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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.
I just checked ASCAP and it turns out that Buckley actually wrote ‘Vandalize’, ‘Danger Girl’, ‘Survive’ and ‘Announcement’ too, along with a litter of cues that never made the album.
So Elfman wrote less than half of the score it seems… really disappointing. At least we know why the first score is so much better than the next two I guess.
Sounds like score
You'll get to know him soon. Joaquin Phoenix is John Callahan in #DontWorryMovie. pic.twitter.com/6GePch1zoj
— Don't Worry, He Won't Get Far On Foot (@dontworrymovie) May 29, 2018
John just wants to show you his cartoons. #DontWorryMovie pic.twitter.com/0T2oKg1zcc
— Don't Worry, He Won't Get Far On Foot (@dontworrymovie) May 9, 2018
The first 48 seconds play in the film; the rest is ‘I Got a Ride’ from Silvestri’s first score tracked in.
The rest of the cue plays during the end credits at some point, which I guess was some sort of apology. Mixing on this one was beyond dire too.
I listened to Darker again in light of this and have a few thoughts.
Buckley is credited with ‘Texting’ which is pretty much an arrangement of the beginning of ‘Danger Girl’ which Elfman wrote.
‘Bathroom Encounter’ accounts for two cues in the film – one is a brief, electronic cue with has that dissonant Jack sound, and the rest is for the scene with Basinger. As Buckley is credited with ‘Jack Attack’ (which makes prominent use of that sound) I’m inclined to think the rest of the cue is by Elfman.
Fifty Shades Darker
1. Nightmare – Elfman
2. Christian – Elfman
3. On His Knees – Elfman
4. Panties – Elfman/Buckley
5. Bathroom Encounter – Elfman/Buckley
6. No Strings Attached – Elfman
7. Dossiers – Elfman
8. 1st Sex – Elfman
9. Vandalize – Elfman
10. The L Word – Elfman/Buckley
11. Texting – Elfman/Buckley
12. Red Room – Elfman
13. A Key – Elfman
14. Jack Attack – Elfman/Buckley
15. Danger Girl – Elfman
16. Chopper Crash – Elfman
17. Survive – Elfman/Buckley
18. Yes! – Elfman
19. Announcement – Elfman
20. Martini Face – Elfman/Buckley
21. Making it Real – ElfmanLooks like this recorded two weeks ago with an earlier session in March.
Nice write-up. Again, the score is described as ‘jazzy’.
Another user and I collected them here, if you’re interested.
Some footage premiered during CinemaCon and the response was…unanimously positive surprisingly. Hoping for the best.
FIRST LOOK at Dumbo! #Disney #CinemaCon pic.twitter.com/x4QKsgWz3z
— Caleb Williams (@KnightGambit) April 24, 2018
1. Don’t Worry, He Won’t Get Far on Foot (Main Title)
2. 1st Drink
3. Phone Call
4. Car Crash
5. Stuck in the Tracks
6. Out of Reach
7. The Kids, Pt. 1
8. Mother’s Name
9. The Liquor Store
10. Annu
11. The Hospital Bed – Alex Somers
12. Steps
13. Drawing Montage
14. Gymnasts
15. Showing Off
16. Donnie is Sick
17. John’s Speech
18. Weepy Donuts
19. The Kids, Pt. 2
20. Good News
21. 12th Step
22. Texas When You Go – John Callahan
23. Auntie Tia – Danny and the Hillbilly BoyzThe Justice League Theme – Logos – Elfman
Hero’s Theme – Elfman
Enter Cyborg – Elfman
Wonder Woman Rescue – Elfman
Hippolyta’s Arrow – 75% Elfman/25% Toprak
Story of Steppenwolf – Elfman
The Amazon Mother Box – Zanelli is credited with 17% of ‘Chasing The Box’, which is a part of this cue.
Cyborg Meets Diana – Elfman
Aquaman in Atlantis – Elfman
Then There Were Three – Elfman
The Tunnel Fight – Lindgren helped with ‘Part 4’ of this cue.
The World Needs Superman – Elfman
Spark of The Flash – Elfman
Friends and Foes – Elfman
Justice League United – Elfman
Home – Elfman
Bruce and Diana – Elfman
The Final Battle – Lindgren helped with ‘Part 2’ of this cue.
A New Hope – Elfman
Anti-Hero’s Theme – 75% Elfman/25% Zanelli.Outside the album:
Zanelli is credited with 25% of ‘Bruce Meets Arthur’ – a pretty short and nondescript cue.
Toprak is credited with 25% of ‘Paradise Island’ – I’d assume this is the opening of ‘Amazon Mother Box’?
Toprak is credited with 25% of ‘Geyser’ – I’ve no idea about this one.Toprak is credited for 25% of Hippolyta’s Arrow on BMI.
Lindgren helped with ‘Part 4’ of The Tunnel Fight.
