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Thats a great piece of trivia but also not totally surprising since Dick Tracy and Darkman are cousin scores of Batman. I can see Elfman using bits & pieces that weren’t used in one movie and using it in another and so on and so forth.
For example, I was listening to Sommersby recently and noticed hints of what he’d use on Black Beauty a year later.
It would be interesting to take a deep dive on Elfman scores and follow the trail from one movie to the next.
Apparently, he worked with Chris Bacon on Why We Rise.
It’s lesser Danny. Of all his superhero scores, this is the weakest.
Danny Elfman has been there before. Spider-Man in 2002 was highly criticized, to the point that Sam Raimi felt the need to second-guess the music in Spider-Man 2 & 3. History has proven Elfman right, however, since James Horner, Hans Zimmer and Michael Giacchino did lesser work and people now see Elfman’s score as the good one. So give it time. People will come around to Justice League. That said… Spider-Man nor Justice League are Batman and Batman Returns. Elfman has a difficult time acknowledging his legacy. After Superman, you didn’t see John Williams do another superhero movie. After Star Wars, you didn’t see him do another science-fiction franchise. He understood you could cheapen the brand if you carelessly indulge in a specific type of movie. Elfman set a gold standard with Batman and Batman Returns. Anytime his name is attached to a superhero movie, people expect that level of quality. When they don’t get it, they’re gonna complain. I wanna hear the Elfman sound in superhero movies, but not if Elfman is gonna treat it like any other assignment. If Tim Burton and Sam Raimi had directed Justice League, YOU KNOW he wouldn’t have done a half-assed job because he cares about his legacy in those situations. That’s the mindset he should have brought to Justice League.
I gave it two/three listens but I didn’t take the time to associate the motifs with their character.
The score makes sense once you’ve seen the movie. It’s… Spider-Man-esque. The Flash, I would argue, has the most prominent theme since the slow-motion gives Danny Elfman breathing room. Unfortunately, the score as released, is kinda of a mess. The tracks are all over the place and I can’t quite pin-down where’s what without listening to the whole thing and taking notes.
I’ll reserve full judgement till I watch the movie. The score… is underwhelming… to say the least.
You’re right. It’s not necessarily sped up. It’s just missing certain sections.
8 year old thread :p
That version was called the Editor’s Cut. Doesn’t sound like a Raimi Cut to me. Probably why it got pulled. It might not quite be finished yet.
Always dreamed that Danny Elfman would return to the Batman universe. Never thought it would be for something like this. ALTHOUGH… Joss Whedon is doing reshoots and post-production so this might turn out as a slightly different movie than originally intended.
Word on the street is that Sam Raimi made a director’s cut of Spider-Man 3 which will be released on blu-ray this summer, presumably around the time of Spider-Man Homecoming’s release. Curious how that will affect the music. Spider-Man 3 had a very troubled post-production with Sony taking the movie away from Raimi and making a great deal of changes. Raimi’s version gave Sandman’s family a bigger role (in the theatrical version they only appeared in the opening scene), extra scenes of Eddie Brock and a notably different ending with Sandman’s family at the construction site.
Watched the movie. Score works really well for the type of movie it is.
He’s getting old and doesn’t care anymore. Same thing happened to John Williams. If it wasn’t for Star Wars and Steven Spielberg, Williams would have retired ages ago. Danny Elfman still has Tim Burton. As long as Burton is still making movies there will still be Danny Elfman music.
The pretty girl is complimenting him… but he’s having none of it.
Only took you 10 years but you finally updated. LOL. All kidding aside, it looks nice, Ryan.
> This is useful.
> BMI has a base where you can search for composers
> and see what they contributed to Elfman’s scores.
> Unsuprisingly, it seems he needed the most help
> with Avengers. Chris Bacon also seems to have
> played a big role in Goosebumps.
> Conversely, Buckley ‘only’ contributed two tracks
> to Fifty Shades (one of which is very minor).
> Based on the percentages, it seems Paul Mounsey
> does little touch-ups to Elfman’s cues; Elfman is
> still credited with 95%+ of the track in a lot of
> instances. With Bacon/Buckley it seems to be a
> 50/50 split. He did, however, contrinute to a lot
> of Mr Peabody – in fact, most of the tracks
> feature help from Mounsey. He only seems to have
> contributed a little to Epic and Oz.
> Lindgren’s contributions to Alice TTLG are quite
> minor; none of which making the album release.
Makes you wonder how many “touch-up’s” Steve Bartek has done but didn’t get credit for cause he’s the orchestrator.January 23, 2017 at 6:27 pm in reply to: Who did what? A comprehensive (?) list of contributers. #68479
> Sadly (depending on how you view it), Buckley’s
> “Bliss” is the best track on the FIFTY SHADES
Nothing new. Jonathan Sheffer’s helicopter ride from Darkman is a standout track that sadly isn’t on the album.
> Something from THE FAMILY MAN?
I don’t own any music from The Family Man.
I’ve been thinking of creating a Christmas playlist of Danny Elfman music, but not quite sure what to include.
I was thinking:
1. Main Titles from Scrooged (1988)
2. Christmas Montage from The Nightmare Before Christmas (1993)
3. Ice Dance from Edward Scissorhands (1990)
4. Crematorium from Scrooged (1988)
5. The Finale / End Credits from Batman Returns (1992)
The one track category could also include Oingo Boingo. There’s Fast Times, Beverly Hills Cop, Sixteen Candles, Weird Science and Ghostbusters II.
I have… Beetlejuice, Batman, Darkened Theater, Edward Scissorhand, Batman Returns, Nightmare Before Christmas, Spider-Man, Spider-Man 2, Chocolate Factory, Corpse Bride, Wanted, Terminator Salvation and Alice on CD. Hopefully I didn’t forget anything. I’m doing this on memory.
And I have Pee-Wee, Back to School and Darkman on digital – in additional to random tracks from his various scores/soundtracks. Again, hopefully I’m not forgetting anything.
Plus, I have a handful of Oingo Boingo songs on digital.
I thought the score was really good. It’s like a simpler Elfman score. It works for the movie, and yes, I saw the movie. It’s pretty good – better than Dark Shadows and Big Eyes.
> What was it like collaborating with Danny
> Elfman on the score?
> Tate Taylor: It was a dream. He’s such a master
> and his work speaks for itself. We had a blast. We
> took chances, and I told him to go as crazy as he
> wanted. He’s fantastic and became a great
Danny on the loose is usually a good thing.