here. Brilliant.
And that Soaring Suite…an all-time Elfman cue. His best mix of beauty/sadness since the Scissorhands/Black Beauty heydays.
The integrations of the old Casey Jr and Pink Elephants themes are fantastically handled. They’re there, you notice them, but they’re built into Elfman’s own cues seamlessly – this is what I was expecting with Justice League.
I am just smitten.
This is Elfman’s best score since the first Alice.
Has anyone pinpointed Vandevere’s theme?
This movie is a complete mess. The Dumbo stuff is wonderful, but the movie doesn’t seem interested in him. It’d rather focus on (a charming)Colin Farrell’s robotic children. It’s padded to the extreme with side-plots which feel like they should link to Dumbo’s story but don’t.
The first time Dumbo flies has more soaring music that is missing from the album. There was also another lovely version of Colette’s gorgeous theme that I would’ve liked, too. Dumbo’s theme is so beautiful that I wish there were more of it, but considering he’s side-lined in the movie that’s hardly Elfman’s fault.
‘Train’s a Coming’ is spectacular.
I figured after all the ‘soaring’ talk that there’d be a lot more of it. I agree that the ‘Fly, Little One’ cue is definitely missed.
There’s a great album here, but the album needs some rearranging.
Reviews are very mixed.
Most of Elfman’s ink seems positive, with a lot of references to an opening train cue.March 25, 2019 at 9:32 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98877March 25, 2019 at 8:38 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98876
I wonder what (if anything) came from that very odd-sounding orchestral work he said he was working with after Dumbo.March 24, 2019 at 9:17 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98872
Good thing Dumbo is only a few days away because I’ve done nothing but listen to this for the last few days, and I’ll probably overplay it soon.
I wasn’t sure about the ‘One concert work per year’ thing as it seemed like ruling oneself out of work for 1/4 of the year was a very bad career movie, but now I’m all for it.
I appreciate that they wanted to maximise sales of the song compilation, but if this were for any composer other than Elfman, I’d be pretty miffed at having to buy the score twice.March 22, 2019 at 8:20 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98867
My CD arrived today.
Listened to it three times. Each time I listened to a movement I thought, “No, this one’s my favourite.”