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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.
I don’t think Alice has recorded yet.
I don’t mind if it’s made clear like it was with Nightbreed and Darkman, but this is all so hazy. Am I listening to Elfman? Am I listening to Chris Bacon? Both? I mean good music is good music but some clarity would be nice.
Apparently Mike Highman and Matthew Margeson are writing the score.
Highman has Burton/Elfman connections which supports the idea of Danny simply being too busy…
Apparently the Elfman feature on the Blu-Ray is 8 minutes long.
Have any of you seen the movie? I saw it a few months ago and it’s really stuck with me, definitely one of the best movies Danny has scored.
I noticed two cues adding to about 3-4 minutes of music not on the album. Intro and the two Reprise cues aren’t in the movie.
True, true!
He does have a big slate this year but doesn’t he always? I was googling about and Desplat was actually at the Moma event and they met up in Cannes.
I’ve enjoyed so much of the guys writing that I feel bad knocking him but Jeff Bond wrote these liner notes in twenty minutes yeah?
CD sounds great.
For sure, I think their aesthetics would fit really well. He does have a little Star Wars movie out around then though.
The movie will be finished long before Christmas. Bridge of Spies was finished ages before release, but Williams couldn’t fit it in his schedule because Spielberg needed the music ‘early’ so he could finish it and move onto BFG. I really think that’s what’s happened here. Post-production doesn’t wait for any composer. If Elfman has Alice until early next year and then a violin concerto for Summer Elfman doesn’t have the power to ask them to wait for him, nobody does.
Big Eyes had a Christmas release and recorded in February. Burton was well into pre-production for Miss Peregrine by the time Big Eyes came out. He’s not going to sit around and tweak it all year. Add that to this being on the Kraft-Engel site back when it had a March 2016 release date and I think it’s the logical conclusion.
He finished Tulip Fever in July and is now half-way through Alice in December, there’s a big gap there that may have been for Miss Peregrine when it had the March release. He also mentioned having to turn down ‘Pee Wee’s Big Holiday’ which has a March release date because he was already booked.
As long as it’s just a one-off…
Everyone went nuts over Newman scoring Bridge of Spies and it ultimately ended up being a non-issue really, though a Star Wars score around the corner probably had a lot to do with that. If Burton’s next movie really is Beetlejuice 2 there’s surely no way Elfman won’t be on that…
It’ll be announced on Monday. On Facebook they’re giving hints (sorry I can’t link) and one is clearly Edward Scissorhands.
No.
I think Big Eyes could have had a better score but it’s the outlier. Dark Shadows was a good score, Frankenweenie is pretty great I think. It’s certainly a better score than Corpse Bride IMO. And Alice is one of his best ever scores with one of his best themes.
I think Elfman, along with Desplat and Thomas Newman probably, have the best careers in Hollywood. He can do an erotic romance, indie drama, superhero blockbuster, fantasy adventure and period drama in one year. He clearly has no intention of being just the ‘fantasy guy.’
Sure he has two quirky fantasy movies next year, but he also has a renaissance drama and and violin concerto.
Two Fifty Shades sequels will be shooting back-to-back early next year and will be directed by James Foley. I’d love to hear more from Elfman in this franchise, it’s my favourite of his 2015 output.
Sacha Gervasi (Hitchock) and James Ponsoldt (The End of the Tour) but have thrillers coming out next year. I wonder if either is the small film Danny says he might score.
On a side note, I just read an interview with Paul Haggis and he mentioned how he really wanted Danny to score ‘Third Person’ but had to use a European composer.
The first track plays over a (pretty wonderful) animated end title sequence. If that cue sounds too hectic to you, it’s because Elfman catches every single thing in the sequence.
‘Right now I am also involved in various degrees with the David O. Russell film called Joy.’
Jerry Garcia’s Family Launch Cannabis Line to Honor His Memory
