Forum Replies Created
- Posts
That’d be an awkward phone call. ‘Hey Alan! You know how we didn’t ask you to score Avengers 2? Well we’ve run into some trouble and…’
Elfman’s regular music editor posted this on Facebook a week ago. Has to be AoU surely?
Shie Rozow
7 March at 00:50 ·
Just finished one of the most intense & quick projects of my entire career. I was music editing – about an hour of music composed, recorded, mixed, conformed to new pix and delivered in 24 grueling days! I think I’ve earned a napNow called Before I Wake and here’s the trailer.
https://www.youtube.com/watch?v=Ho2Z0LtXsbY
Out May 8th
rorkegrad Wrote:
> text version has an interview? I do not understand
> English. Only Russian
”I contributed music towards the new Avengers movie. I took part of Alan Silvestri’s theme, the original theme, which I really liked, and I pulled it into a new theme, which became sort of a hybrid.’
Danny used Silvestri’s theme.
The CD from Hollywood Records on Amazon.com lists ‘Various Artists’. Hopefully most (all!) of what Danny wrote makes the CD. I’m not very interested in Tyler’s work.
I’m sure it would have a great score, the animated classic is largely a silent movie and these movies tend to have wonderful music regardless of quality. I’m listening to Cinderella and it’s wonderful, though apparently the movie is actually really good too.
But I was kind of hoping Burton would stay away from the bigger movies, at least for a while.
I’m not too great with the more technical stuff but I’m always on top of news and would be happy to help in any way I can.
I want Christopher Young (who has a working relationship with the director) for Dr Strange.
I don’t know. I think Whedon’s probably the only director with enough heft to get an Elfman score. Even Branagh couldn’t protect Doyle and his score, though mixed well, was cut all over the place (I still love that one though). I can’t really see an Elfman score surviving a MCU movie, unless it was directed by Whedon.
Whedon’s a big Raimi fan so he’s probably an Elfman fan.
Either way, I find it odd that Brian Tyler, who churns out scores seemingly quicker than anyone these days, wouldn’t be doing any necessary rewrites. Plus at that Denver thing it was said that Danny was ‘saving’ a summer blockbuster. Sounds like there might have been trouble.
Reubens said in the linear notes to Lalaland’s Big Top Pee Wee that he wants Elfman to score all the Pee Wee movies. So he’ll be asked at least.
There’s a track here.
I’d need to watch it again but ‘Irving’s Montage’ is certainly the most substantial piece of score in the movie. For whatever reason I can remember a 30 second or so cue for drums? I think there was also music for a scene between Adams and Bale.
My CD arrived today, I love it.
I know it’s not for everybody but these repetitive, rhythmic scores are what I listen to most from Elfman these days. The Unknown Known was my favorite Elfman since Alice, for example.
I love the theme that emerges later on in the score, it makes up the bulk of ‘Show Me’ (I love the ghostly synths in this one) and Bliss centers around it too. ‘Counting to Six’ manages to bring together pretty much everything Elfman does musically in the entire score, which is quite something. He tells the entire story in the last track too.
I’ll be listening to this one a lot no doubt.
The Next Three Days is one of my favorite of Elfman’s recent scores so that works for me. After seeing the film it’s definitely what it’s closest to. Then Bliss would be The Truth, a huge yet lovely departure from the rest of the score.
Hmm, I liked the movie. It’s slick and surprisingly funny.
The score only really becomes prominent near the end. A lot of tracks don’t appear in the movie at all which I expected but I thought ‘Ana and Christian’ would make an appearance. ‘Bliss’ lives up to its title, highlight of the score in the movie.
