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  • in reply to: How the Grinch Stole Christmas #98938

    ddddeeee
    Participant

    ‘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.

    in reply to: Gary: A Sequel to Titus Andronicus #98935

    ddddeeee
    Participant

    It was recorded, so I imagine this will get a release down the line…

    in reply to: MIB International (summer 2019) #98932

    ddddeeee
    Participant

    in reply to: MIB International (summer 2019) #98931

    ddddeeee
    Participant

    Music department consists of Elfman regulars so far. Fingers crossed.

    in reply to: Elfman on Instagram #98930

    ddddeeee
    Participant

    It’s lot of fun.

    I hope we get pictures/videos from future recording sessions.

    in reply to: Dumbo #98926

    ddddeeee
    Participant
    in reply to: How the Grinch Stole Christmas #98924

    ddddeeee
    Participant

    My CD arrived. Unlike most (all?) of the Backlot releases I own, this one came in a jewel case.

    in reply to: Dumbo #98920

    ddddeeee
    Participant

    *Emily, not Victoria. My bad.

    in reply to: Dumbo #98919

    ddddeeee
    Participant

    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.

    in reply to: Dumbo #98916

    ddddeeee
    Participant

    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.

    in reply to: Dumbo #98913

    ddddeeee
    Participant

    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.

    in reply to: Dumbo #98912

    ddddeeee
    Participant

    Vandevere’s theme – 1:37 in ‘Final Confrontation’. It plays a fair bit throughout the score, but it largely passes by unnoticed.

    in reply to: Dumbo #98899

    ddddeeee
    Participant

    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.

    in reply to: Dumbo #98897

    ddddeeee
    Participant

    This is Elfman’s best score since the first Alice.

    in reply to: Dumbo #98895

    ddddeeee
    Participant

    Has anyone pinpointed Vandevere’s theme?

    in reply to: Dumbo #98893

    ddddeeee
    Participant

    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.

    in reply to: Dumbo #98891

    ddddeeee
    Participant

    ‘Train’s a Coming’ is spectacular.

    in reply to: Dumbo #98890

    ddddeeee
    Participant

    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.

    in reply to: Dumbo #98882

    ddddeeee
    Participant

    Reviews are very mixed.

    Most of Elfman’s ink seems positive, with a lot of references to an opening train cue.


    ddddeeee
    Participant

    ddddeeee
    Participant

    I wonder what (if anything) came from that very odd-sounding orchestral work he said he was working with after Dumbo.


    ddddeeee
    Participant

    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.

    in reply to: How the Grinch Stole Christmas #98871

    ddddeeee
    Participant

    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.


    ddddeeee
    Participant

    My CD arrived today.

    Listened to it three times. Each time I listened to a movement I thought, “No, this one’s my favourite.”

    in reply to: How the Grinch Stole Christmas #98863

    ddddeeee
    Participant
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