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Tim Burton isn’t Pixar material. Heck, he isn’t even Disney material. The man should have never left Warner Bros. With the exception of “Edward Scissorhands”, all his best movies were made at WB.
I think that Scott Pilgrim is mostly gonna be songs, but a track or two of score music could work as well. And since Danny surprised everyone by contributing one single track in Kick-Ass then anything is possible.
Sometimes…Danny is more interested in the filmmaker than the film itself. Like, for example, he would never have considered a Green Hornet movie starring Seth Rogen if it wasn’t for Michel Gondry.
Our second anniversary is coming up. June 15. Twenty years ago on that date, Dick Tracy was released.
Music Composed by Danny Elfman
Conducted by Shirley Walker
Orchestrations by Steve Bartek, Additional Orchestrations by Shirley Walker and Jack Hayes
Recorded by Dennis Sands, Album Mixed by Shawn Murphy
Album Produced by Danny Elfman, Steve Bartek and Bob Badami“Mr. Beatty’s colorful dreamscape and characters gave me a much desired chance to write something big, old-fashioned romanticism on a grand scale. I tip my hat to Mr. Gershwin on this one.“
– Danny Elfman
Dick Tracy, to me, has never been a terribly personal or favorite score. Probably due to the film being a snooze, Danny Elfman tries to work overtime to inject some sort of vigor into the lavish Disney film directed and starring Warren Beatty as Tracy.
The score marks and interesting evolution of Danny Elfman’s style in that it’s precise cues, which are extremely dependent on the film’s action, are somewhat new. Danny’s previous scores were always detailed in their accompaniment to the action, but Dick Tracy seems to be the point where scores like Batman Returns were born.
– Ryan
It’ll be one of Media Venure’s composers. No doubt about that. Klaus Badelt actually scored the 2007 animated flick. So, someone like him should be expected.
Michael Bay is producing the new Ninja Turtles movie. So, that’s another job that Elfman loses to Hans Zimmer and Media Venures.
I saw an ad today for the DVD and Blu-Ray that said it was an expanded director’s cut. Does that mean more Danny Elfman music?
direct link:
http://www.amazon.co.uk/gp/product/B003MP57EE/ref=dm_dp_trk13/278-4809542-0542519I still wonder how Elfman got himself involved.
That Zimmer credits his coworkers – whether for actually composing work or more remote stuff like music editing – is a positive thing, not a negative!
Is Zack Hemsey one of his “additional” composers? He’s the one who composed the music for the trailer:
Matthew Vaughn is directing X-Men: First Class. So, if Elfman did indeed contribute a track to Kick-Ass then perhaps he’ll be considered for this gig.
Strange…that’s the first time I’ve seen someone criticizing someone for actually being prolific! The mind boggles…
How is Hans Zimmer prolific when he has an army of people doing the work for him? Remember how he was ALMOST disqualified by the Oscars for The Dark Knight because they had to investigate how much music he actually composed? So, even Hollywood makes no secret that Zimmer is a hack. They just hire him because he’s a factory of music.
It’s funny, that’s exactly what the Elfman-haters say about Danny.
When was Danny a music hugger? On average he scores like 2-3 movies a year. Hans Zimmer, on average, scores like 5-7 movies and then “produces” another 5-7 movies per years. That’s 10-14 movies a year that has Hans Zimmer involved in some shape or form.
Isn’t Ryan a music critic? I’m sure he’ll tell you how sick and tired he’s of Hans Zimmer by now.
I don’t think Danny would have had very much freedom under Nolan’s watch, considering all of his movie’s have very similar scores.
Sort of. When he worked with David Julian it all sounded the same. But now he’s working with Hans Zimmer, which is different from Julian, but is generic as well.
Man, I don’t think any director today would buy into that Goldsmith score. It’s way too progressive. How ironic.
So, I guess we’re stuck with another Hans Zimmer score.
If history repeats itself then Elfman will return to score the third film using a jazzy funk sound.
What?
