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Apparently this just had a disastrous screening and is about to be completely rethought.
Some guy on YouTube (I know….) had a video up with footage from the movie and he was saying how a screening just went terribly and they’re going to try and fix it, but that a delay is likely.
The plot description he gave matches what Elfman said about it (dinosaurs!). It might also explain why he’s seemingly moved on to Doctor Strange 2.
Hopefully it’s not true….
Elfman’s curse continues?
Elfman says he’s half way through scoring this (and 65).
Sounds like he’s working on both simultaneously.
What a treasure trove this release is!
I’ve definitely overplayed this score (this was probably my favourite score for a good few years), and now I feel like I’m rediscovering it.
On top of the avalanche of extra material (much of which is legitimately great – I normally listen to that stuff once or twice and then forget about it), the sound quality is so much better than the previous release, which could sometimes be a bit overbearing. Like with Planet of the Apes, the quieter cues really improve the listening experience.
I like the score in the movie a lot – especially the lovely cue at the end.
It’s not as good as Girl on the Train, no, but that’s top tier Elfman for me.
Shooting from Oct to Feb.
Seems like it could fit nicely in Elfman’s schedule (I’m assuming this will be a Halloween release), but I imagine the best we’d get is some themes from Elfman, or maybe him scoring the first episode at a push.
I’d really like to be able to listen to this score without having to watch the movie….
Elfman’s posts on social media about working with Raimi again are really popular
People just LOVE their Spider-Man films/scores now, and it makes me so happy
In a Variety interview published on June 11th, Elfman said that he was working on 65 ‘right now’
Maybe he’s still working on it, but had to have the scoring session with Raimi last week because of his schedule (reshoots are apparently happening soon)
I like it! I think True is my favourite song on the album
I like all the songs, but I find myself very satisfied listening to the first eight – I tend to listen to those together and then come back to the others whenever I get the urge
Elfman just replied to someone on Twitter, saying that he spotted the movie with Raimi last week
Thought 65 was going to be written first as he mentioned his next score being half electronic and half orchestral – I hope he’s still scoring that movie
I’m broke, so I’m having to wait until next payday to order, but I’m pleased to hear that Elfman was involved with this release (he produced it and contributed to the liner notes)
Would’ve loved for him to have contributed to the Mission: Impossible, Dolores Claiborne and Darkman releases (what a set of scores all within a few months), but he’s a busy man
I’m assuming that all the ‘original’ cues are for an earlier cut of the movie
Could we actually get the actual film version of the main titles? Do I dare to dream?
My first thought was Spider-Man
Coming in a few weeks!
Is it too much to hope for Woman in the Window?
This is so weird
I love ‘In Time’
Danny’s been praising this in press for Big Mess, calling it ‘great’ and ‘wonderful’
He’s really not one to hype up the movies he’s working on, so I’m choosing to be really encouraged
Two good movies in 2022! Willing this into existence
There are times when this seems like it’s going to go in a new direction and then Danny just redirects the conversation to one of his default answers
I miss the ‘On the Score’ interviews
Some clips from interviews from Wright and Elfman.
Was #TheWomaninTheWindow score raising your blood pressure while you watched? The film’s iconic composer Danny Elfman and director Joe Wright break down how the score was crafted and how it complemented the film. https://t.co/5XOfonXvgG
May 13th, 2022.
I thought it was an absolute mess, but I had a decent enough time with it. I like bad thrillers. Loved Delbonnel’s cinematography.
Do Netflix normally wait before releasing a score? Could this be a sign that some other label has snagged it?
I really liked some of the weird vocal stuff. In fact, I was pleasantly surprised by how weird a lot of the score is. Some really odd sounds mixed with a more traditional Herrmann-esque score. I thought it was quite distinct. Picked up on a main theme and a ‘watching people’ motif.
The music is really incessant in the movie. I imagine Elfman was tasked to add tension where there really wasn’t any.
Additional music by David Buckley.
This is Elfman at his most Hermann mixed with Girl on the Train.
I wasn’t convinced at first, but I’m really starting to dig it. Kind of jarring to hear such old fashioned scoring mixed with modern sounds.
The mix in the film is terrific.