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I like to think I can tell the difference between Elfman and Bacon nowadays (maybe I’m full of it), and I only really heard Elfman here. The orchestral version of MacArthur Park at the end jumped at me as being a Bacon cue.
Bacon’s also only credited with additional arrangements, not music, which tends to be the case when his role is smaller – Dumbo, Grinch…
It’s missing the overlay of Donna Summer’s cover of MacArthur Park. It plays over the score like how Day-O does in the original.
Hearing the main title was such a blast in the cinema. Everyone was bobbing along.
There’s a fun cue during which Beetlejuice sucks everyone into their phones. Felt like Elfman was allowed to play for just a few seconds.
I love Dumbo, too. Really underrated score with a gorgeous main theme.
I said on another forum that it’s so weird having a blah score to a good Burton movie when normally Elfman’s the one overcompensating. I think this is the first time the score doesn’t (isn’t allowed to) live up to the movie.
I saw it again, and there probably are 45 starts in there. They’re all just so non-descript you wouldn’t notice.
Major bummer, but this is at least a Burton movie that’s good and successful. I guess we can’t have everything.
I wonder if they’re on good terms after this.
Astrid exploring the town and the dream sequence near the end were ripe opportunities to really establish a theme for her.
I really think this was all Burton. A mix of temp track love and wanting to make the movie as 70s in vibe as he could.
Just remembered the Gramophone interview in which Elfman mentioned recording 45 cues for Beetlejuice 2.
I may well be wrong, but I don’t think there’s anywhere near that in the movie.
I’m seeing it again tomorrow.
I’m conflicted.
I can’t imagine there’s anything more to say with this story, nor can I imagine it doing well or being well-received. Also, working with a director with a lot of allegations when you have allegations is a bad look regardless of whether either person is guilty or not.
On the other hand, for a composer, this must be as enticing as it gets. I also loved Desplat’s score for Valerian (another genre entirely, but hearing Desplat being allowed to be 100% Desplat on a big movie was a treat). I love Sleepy Hollow and Wolfman, and it’s been ages since Elfman scored a horror movie.
To be fair, he didn’t promote his Percussion Concerto/Wunderkammer release bar reposting Sony Classical once.
I’d be surprised if Burton wasn’t temp-track obsessed with this one.
The best and most impactful cue is by another composer!
There was a cool cue for an awesome flashback sequence at least…
I enjoyed the movie, but I don’t know if I’ve ever been more disappointed by a score in a movie. Elfman is given almost nothing to do. It reminded me of Big Eyes, to be honest.
Only a handful of cues made an impression, and most of those felt like riffs on cues from the original. All the quirk and colours were gone.
My gut says that The Actor didn’t work out though there has been radio silence on that movie.
Elfman was spotted at a place where they film stop-motion projects. I would presume this is for Rhona.
Burton has shot 2×01, 2×04, and he’ll be shooting 2×08 this month. Minimum of three episodes for this season.
It’ll drop unceremoniously at 12am on Friday like most score releases these days I’d wager.
Burton got his star on the Hollywood Walk of Fame today. Seemed weird (though understandable) that Elfman wasn’t there.
Main title is on the website.
Elfman plans to release a new rock album late this year or early next. He also ‘will be doing shows In October in Los Angeles to support the new film Beetlejuice that will be released in September of 2024’.
Not sure what the latter means. Beetlejuice live-to-film?
