[ddddeeee]

My order is ‘Preparing to dispatch’ 🙂

[ddddeeee]

It seems Elfman was involved in some capacity.

Soundtrack Album for ABC’s ‘When We Rise’ Announced

[ddddeeee]

Limited release – now shipping!

https://www.varesesarabande.com/products/before-i-wake

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.

[ddddeeee]

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)

[ddddeeee]

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.

[ddddeeee]

Finally sorted. Thanks for the help and the new site Ryan. 🙂

[ddddeeee]

Or not!

[ddddeeee]

It’s probably delayed, again.

It’s going to flop whenever they open it so they might as well get it over with.

[ddddeeee]

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

[ddddeeee]

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

[ddddeeee]

Elfman seems more than willing to credit those who help him so I don’t think that’s the case.

For example, Tyler used three ghostwriters for Avengers too; however, none were credited in the end credits or the booklet.

[ddddeeee]

I never cared for that Darkman cue. Much like when Young used Elfman’s themes in Spider-Man 2/3, it just doesn’t feel ‘right’.

I really like Walker’s Nightbreed cue though.

[ddddeeee]

[ddddeeee]

For Epic Elfman is credited with the entire CD. However, Mounsey is credited with a track called ‘Returning Heroes’ which is the second half of the ‘Rescue’ cue, Lindgren also contributed to this track (Escape Part . Likewise, T.J. Lindgren contributed to ‘Selection Part C’, though I’m unsure of how this relates to the album track. Lindgren contributed to another cue or two but they weren’t on the album.

[ddddeeee]

Mr Peabody and Sherman

1. Mr Peabody’s Prologue – Elfman
2. Reign of Terror – Elfman/Mounsey/Bateman
3. The Drop Off – Elfman
4. The Dog Whistle – Elfman
5. The Cherry Tree – Elfman
6. A Deep Regard – Elfman
7. Dinner Party – Elfman
8. The Petersons/Wabac Machine – Elfman
9. Off To Egypt – Elfman
10. The Wedding Exodus – Elfman
11. Hammer-Time – Elfman/Mounsey*
12. The Flying Machine – Elfman/Mounsey*
13. Trojan Horse – Elfman/Mounsey*
14, War/Disaster – Elfman
15. History Mash-Up – Elfman/Mounsey*
16. I’m A Dog Too – Elfman
17. Fixing the Rip – Elfman/Mounsey
18. Back to School – Elfman

*Elfman is the sole contributer towards the album versions but Mounsey helped with the takes in the film; at least that’s what I can gather.

I can’t find info on the Aquarela cues.

Bateman’s cues seem very minor, one is simply ‘Stinger’.

Bateman contributed more tracks which didn’t make the album.

Chris Bacon contributed a track called ‘Fall.’

[ddddeeee]

Goosebumps

1. Goosebumps – Elfman
2. Ferris Wheel – Elfman
3. To The Rescue – Elfman/Bacon
4. Camcorder – Elfman
5. Ice Rink – Elfman/Bacon
6. Capture – Elfman/Bacon
7. Slappy – Elfman
8. Confession – Elfman
9. Slappy’s Revenge – Elfman
10. Bus Escape – Elfman/Mounsey
11. Lawn Gnomes – Elfman
12. Ghost Hannah – Elfman
13. Mantis Chase – Elfman/Bacon
14. Hannah’s Back – Elfman
15. They’re Here – Elfman/Lindgren
16. Farewell – Elfman/Bacon
17. Credit – Elfman
18. Something’s Wrong – Elfman/Lindgren
19. Champ – Elfman
20. Break In – Elfman
21. The Books – Elfman/Bacon/Lindgren
22. Instagram – Elfman/Mounsey
23. Floating Poodle – Elfman/Lindgren
24. Werewolf – Elfman/Lindgren
25. Lovestruck – Elfman/Bacon
26. Panic – Elfman/Bacon
27. On The Run – Elfman
28. Fun House – Elfman/Lindgren
29. The Twist – Elfman

[ddddeeee]

Avengers: Age of Ultron:

1. Heroes – Elfman
2. It Begins – Elfman
3. Ultron – Twins – Elfman
4. Can You Stop This Thing? – Elfman/Bacon
5. Farmhouse – Elfman/Bacon
6. Inevitability/One Good Eye – Elfman/Lindgren
7. Ultron Wakes – Elfman
8. The Farm – Elfman/Bacon
9. Avengers Unite – Elfman/Bacon/Mounsey*
10. Nothing Lasts Forever – Elfman/Bacon
11. New Avengers – Avengers: Age of Ultron – Elfman

*Mounsey is credited with 2.5% of the track; seeminingly a little touch-up of an already written cue.

[ddddeeee]

This is useful.

http://repertoire.bmi.com/writer.asp?fromrow=1&torow=25&keyname=BACON%20CHRIS%20P&querytype=WriterID&keyid=1401642&page=1&blnWriter=True&blnPublisher=True&blnArtist=True&affiliation=BMI&cae=489216126&term=

BMI has a base where you can search for composers and see what they contributed to Elfman’s scores.

Unsuprisingly, it seems he needed the most help with Avengers. Chris Bacon also seems to have played a big role in Goosebumps.
Conversely, Buckley ‘only’ contributed two tracks to Fifty Shades (one of which is very minor).

Based on the percentages, it seems Paul Mounsey does little touch-ups to Elfman’s cues; Elfman is still credited with 95%+ of the track in a lot of instances. With Bacon/Buckley it seems to be a 50/50 split. He did, however, contrinute to a lot of Mr Peabody – in fact, most of the tracks feature help from Mounsey. He only seems to have contributed a little to Epic and Oz.

Lindgren’s contributions to Alice TTLG are quite minor; none of which making the album release.

[ddddeeee]

Sounds to me like Burton was being sarcastic, the article then states that the audience laughed.

That’s generally Burton’s sense of humor and he never makes digs like that anyway. I don’t think there’s anything to worry about.

[ddddeeee]

[ddddeeee]

Additional Music by David Buckley.

[ddddeeee]

https://www.instagram.com/p/BNaijjag7Fu/

[ddddeeee]

There’s also the seemingly perpetually delayed Midnight Run release from Lalaland.

[ddddeeee]

I feel like this was top of the ‘needs to be expanded’ Elfman list. Hopeful for Dolores Claiborne, Darkman, Mission: Impossible or Nightbreed to come too.

Of course we still need a proper release for Family Man.

Also nice to see Intrada picking up since it’s been two years since the last Lalaland Elfman release.

[ddddeeee]

https://uk.movies.yahoo.com/tim-burtons-live-action-dumbo-movie-to-shoot-in-the-uk-111018779.html

[Author]

Posts