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Daniel Schewiger did a nice write-up of the score here.
Actually it turns out that Buckley is responsible for a few of the orchestral arrangements on a few of the songs.
http://scoringsessions.com/sessions/8459
With Elfman scoring this alongside Justice League and Buckley appearing at the recording sessions, I can’t help but suspect he played quite a big role here.
I’m somewhere in between.
I agree that Darker was possibly too dependent on the themes, but I also feel that Freed maybe needed a bit more of them. The comparative lack of the main theme and Christian’s theme is really quite odd.
The album situation is also odd. The album for Darker contained all of the music you would want for the film, but with Freed you have a few substantial cues missing. I appreciate that the final cue Elfman wrote for the series tied into a song so there were copyright issues…but it really tied the series together and it’s a real shame it’s missing. I’d also have wanted the cue for the sex scene in the car.
Saw the movie. Some notes:
1. Elfman gets a sex scene! The cue isn’t on the score album though.
2. There’s a part near the very end where Elfman’s main theme segways into ‘Love Me Like You Do’. It’s a lovely little cue and rounds the trilogy off in a much more cohesive way than the score album does.
3. I still feel like this score feels quite separate from the first two. Maybe it’s the different orchestra? The lack of Bartek or Simone?I *think* this is right from what I remember.
1. Justice League Logos
2. Batman on the Roof
3. Wonder Woman Rescue
4. Enter Cyborg
5. Amazon Mother Box
6. Hippolyta’s Arrow
7. Story of Steppenwolf
8. Cyborg Meets Diana
9. Aquaman in Atlantis
10. Then There Were Three
11. The Tunnel Fight
12. The World Needs Superman
13. Spark of the Flash
14. Friends and Foes
15. Home
16. Bruce and Diana
17. Justice League United
18. The Final Battle
19. A New Hope
20. Anti-Hero Theme (End credits)There’s a weird brass thing when Dolores jumps over the well that I love.
Really love that film – I wish it were on Blu-Ray.
TBH I’d probably just choose the first score. I really think it’s wonderfully intelligent and inventive. Sam Taylor-Johnson gave Elfman a lot of room to breathe, while in the latter two he’s less prominent.
Maybe…
1. Ana and Christian
2. The Red Room
3. A Spanking
4. Clean You Up
5. The Contract
6. The Art of War
8. Did That Hurt?
9. Show Me
10. Counting to Six
11. Nightmare
12. No Strings Attached
13. The L Word
14. On His Knees
15. An Announcement
16. Making it Real
17. Trouble in Paradise
18. Welcome Home
19. Seeing Red
20. FreedI omitted some cues I love because they’d disrupt the flow (Variations on a Shade namely).
It’s a lovely and surprisingly quirky score. All the themes return, and it seems as though Ana and Christian’s themes become one at numerous points. There’s lots of action music anchored by Ana’s theme, and that strange, electronic sound that accompanied Jack’s scenes in Darker is back too. ‘Trouble in Paradise’ is an early favourite with that eerie yet pretty synth.
I can’t help but feel a little disappointed by the end though. There’s some lovely music there, but it never carries the heft one would expect from a trilogy closer – no doubt the ‘happy ever after’ scene has a song play over it instead. I’m guessing Elfman had no time to write a concert piece either, which is a shame.
This sounds cool.
http://variety.com/2018/film/news/octavia-spencer-tate-taylor-jason-blum-luke-evans-1202683963/
Sam Taylor-Johnson also has a good-sounding film preparing to film.
Justice League was a huge underperformer.
True about Elfman getting good notices (even if Tulip Fever made no good use of Elfman’s excellent music) for those films though, and he’s been getting the same for this one.
I’m normally not too fussed on the quality of the movies, but this year has seen Elfman score four big critical duds, so it’s nice to see this get good notices (currently at 90% at Rotten Tomatoes).
I’m also happy for Van Sant, who has made some of my favourite movies – My Own Private Idaho, Drugstore Cowboy, To Die For, Elephant…
Van Sant maintains an improvisatory spirit, too. He has elicited a stupendous score from Danny Elfman that’s largely bebop but with alternately eerie and comforting orchestral noodling.
http://www.vulture.com/2018/01/review-dont-worry-he-wont-get-far-on-foot-is-a-winner.html
While it doesn’t seem like it’s a home run, this is looking to be Elfman’s first well-received movie since Goosebumps.
‘Set in Van Sant’s native Portland, and zeroing in on a very narrow segment of Callahan’s book, the film once again finds avant-gardist Van Sant operating in ultra-conventional Lasse Hallström mode, spinning a handsome, honey-toned inspirational tale (bolstered by one of the warmest scores of Danny Elfman’s career),’
http://variety.com/2018/film/reviews/dont-worry-he-wont-get-far-on-foot-review-1202670426/
Also, Elfman and Van Sant are taking part in a ‘Cinema Cafe’ interview in a few hours. These are always really informative and lengthy!
Responses out of Sundance seem good.
Love this picture
1. Freed
2. Makeover
3. A Spat
4. Anna Wakes
5. Blueprints
6. Car Fun
7. Trouble in Paradise
8. That’s Not Hyde
9. Jack the Knife
10. Welcome Home
11. Hiking
12. Nightmare
13. Bail
14. Seeing Red
15. Going Gets Rough
16. Ransom
17. The Envelope
18. RescueWait until you get to know John Callahan.
Get your first look at Don't Worry, He Won't Get Far On Foot, starring Joaquin Phoenix, @JonahHill, Rooney Mara and Jack Black. Directed by Gus Van Sant.
In select theaters May 11. #DWHWGFOF pic.twitter.com/Sigc28D7V4
— Don't Worry, He Won't Get Far On Foot (@dontworrymovie) January 16, 2018
