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This looks fun to me and so different for Elfman. I really hope some of his music has survived all the reshoots and retooling.
FYC has the score up – with a fair few cues not includes on the soundtrack release.
I managed to catch this in the cinema, but it didn’t really work for me.
I tend to like Baumbach even though his self-obsessed characters often keep me from loving his work. Here the DeLillo dialogue is ripped from the pages of the novel and it’s really quite painful to listen to. The ‘heightened reality’ of the book isn’t recreated so it all ends up feeling painfully stilted and artificial.
The score is good. The mix is a …mixed bag. Large sections of many cues are lost in the sounds of cars and crashes and people and general madness (which I appreciate is often the point in a movie called White Noise), but many cues are front and centre (‘Up There’, ‘Trash’ and ‘Sunrise’ standing out). The last two tracks are album-only as the end credits (which are really fun!) are set to a cool LCD Soundsystem song.
I would say there were maybe ten or so minutes of score not on the album. Mostly synth, atmospheric stuff, but a nice little montage cue near the beginning and another take on Babette’s theme did stand out.
I’ve listened to it a few times. I like it, but it doesn’t make any sense to me. I’m sure it’ll all click when I see the film.
An interview with Elfman and Baumbach.
https://variety.com/video/danny-elfman-noah-baumbach-on-white-noise-score-strategy/
Netflix’s biggest premiere ever….
If it wasn’t already (it was), this has got to go down as Elfman’s biggest year.
Strange to see something Burton made be so embraced. It’s really become quite a phenomenon.
We’re up!
The Final Confrontation sample! I’ve always loved that part.
Ahhhhhhhhhhhhh!
This is the score that made me love film music. It’s very special to me and has aged like a fine wine.
“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 !)
(1/n)
— 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
