Forum Replies Created
- Posts
I love that Danny’s not a snob and willing to do ‘B-Movies’.
I find the idea that he’s getting ‘scraps’ more than a little ridiculous.
I think despite music being used sparsely, Sliver Lining’s Playbook’s score makes a big impact. Probably bigger than any of his 2012 scores other than Frankenweenie.
I think Elfman’s got the best career right now alongside Desplat and Newman. Despite having their obvious niches their projects are so diverse that I’m not surprised to see them attached to… anything really.
I’d like Elfman to land ‘Room’-like gigs too, if only because I want him to win an Oscar. But realistically, 95% of movies don’t want their music to stand out much anymore and Elfman’s voice is so idiosyncratic that it probably rules him out of countless gigs.
They’ve all got an asterisk to signify ‘Additional Music’ so I’m guessing these cues are a mix of both composers.
Interesting that he also wrote music for ‘Forbidden Friendship’ from How To Train Your Dragon, probably the most beloved moment from that film and score.
The Epic cue isn’t a big deal since a huge chuck of it is recycled from ‘Ambush’ anyway.
I know I’m dragging this out but Paul Mounsey wrote additional music for ‘Theodora’s Entrance/Puppet Waltz’ for Oz and for ‘Escape’ from Epic. There’s a cue for Ultron there that isn’t on the album too.
http://www.kraft-engel.com/clients/paul-mounsey/
For all the grief Zimmer gets at least there’s a website with all of this sort of information.
Does anyone know what is meant by ‘Additional Arrangements’? I’m guessing that’s maybe when a scene has been edited and the music needs slightly rearranged to fit the footage?
Deborah Lurie is credited for writing additional music on ‘Rats’ and ‘The Scheme’ for Wanted.
The Wolfman score also references the specific tracks the additional composers worked on, I take it this is a Varese thing?
https://www.youtube.com/watch?v=Quo-Oen1wkY
Elfman lives on in Pee Wee regardless. After this trailer I’m kind of glad he isn’t doing it.
‘I was curious how deeply involved Danny Elfman and John Debney were in the writing of the score. Taylor mentioned that from about 80 minutes of ‘Before I Wake”s score, Danny Elfman took the biggest cue of them all which is about 13 minutes long. Additionally one of Taylor’s favourite scenes in the movie is accompanied by an “amazing piece of music” which again was scored by Danny Elfman.
[Danny Elfman] spent a lot of time on ‘Before I Wake’. He did a couple of big chunks and we did the rest. So definitely it wasn’t like “Here’s this little piece of music, I’m outta here.” Luckily enough we worked with quite a few different guys and Danny isn’t like that at all. He definitely worked really hard on it. He likes to write his music and he gives great advice and opinion. Same as John. He is a true collaborator. He comes in, does his thing and that’s great.’
http://www.soundtracksandtrailermusic.com/2015/09/the-newton-brothers/
Dick Tracy and Darkman seem like they should have gotten expansions like five years ago, they’re the sorta movies those labels go nuts over.
I don’t listen to it often but when I do I always really enjoy it and wonder why I don’t listen to it more… This happens around once a year.
Yeah I know what you mean.
I also find it weird that Burton would turn to these guys when every other composer would probably want to work with him. Oh well, good for them as you said. Hope they hit it out of the park as long as Elfman’s back for Beetlejuice 2 or Dumbo or whatever is next.
I know I’m a broken record but if this records in a few weeks and Danny was still recording Alice 2 this week it definitely seems like a timing issue.
That would be cool. Not the Han Solo one though because that’s just a horrible idea.
Really excited for Desplat’s Rogue One.
Young sounds nothing like Elfman so it’s just so jarring. I love Young. I love all the original stuff he did in Spider-Man 3 but when he’s aping Elfman it just sounds off. That choral version of the Doc Ock theme especially.
Tbf the movie has the love theme play over an Aunt May scene so it’s not the worst offence.
This is enlightening. David Reynolds, who wrote additional music for Wanted, has uploaded the music he wrote. None of which made the album.
https://davidreynolds.squarespace.com/wanted/
I distinctly remember reading that T.J. Lindgren was involved with ‘Atom Vs Twin Cities’ from Real Steel.
I’d love it if that were the case. Elfman did omit the cues that weren’t his on Darkman and Nightbreed.
Paul Mounsey, who wrote additional music for Epic (and Goosebumps incidentally), is a Powell regular. Pretty much everyone noted how much it sounds like Powell and it’s a sound pretty exclusive to Epic as far as Elfman is concerned. I can’t help but be skeptical about that one. Then again, Powell scored all but one Blue Sky film at that point so he was probably all over the temp.
‘Bliss’ is a dodgy one in that we don’t know how much Buckley was involved. But I don’t think he would boast about it on his website if it weren’t a significant contribution. He doesn’t get cue specific for any other movie Elfman hired him on.
This seems to be really common practice nowadays. Beltrami, Powell and seemingly 99% of composers are in the same boat. I’d love to hear him talk about it.
