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Elfman got two Emmy nominations today. One for the Main Title and one shared with Chris Bacon for the second episode.
I’m glad that they submitted the second episode. The score for the first episode is the best, but it’s the only one that Chris Bacon doesn’t have a ‘Music By’ credit on. I figured they would’ve went for that episode just because Elfman’s a big name. It’s right that, if they were going to get a nomination, it was together.
Burton got a director nomination, too.
Elfman’s theme is used liberally once Keaton enters the movie. Lots of cool versions. I thought Wallfisch did a good job. The mixing is really obnoxious though and makes for a weirdly unpleasant listen.
As much as I love Keaton in this role and I did get a kick out of seeing him, he’s not a character as much as a plot device. He never once felt like a living, breathing person. This isn’t the reclusive weirdo from Burton’s movies even though he’s still reclusive and a weirdo. I dunno. It all felt very insincere.
I enjoyed the movie a lot more before all the multiverse stuff started.
I’m halfway through the audiobook of the book this is based on – Memory – and it is beyond grim. Hard to imagine the score for it, but I’m thinking Girl on the Train as the main character is suffering from memory loss.
As a kid, I just couldn’t get enough of Elfman’s Spider-Man/Peter themes. I still love them, of course, but as I’m listening to this terrific release again, I’m just drawn so much to the Goblin theme. I think it might be my favourite of his villain themes now.
I rewatched the theatrical cut last night for the first time in around 13 years and I was surprised by how much was missing. The music for Decker’s killing scenes is missing, along with the cue for Boone getting run over, the build-up to ‘Meat for the Beast’, the cue for when the police torture one of the breed, a very strange cue for when the priest meets Baphomet and lots of bombastic action from the last half hour (including a cue by Shirley Walker and, significantly, the fight between Boone and Decker).
Nightbreed coming in a few weeks.
In what’s certainly the most exciting news about the movie yet, Willem Dafoe has joined the cast.
I love that Beetlejuice suite, too! That extended build up to the main theme is soooooo good.
I actually think the overall score to Beetlejuice is underrated. Everyone is hung up on the main theme, but I really love the whole thing. The Waiting Room Music is excellent!
I’m kinda fascinated by how Elfman will approach this. The chaos of the original score is worlds away from Elfman’s more ‘musical’ writing these days.
Thanks!
I ended up ordering from RustedWave, but I was eyeing that Children of the Corn CD on 1984Publishing, too. Oh well!
He says there’s only 19 minutes of music and the sound quality is ‘meh’.
I’m still gonna buy if only to have it though I wonder if LLL is planning a release down the road.
I find that I no longer revisit the original album sequences for Darkman or Mission: Impossible. For the others, I tend to move between the original sequences and the complete scores. I’m a bit attached to the original albums for a fair few of the expansions, and some scores, like Planet of the Apes or Dolores Claiborne, as much as I love them and am grateful to have every note, can be a bit exhausting in their complete form.
Biggest revelation is that Elfman scored Peter winning the wrestling match with a sombre version of the Spider-Man theme. Very interesting. Though I’m far too close to the movie to magine that scene without the source music.
I love this release! Though I’m still waiting for someone much smarter than me to do a full theme breakdown and how each theme connects to the other. Thematically, there’s so much going on and all writing/reviews of the score just scratch the surface.
Even with Wednesday being the phenomenon that it was, I wonder if Burton could even get any other movie off the ground these days.
Elfman has a credit on five tracks. No idea if that’s down to a theme or reworked material that Elfman wrote.
Bummer but it’s yet another cursed production.
Hopefully a new film project gets announced soon. I like looking forward to new scores and playing some his older work that it seems like the new score might sound like.
Only Bacon credited now on IMDB and the orchestrators have all worked with him on his solo projects.
Directors at the scoring stage with Chris Bacon.
https://twitter.com/CreativLicense_/status/1622653704766726152/photo/2
