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I like the odd Giacchino score, but his action music is really aimless and light for me. I’m not at all excited by this.
Boys had fun recording for Danny Elfman this afternoon. pic.twitter.com/l7avFVwztW
— Vaughan Music (@CVMSMusic) October 19, 2019
This makes me happy.
Interesting. I hope it’s all worked out and the messy production (new writer brought in for reshoots which were filmed by a new director) hasn’t affected the music. It’s apparently out in three months but we don’t even have a picture.
No music team on IMDB, Elfman is in California the night before recording was supposed to begin, and he has mentioned that he’s currently writing the commission for the National Youth Symphony in recent interviews…
I smell another delay.
Of all the complete Elfman scores we have, this one holds up as a listening experience the most. I thought the album presentation was perfect as it is, but I was wrong.
GREAT release.
He is (was?) friends with Paul Haggis after his super controversial split from Scientology, so I can’t imagine that he is.
Pre-concert talk with Elfman and Glass.
http://philipglasscenter.org/2019-festival/percussion-performs-elfman-glass-world-premiere/
If Dolittle really starts recording on the 11th, that’s going to be some bad jetlag.
The Bartek interview was back when Elfman was able to write all of the music himself (bar exceptions like Nightbreed and Darkman, which openly name the tracks composed by Sheffer/Walker). Like most composers, Elfman gets help in for most gigs these days. He mentioned in an interview for The End of the Tour that one of the reasons he was so excited to score it was because he could do it all himself, but we’ve no real idea of how his system works.
Can’t help but wonder if this is one of the reasons why he’s drawn more to the classical world these days.
DC: Your brother, Danny Elfman, scored Hipsters, Gangsters, Aliens and Geeks, correct?
RE: Yeah—and on a modestly budgeted film it really helps when your little brother is Danny Elfman. Hipsters is a ninety-minute film with a mammoth seventy-five-minute soundtrack. And Danny laughed and howled at his nephews’ comedy every damned minute. Also, my buddy Ego Plum (Guerrero) did the music with Danny. He and Danny work with the same people, like arranger (Oingo Boingo lead guitar) Steve Bartek. Ego is Hollywood’s TV cartoon genius, presently scoring and music editing all the SpongeBobs plus other top shows. We have a band together—Mambo Demonico; it’s on the soundtrack. In a few weeks we’ll go to Belgium to mix in state-of-the-art Auro 3D surround. Although I prefer seeing Hipsters in a theater, our game boys and girls will get mind-blowing 9.1 surround in their headphones.
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.
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.
No problem.
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.
Dumbo
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.
