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Nominated for a Saturn Award and made the Oscar shortlist for Best Original Score…
Between this and winning the Emmy, there doesn’t seem to be much of an industry backlash to the allegations.
Starts shooting next month.
https://www.moviezine.se/nyheter/bill-skarsgard-dead-mans-wire-lords-of-war-superman-rumor
This is an excellent release. Though you can still hear the temp track bleed through, Elfman’s original music is such a mature extension of his score for the first. Excellent storytelling going on here. Such a shame so much of it wasn’t used (Aunt May’s speech being set to the love theme, to this day, drives me insane).
No other composer got Spider-Man like Elfman did. He really did nail it.
Awesome! Is there anything that’s like coming down the pike that you’re really excited about?
Caleb Landry Jones: I’m excited for this Dracula film that’ll come out soon. Danny Elfman, who I love, he’s making the music for the film. [Caleb gestures again at the Burton Batman poster, which Elfman soundtracked.] Very excited, yeah. It was a real honor to get to meet him. He came to the studio for a few days, just to get a feeling of the movie and what Luc [Besson] was doing.
“At Times It Seems You’ve Been Known to Tell”: An Interview With Caleb Landry Jones
Briefly met Elfman at a signing on Thursday. I asked him if there were any plans to record this, and he said it’ll be recorded ‘next fall’.
The writers seemingly confirm Elfman’s involvement.
https://x.com/shannonandswift/status/1851505152743633380?t=-pYEvdq1Kd0B3WFsng7dpA&s=19
Everything about this movie and its music is odd.
There does seem to be a bit more quirk in the samples than made it through the dub.
“Elfman is currently scoring the film Dracula: A Love Tale for the director Luc Besson.”
I can’t tell if Wednesday is the most or least likely project for him to be attached to. He won an Emmy and people probably expect him to be involved, but it’s also the most likely one to attract noise regarding the allegations. One of the season 1 actors was accused of stuff and got the boot. Bacon scoring all of Season 2 would also be a pretty seamless transition. I dunno.
Raimi is probably my favourite director, so I’d be most excited about Send Help.
Rachel McAdams to star.
Oh I am so here for this movie.
Maybe, but if they weren’t planning to release anything additional, wouldn’t they have put the hyperlinks to the soundtrack album and been done with it? I think we’re getting more – even if it’s just uploaded to the website a la Woman in the Window.
There is cover art for a score album on Elfman’s website.
Burton is directing 2×07 and 2×08. That’s four episodes for Season 2.
Elfman’s music is all over this new little tease.
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.
