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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.
Doctor Strange in the Multiverse of Madness
1. Multiverse of Madness – Elfman
2. On the Run – Elfman/Bacon/Giacchino
3. Strange Awakens – Elfman
4. The Apple Orchard – Elfman
5. Are You Happy – Elfman
6. Gargantos – Elfman/Giacchino
7. Journey With Wong – Elfman
8. Home – Elfman
9. Strange Statue – Elfman/Giacchino
10. The Decision is Made – Elfman
11. A Cup of Tea – Elfman
12. Discovering America – Elfman
13. Grab My Hand – Elfman/Bacon
14. Battle Time – Elfman/Giacchino
15. Not a Monster – Elfman
16. Forbidden Ground – Elfman
17. Tribunal – Elfman/Bacon
18. Illuminati Vs Wanda – Elfman/Bacon
19. They’re Not Coming Back – Elfman/Bacon
20. Stranger Things Will Happen – Elfman
21. Buying Time – Elfman
22. Book of Vishanti – Elfman
23. Looking for Strange – Elfman
24. Strange Talk – Elfman
25. Lethal Symphonies – Elfman
26. Getting Through – Elfman
27. Only Way – Elfman
28. Trust Your Power – Elfman
29. They’ll Be Loved – Elfman
30. Farewell – Elfman
31. An Interesting Question – Elfman
32. Main Titles – Elfman
33. An Unexpected Visitor – Elfman/Bacon*
34. Wanda at Home – Elfman/Bacon/Lopez
35. Illuminati – Elfman*Of note – Bacon is credited with only that strange synth that opens the cue. The rest is Elfman. Makes me wonder how many other times Elfman has credited other composers for giving him a sound…
On a side note, I went through the entirety of the Marvel Music Catalogue to get this information, and Bear McCreary doesn’t have a single solo credit for all those years of Agents of Shield. Seems a bit like the Zimmer of TV?
I really, really love the mix in the film. It’s so present. I know the movie is stupidly high profile, but there’s a reason the music is really getting noticed – you can hear it!
Hopeful we don’t have to wait another nine years for the next Raimi/Elfman collaboration.
Strange’s theme plays most prominently at the end of Gargantos. It’s rhe first theme you hear in ‘Multiverse of Madness’ . A softer version plays in ‘Are You Happy’ and ‘Farewell’ as an almost love theme. A snappier, darker, Wolfman-like version of it opens the main titles and plays frequently in ‘Getting Through’. It’s very similar to Wanda’s theme, which makes sense since both characters are trying to hide from their problems most of the movie.
I wish Strange’s theme were a bit more memorable, but this really is a brilliant score. The action music is incredible and it’s all so thematically dense. I really, really love it, and it’s absolutely dynamite in context.
‘I’m just trying to finish up the second episode out of four with Tim’.
Burton was previously reported to have directed all the episodes.
I’ve seen the film twice now and the score is a lot better in the film. There are references to other themes missing from the album, as well as the pivotal ‘WandaVision’ cue which has that theme transition into Elfman’s. It’s maybe the most impactful cue in the film. The motif in ‘Tribunal’ is a recurring Illuminati theme, too.
