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ddddeeee
ParticipantI 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.
ParticipantBiggest 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.
ParticipantEven with Wednesday being the phenomenon that it was, I wonder if Burton could even get any other movie off the ground these days.
ParticipantElfman has a credit on five tracks. No idea if that’s down to a theme or reworked material that Elfman wrote.
ParticipantBummer 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.
ParticipantOnly Bacon credited now on IMDB and the orchestrators have all worked with him on his solo projects.
ParticipantDirectors at the scoring stage with Chris Bacon.
https://twitter.com/CreativLicense_/status/1622653704766726152/photo/2
ParticipantElfman’s team have almost entirely been removed from the IMDB page.
Participant19 minutes long. Premieres on May 4th.
https://www.fabermusic.com/music/suite-for-chamber-orchestra
ParticipantParticipantThis looks fun to me and so different for Elfman. I really hope some of his music has survived all the reshoots and retooling.
ParticipantFYC has the score up – with a fair few cues not includes on the soundtrack release.
ParticipantI 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.
ParticipantParticipantI’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/
ParticipantNetflix’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.
ParticipantWe’re up!
The Final Confrontation sample! I’ve always loved that part.
ParticipantI’m enjoying this! Nothing ground-breaking, but it’s good fun. Ortega is kinda incredible in it.
ParticipantAhhhhhhhhhhhhh!
This is the score that made me love film music. It’s very special to me and has aged like a fine wine.
ParticipantElfman is credited as main composer for episode 1 and co-composer for episodes 2, 3 and 4.
November 17, 2022 at 9:57 pm in reply to: Three Hollywood in Music in Media Award (HMNA) nominations #99835ParticipantElfman won with Doctor Strange.
ParticipantParticipantNovember 15, 2022 at 8:21 pm in reply to: Raimi and Doctor Strange in the Multiverse of Madness #99830Participant“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
November 14, 2022 at 9:53 pm in reply to: Raimi and Doctor Strange in the Multiverse of Madness #99829ParticipantThis 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
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