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“Main Titles” from ‘Doctor Strange in the Multiverse of Madness’ has earned a nomination at the #GRAMMYs for Best Arrangement, Instrumental, or A Cappella! 🎵
Congratulations, @DannyElfman! https://t.co/D5k9j0xQhI
This is cool.
I've talked previously about the SLIDE and F transformations in neo-Riemannian theory. Today, an example of both, with compositionality in action as a bonus, in a recent Marvel movie, Dr Strange 2. (Warning: spoilers ahead !)
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— AlexPof (@YistvanPof) November 14, 2022
Elfman’s doing the awards circuit this year. I don’t think it has much of a shot due to the movie’s reviews being good, not great. Hopefully I’m wrong!
Watching videos of the set and it looks really, really mad.
They added Mars Attacks! and Multiverse of Madness to the setlist. A bunch of other Boingo songs too.
I hope they release some of the visuals. Lots of cool animation – even some stop motion.
Baumbach says Elfman was “alive with ideas all the time” when creating the score for @whitenoisefilm.
Baumbach set up shop at Elfman’s studio and cut the film while Elfman composed in the next room. The score influenced the edit and the edit influenced the score. @thenyff https://t.co/OtIeAvCDJj
Baumbach talks about Elfman at 18:45 here. Sounds really interesting. Elfman revisited Midnight Run and channels Tangerine Dream? Sounds like it has a substantial amount of music.
This definitely sounds like some score.
Tremendously elegant. Thrillingly original.
Recap from the Venice world premiere of #WhiteNoise. pic.twitter.com/2SwhNSGfMh
— White Noise Film (@whitenoisefilm) September 1, 2022
I’m over halfway through the book and can only assume this is being mismarketed.
The book goes from being almost slapstick comedy to deeply profound in seconds. It’s a really weird tone. It’s also way bigger in scope than I was expecting. Elfman’s hiring makes more sense to me now.
It’s doing really big numbers and the reaction seems very positive. I can see this being a big hit.
Maybe this being a hit would persuade Netflix to fund a passion project for Burton? I dunno. His career is in a really weird place.
The movie is 136 minutes long and will be finished for its premiere at Venice in two weeks according to the woman who helps run the festival.
Gonna assume this has very little music. Really don’t see how Elfman could have written much when he was two out of four episodes into Wednesday a month ago.
Elfman’s team have been slowly added to the IMDB page over the last week or so…must be recording soon.
Nominated for a Saturn Award.
Yeah, I’m assuming this has already been recorded? Very out of the blue.
Trying not to get to excited that this could be an Oscar gig, but it’s great to see him attached to a prestige project. Maybe between this and Doctor Strange
his flop era is at an end.Normally when Elfman has a new upcoming project, I listen to scores regularly that I think it’ll sound like, but I’m stumped here. Milk? The Next Three Days? Standard Operating Procedure? The End of the Tour? I’ve no idea what this’ll sound like, and that’s exciting.
Elfman talks about Bacon at 45:25
Elfman talks more about his team and criticises ‘team effort’ scoring.
Danny Elfman Breaks Down Doctor Strange in the Multiverse of Madness’s Biggest Musical Moments
^Actually, there’s a brief cue before ‘Lethal Symphonies’ called ‘Strange Vs Strange’ that Bacon has a credit on, which might explain that comment. ‘Lethal Symphonies’ is all Elfman.
I rewatched the movie on blu-ray and really had a blast with most of it. There’s a big statement of Strange’s theme that’s unfortunately microedited out of ‘On the Run’. It’s probably the most overt statement of the theme after ‘Gargantos’ and it’s a shame it wasn’t included. There’s also two pretty significant ‘love’ cues and a big action cue that I think the album would’ve been nice to have.
I think the score comes across much, much better in the film. The sequencing of the album is very odd.
Danny is mentioned several times in the commentary.
Incidentally, Chris Bacon is also mentioned by the producer with regard to the ‘Lethal Symphonies’ scene. They go out of their way to praise Elfman for the scene, but then credit Bacon. So who knows how that went down.
I listened to a radio interview with Elfman around the time DS2 came out, and when he was asked about his team, he mentioned Bacon and said ‘he’s great at taking over a cue’. I take that to mean that Bacon revises cues that Elfman can no longer devote time to.
Incidentally, I love the Illuminati theme, and I especially love that action version that opens Illuminati Vs Wanda. But when I first heard it, it struck me as really not sounding like Elfman. It might be that it was him and Bacon was revising other parts of the cue or something, but that whole cue never sounded like Elfman to me.
But then you have ‘On the Run’, which is the most Elfmany Elfman action cue that ever was, which opens the movie and introduces the Strange and America themes (and the end of the cue largely informs the end of ‘Not a Monster’ and ‘Book of Vishanti’) and there’s no way Elfman didn’t have a lot to do with that cue.
It used to bother me a fair bit, but I’m mostly over it. I think the only time it actively bothers me still is with Fifty Shades Freed which doesn’t sound like Elfman much at all bar a few cues and was recorded when he was writing Justice League. I appreciate that there were certainly contracts and deals in place, but Elfman’s composer credit there seems…generous.
