Forum Replies Created
- August 16, 2019 at 8:17 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #99004
You can just feel the condescension…. I wish I could’ve seen the interviewer’s face when he said ‘commission slut’ haha.
Thanks for the update.
I generally love the London recordings (Alice Through the Looking Glass, in particular, sounds fantastic), but there have been a few scores lately were some recordings have been off. Most of Justice League sounds great, but some sounds muffled ( ‘The World Needs Superman’, for example). Newton Howard’s Crimes of Grindelwald was recorded there and had similar issues. There are a few moments in Dumbo that sound a bit muffled too.
- This reply was modified 3 days, 2 hours ago by ddddeeee.
It’s mentioned on his website and his agency site. I’d guess he’s working on it now.
He has the cello concerto, National Youth Orchestra commission and the percussion concerto (though this one premieres in early 2021) to work on next year, so I wonder if this is going to be his last movie for a while.
Finished.View this post on Instagram
BIG NEWS I just added a page to my website for upcoming new concert commissions. I can’t even describe how much I’m excited about beginning these new challenges. . First off, I just finished a 4-movement, all percussion composition that was commissioned by the Third Coast Percussion Quartet. It premieres on October 10th at a great music festival in Big Sur called the “Days and Nights Festival” that composer Philip Glass hosts each year. My new, yet-to-be-named, composition will play alongside a recent composition called “Perpetulum” that Mr. Glass wrote for Third Coast Percussion as well—his first piece for percussion ensemble. If any of you have heard me talk about my feelings about 20th century composition, you’ll know that Philip Glass had a very big influence on me and is a composer I have incredibly high regard for. I’m absolutely thrilled to be in such great company. For more info go to the website link in my bio > CONCERT WORK > NEW COMMISSIONS . In the next year I begin 3 new commissions that I’ll describe in more detail. I have no doubt these will be amongst, if not THE, greatest challenges of my life. That is, if they don’t kill me first. . #thirdcoastpercussion #philipglass #daysandnightsfeltival #dannyelfmancommissions
A post shared by Danny Elfman (@dannyelfman) onJuly 16, 2019 at 8:05 pm in reply to: Who did what? A comprehensive (?) list of contributers. #98989
Bacon and Lindgren are just credited with arrangements, so based on other credits for other scores, Elfman is probably responsible for 85-90% of those three cues. It’s impossible to tell because Bacon is also with BMI. But, for example, Deborah Lurie is credited for ‘additional arrangements’ for Alice, and she is credited for 13% of a track. I might be wrong, but I assume in these cases that Elfman writes a cue, the edit changes, and the other guys rejig the cue so it fits the new edit.
Elfman’s not shy about giving either of these guys ‘additional music’ credit, so their roles must have been relatively minor.
Nominated for a Saturn Award.July 7, 2019 at 10:44 am in reply to: Who did what? A comprehensive (?) list of contributers. #98986
Chris Bacon did some arranging on ‘Breakout’ and ‘Soaring Suite’, and Lindgren did some arranging on the ‘Rescuing the Farriers’ cue. The rest is all Elfman.
This is a brilliant score.
It’s rare that I’d say this for an Elfman score, but I think it’s too long. A 40-minute programme would work a lot better I think.
Thought this was fine, to be honest. Had a good time.
Loved all the stereo movements during the ‘Logos’ cue, which becomes a little main title. M’s theme is that melody that plays throughout ‘Seeing is Believing’. There were also small motives for the twins and Rebecca Ferguson’s character, as well as a little choral thing for the ‘Blue Giant’. Score had a good mix to my ears and the end credits cue plays immediately, which was nice.
The use of K’s theme was pretty incongruous though. Didn’t work for me at all.
I’d rank the films and scores the same way: MIB > MIB3 > MIB:I > MIBII.
Getting ripped to shreds by critics; the score seems to be getting good notices, though.
Would be nice to see Elfman attached to a real crowd-pleaser again….
I was just thinking around a week ago how Elfman’s to-go-to theme (Penguin, Dolores Claiborne, The Next Three Days, Frankenweenie and it pops up as a non-theme in countless other scores) had been missing for a while, but here it is again: it’s what I’m guessing is M’s theme, which is introduced in ‘Seeing is Believing’.
Score is out there. Lots of new sounds and quirks around the main theme – the way it’s used reminded me of how Elfman/Buckley played with the main theme in Fifty Shades Freed (Makeover and Blueprints). Probably closest to MIB2 out of all the scores, but it doesn’t feel quite as repetitive to me. Return of K’s theme is jarring (Elfman doesn’t play with it like he did in the other sequel scores either). My ears picked up two new themes, but I’ve no idea what/who they’re for.
MIB3 is my overall favourite score of the trilogy. The action music is a lot stronger than in the other two IMO.
This does sound fun though. I’ll be darned if ‘Red Button’ isn’t an Elfman cue – Christian Grey’s theme strikes again (as it did in Real Steel, Oz, Avengers, Justice League…). If any of that is Bacon (and a lot of it almost certainly is), it’s Bacon imitating Elfman; there are Elfmanisms galore in most samples.
K’s theme popping up in that one cue is interesting.
- This reply was modified 2 months, 2 weeks ago by ddddeeee.
Elfman will have a credit on any cue which uses his theme(s), so we’re unlikely to know who wrote what unless one of them mentions it in an interview.
1. Logos (1:28)
2. L Train (2:49)
3. Seeing Is Believing (4:45)
4. Job Interview (0:55)
5. I Found You (1:59)
6. Viper Room (1:56)
7. Twins (1:09)
8. Who’s That Guy? (1:23)
9. VR Room (1:37)
10. Too Much (1:31)
11. Vungus Aftermath (1:50)
12. Here Comes Trouble (1:45)
13. Riding a Bike (2:57)
14. Blue Giant (2:04)
15. Pink Trousers (3:58)
16. Flying Fists (3:36)
17. Kabla (2:26)
18. Demise (1:31)
19. Where’s The Weapon? (2:32)
20. Ah, Paris (1:29)
21. The Truth (2:36)
22. Portal (2:09)
23. Like a Son (0:59)
24. Promotions (2:56)
25. Red Button (1:12)
26. End Credits (1:04)
Dumbo and the violin concerto prove that he’s still at the top of his game. Here’s to many more.
CD on the 14th.
Yeah, it’s the monster he was referring to. GDT has only every been complimentary about Elfman and has tweeted about him a few times.
The score for Hellboy II is brilliant btw. Not mixed well in the movie, though.May 8, 2019 at 1:15 pm in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98939
Just booked tickets for the ‘Elfman Gala’ in Glasgow. It’s the UK premiere of the violin concerto.
‘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…