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It’s a separate interview: Elfman demoed a cue for the producers and they weren’t sold, he then was able to convince them to hire a string orchestra to show them what he had intended (the demo didn’t do the cue justice) and they were then sold.
Elfman’s currently n Vienna where they are preparing a tribute concert for him. He did a little talk and here’s a recap from someone who attending at FilmScoreMonthly.
‘And finally there was Danny Elfman talking with journalist Melinda Newman about his career and his approach to scoring. There were great stories about his beginnings as a film composer (being in totally over his head), about director’s love for their temp track (I love what you did there but I was so moved by that piece on the temp…). He also talked a little bit about Justice League which was recorded last week in London. He talked about the work doing the mock-up and that the samples for a particularly moving sequence just didn’t do justice for what he intended so he persuaded the producers to hire a string orchestra to embellish the mock-up. Let’s just say that I am really looking forward to that score.’
http://www.filmscoremonthly.com/board/posts.cfm?threadID=119077&forumID=1&archive=0
This is the third Elfman movie in a row to be completely savaged by critics. He’s getting good notices, though!
I like how he refuses to big himself up in any way and says things how they are. John Powell is good for that too.
I always really liked those Daniel Schweiger interviews he used to do quite regularly.
Elfman’s regulars have started adding this to their resumes online (Edgardo Simone and Noah Snyder).
I heard Elfman started work on Justice League around five weeks ago so I wonder how the scheduling worked out.
This is interesting: I just rewatched the movie and a lot of Elfman’s cut music is in the credits. For example, only the beginning of ‘It Begins’ plays in the movie (and a short part is cut and paste in later) and in the end credits the exact piece of music that was cut is played. Additionally, in the movie the start of ‘New Avengers’ is played and then cut in favour of Silvestri’s music – in the end credits that exact piece of music that was cut is played (not the beginning or the end of the cue that were intact in the movie).
It almost seems like an apology of sorts.
I imagine he’ll be asked to use the Wonder Woman theme. Hopefully he ditches Zimmer’s Batfleck theme which was weak. I imagine he’ll be concentrating on the Justice League and Steppenwolf themes as that’s where he can leave a mark.
I really hope Whedon gets Elfman on Batgirl. Apparently it has Robin and Poison Ivy in it – we could have Elfman scoring Batman’s rogues again after thirty years.
Because I’m cool, I checked previous start-of-production press releases and Elfman was included on those for Alice in Wonderland and Dark Shadows (and Alice Through the Looking Glass); Frankenweenie and Big Eyes didn’t have any (though he was confirmed for Frankenweenie a year and a half in advance) and no composer was listed on the Miss Peregrine one.
This is such a huge musical opportunity that I need Elfman on-board. More importantly, I don’t want a Burton/Keaton reunion set to anyone else’s music.
Disney posted a press release detailing the cast and crew – no composer listed. 🙁
It’s a good enough score but comfortably the weakest of the six to date, for me.
Feels weird that in a year in which we’ve had superhero scores by Beltrami and Giacchino that the best one is by Tyler Bates…
Bring on Justice League.
NP: Hellboy II – this is stupidly good.
After Silvestri replacing Williams on Ready Player One (which I’m still excited about!) I wish we’d get some Elfman confirmation on this one.
Oh man, there’s so much good music in the film not on the album. Ponsoldt often dials out the sounds and ups the score too – a terrific mix.
