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I’m hopeful he’ll be announced for this soon; he doesn’t seem to have any other upcoming movies (bar Fifty Shades Freed I’m assuming).
I think it’s pretty much covered? Wanted, Hellboy II and Wolfman give track credit in the album booklets.
End of the Tour, The Unknown Known and Girl on the Train were all solo efforts. There’s nothing up for Fifty Shades Darker or Tulip Fever yet; I’ll update when more is available.
Terrific. On top of the more obvious choices (they’ll surely play Spider-Man, for example) I’d love to hear something like Nightbreed or Hellboy II.
I think it took longer for me to remove the packaging than it did to ship to Ireland. There’s nothing relating to Elfman nor his team (apart from a thank you) in the booklet.
Lovely music. What a great week for Elfman fans.
I’m curious to see the movie if only because I can’t believe that Elfman was allowed to write a score like this… it seems like he had free reign to do as he wanted.
It’s a very intricate score; there are multiple themes which reveal themselves on repeat listens and the interplay between them is excellent. Sophia’s theme is played so, I dunno, rigidly (?) in the first two thirds of the score that the emotional takes at the end are quite emotionally overwhelming. Again, I haven’t seen the film so I’m assuming that the character is restrained for the most part and then ‘freed’ at the end.
If we were to get an official release of The Family Man and expanded releases for Darkman, Nightbreed, Dolores Claiborne and Mission: Impossible, I’d be completely content. Elfman has been well represented on CD I think. Although, an offically expanded Spider-Man (with the film version of ‘The Final Confrontation’) would be nice too.
I would assume so. The Girl on the Train was a CD-R in America too; and again, the release in the UK was a CD.
This is very ‘classical’ sounding; it’s closest sibling would be ‘The Unknown Known’. The themes are clearly there but I’ll need a few more listens to really know them. Tracks 16 and 17 are quite powerful.
I love Elfman in this mode (clearly his preferred style of writing these days) but those expecting a return to Sommersby or Black Beauty (outside of a few rowdier cues) will be disappointed.
It seems Elfman was involved in some capacity.
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Elfman’s contributions to this are really beautiful; they’re very sad and melodramatic with a hint of fantasy. You’ll all be fans I think.
The movie was delayed again. What’s interesting though, is that the movie never had a UK release date but the CD is still scheduled to be released this Friday.
1. Sophia’s Theme
 2. Lost
 3. Willem
 4. The Unveiling
 5. The Streets
 6. A Storm is Coming
 7. Ultramarine
 8. Nailed
 9. The Reveal
 10. The Streets – Part 2
 11. Devastation
 12. Maria’s Theme
 13. The Wait
 14. It’s Done
 15. The Storm
 16. The Grand Finale
 17. Happy Family
 18. Sophia’s Theme (Reprise)I imagine your views will be the consensus.
It’s worth bearing in mind that this wasn’t a score-friendly movie at all. The first had scenes clearly designed for the score to have a big role, there’s really not of that here. Elfman had to ‘sneak in’.
I think the score is lovely. Tracks like ‘No Strings Attached’ are what I really love from Elfman these days (also see ‘Megan’ from The Girl on the Train).
Thematically, this score is really impressive. The amount of leverage Elfman gets out of his (really simple) themes is outstanding.
There’s a new theme (which stems from the main theme of the first score) which acts as a general love theme. It tries to emerge near the beginning of the score (their relationship hadn’t earned the theme at that point) but only really comes through in the last third of the score. It’s a surprisingly sincere theme (the main theme really couldn’t have conveyed this, a smart choice by Elfman) and it’s really quite rare to hear Elfman in this mode. My favourite take of it comes in ‘Announcement.’Christian’s theme, which only really conveyed his dominance in the first score, is played countless times. It’s mostly played sensitively, like in ‘On His Knees’ and ‘Dossiers’, but has other romantic or sad variations throughout; particularly effective is a ‘thriller’ take on piano during the ‘Chopper Crash.’
Ana’s theme returns but takes a backseat to Christian’s theme. The ‘V for Vendetta’ version of her theme makes a few appearances. In the first score, this theme really epitomised their inability to connect emotionally. In this film, they really come together so Elfman instead appropriates to theme to Kim Basinger’s character. She tries to break the two up so it’s a logical enough decision. It’s quite eerie in ‘Bathroom Encounter’ and it’s performed on electric guitar in ‘Martini Face’ (a quite hilarious moment in the film) which is pretty nifty.
The main theme returns although it is largely replaced by the love theme by the last third of the score. My favourite performance is in ‘Nightmare’ where the theme fails to resolve itself, highlighting how Ana and Christian aren’t connected at this moment. There’s a lovely take in ‘Survive’ and its performance in ‘Panties’ is the closest Elfman gets to erotica in this score (Elfman gets none of the sex scenes in this one).
There’s an electronic motif (I couldn’t begin to describe it) for Leila, but it’s very fleeting. It’s Elfman still in ‘The Girl on the Train’ mode.
I will say that I missed the ‘drive’ from the first score. Christian is no longer ‘dominant’ in these movie so all the skittish highlights from the first are gone.
I’m very prepared to be in the minority for this one; well, along with a lot of older women. I just hope Elfman gets the credit for how thematic this score is, there’s hardly a moment were some theme isn’t playing in some guise.
Bring on the third score.
It’s probably delayed, again.
It’s going to flop whenever they open it so they might as well get it over with.
Fifty Shades is probably my most listened to Elfman of the last 16/17 years after the first Alice; I really love it.
EDIT: Another snippet of score. https://twitter.com/FiftyShades/status/826187830351106049
Around 30 seconds of score here.
“I know deep down I will always be his, and he will always be mine." #FiftyShadesDarker pic.twitter.com/kzw3lXpz6n
— Fifty Shades Freed (@FiftyShades) January 29, 2017
