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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 collaborated with Tyler, the Creator on a new version of ‘You’re a Mean One, Mr Grinch’.
Illumination’s ‘The Grinch’ to Feature Original Song by Tyler, the Creator
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.
Yes, I’m still on this.
A picture from the Fifty Shades Darker session. Elfman is clearly credited with the string and piano parts, but the BMI credit Buckley too, so I guess Buckley did some of the electronic stuff on some cues while Elfman did the rest…
Danny said this is about to record, but he was recording in March and April – the latter with 9 lead singers…
Pretty sure we’re getting a song or two.
Fun, quirky score. Some of the more dramatic moments recall ‘End of the Tour’ a bit, but the jazzier/cartoon (I’m assuming) elements seem quite unique to this one.
I do get the feeling that the Justice League call came while Danny was scoring this – that would explain the Promised Land and SOP lifts (and the Somers cue).
Two interviews here:
http://www.collider.com/danny-elfman-interview-dont-worry-he-wont-get-far-on-foot/
Columbia tweeted (it has since been deleted) that this is recording in Glasgow this week, and Sony Classical will be releasing it at some point.
It’s probably worth countering this with the fact that Wanted, Oz, Fifty Shades of Grey, Alice 2 and Justice League all had multiple additional composers listed, but those scores are almost all Elfman. But there seems to be a difference to having some guys come to help meet a deadline by scoring some nondescript scenes (the aforementioned scores) and literally farming out major cues (Big Eyes, Goosebumps, Fifty Shades Darker…I’m assuming Fifty Shades Freed too).
For any other composer I probably wouldn’t care. But Danny’s my favourite – I’d rather not get excited over the prospect of hearing some guys being paid to sound like Danny Elfman when the real guy is still there and prolific.
Alex Somers wrote a track for ‘Don’t Worry’ and Melisa McGregor did some arranging too. That’s admittedly a far cry from Darker, which should probably give Buckley a co-composer credit – it’s no different than what Zimmer does. But, like you said, it’s disappointing from the guy who always says he likes to work alone and had 10 years where nobody thought he wrote his own music. Now he’s often not writing the music and everyone thinks he is!
I’d say that I’d rather he scored smaller budget movies, but then Big Eyes had like 4 additional composers so…
I know that it’s rough on composers these days with editing taking place at the last minute, but how come Desplat/Giacchino can stay so prolific and not require additional composers while Elfman needs someone to write half of the score to a sequel where (musically speaking) everything was already established?
Silvestri is older than Elfman and had two crazy big scores back-to-back this year and had no help, but Elfman needed help with a micro-budget, Van Sant indie movie?
Had Buckley simply been doing some arranging he would have got a specific percentage credit (like Lurie is credited with 12% of ‘The Dungeon’ from Alice), but he gets the standard 50% (Elfman getting the other 50% because his themes are being used) which means that Buckley wrote the cue. This isn’t ‘additional music’ at all. The same thing happened with Chris Bacon on Goosebumps.
