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Hopefully not another digital-only release…February 18, 2019 at 1:56 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98798
I love this score!
Hasn’t Rick Baker retired?
The first trailer used a bit of Elfman’s theme. His next (announced) movie isn’t due out until 2020 as Dumbo was recorded in October. I think it’s possible that he’s back.January 2, 2019 at 1:45 pm in reply to: Who did what? A comprehensive (?) list of contributers. #98776
The first one is largely a solo effort from Elfman (and it shows IMO).
Elfman seemed to write 20-odd minutes of score for Darker, mostly choosing the bigger character scenes.
God knows what happened on Freed. It’s the first orchestral ‘Elfman’ score not to have Bartek as an orchestrator…ever? Philip Klein, who orchestrated the score, had never worked with Elfman before. Buckley was at the recording sessions and did orchestral arrangements for a fair few of the songs, including integrating Elfman’s theme into the new version of ‘Love Me Like You Do’.
Apparently getting a producer credit and a ‘Thanks’ in the booklet is RCP-code for ‘Co-composed by’ – but it seems like that’s still selling his role short.December 29, 2018 at 12:54 am in reply to: Who did what? A comprehensive (?) list of contributers. #98773
David Buckley is credited on every Fifty Shades Freed cue bar ‘Seeing Red’ (Trouble in Paradise isn’t listed anywhere, though). Buckley is also a ‘producer’ of the score and Elfman thanks him in the booklet. Add this to the fact that the score sounds so different to the other two…
December 12, 2018 at 9:01 pm in reply to: Tim Burton'S The Nightmare Before Christmas Live – Glasgow & London #98769
- This reply was modified 1 month, 3 weeks ago by ddddeeee.
Heading to the second London date.
Elfman’s 10th film to hit $200M at the domestic box office. Will end up being his fifth biggest movie in the US unadjusted for inflation.
This looks surprisingly good….
Saw the movie. It’s exactly what you’re expecting.
Score is really generously mixed. Some moments which normally would have screamed for crazy mickey-mousing were played less ‘notey’ (no idea how to explain this musically), which I thought was interesting from Elfman. ‘It’s Better This Way’ and ‘Lost, Lonely Boy’ are really lovely in context.
I think I prefer this to Elfman’s other non-Burton animated scores. It has a lot of heart.
This was recorded in LA.
Much prefer the London recordings myself.
It’s a bit distracting to hear that Oz theme (that later was used as a secondary theme for Time in Alice 2) all over this, but it’s Elfman unleashed, so obviously I’m loving it. The opening track is fantastic.
Still a bit bummed by the lack of CD.
Samples are on iTunes. The theme in the first track is a real earworm.
Despicable Me 3 had a song album released by Columbia and then a digital score released by Backlot. I imagine the same is happening here.
The movie was pretty decent – certainly Van Sant’s best in a while.
The ‘Promised Land’ lift is used as a ‘Mother’ theme throughout.
As far as I could tell, ‘The Liquor Store’ and ‘John’s Speech’ went unused. ‘The 12th Step’ is largely an end credit cue.
Song soundtrack with two Elfman cuts to be released on the 9th.
Still nothing on a CD release and the movie is three weeks from release.
I hope this isn’t a ‘Big Eyes’ situation, where the involvement of a popular artist (Tyler, the Creator) means that their team take control of the release and shove out a half-assed digital release.
Elfman’s in London to record.
Yeah. he used Elfman’s main theme.
Elfman collaborated with Tyler, the Creator on a new version of ‘You’re a Mean One, Mr Grinch’.
People really slept on this one. Listening again – brilliant music here. Even though it’s littered with Elfmanisms, it’s got quite a distinctive sound.
I’ve unchecked the ‘Mother’s Name’ cue from iTunes. It really takes me out of the listening experience.
I really like Somers’ cue.