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I haven’t seen the movie yet, so I don’t know how badly butchered the score is but I’ve heard a lot of people praise the music in the movie. I find that funny since “Spider-Man 2” got the opposite reaction. And in “Terminator Salvation” where his score is over-shadowed by the sound effects, people couldn’t even remember the music. So, this is the first time since like “Charlie and the Chooclate Factory” where I’ve heard people enjoy his music.
If Elfman quotes something, no matter how small, I don’t believe he’s consciously doing it.
I think whenever Elfman is over-booked he tends to…not try as hard. Take 1990, for example. “Nightbreed,” “Dick Tracy,” “Darkman,” and the TV theme for “The Flash” have too much in common. So, I wouldn’t put it past Elfman to rip-off Bernard Herrmann whenever he needs to wrap things up quickly. Herrmann’s “Farenheit 451” score is one Elfman loves to quote. It has popped up in most of his scores.
As for John Williams. It goes beyond “King’s Row.” He also ripped off Gustav Holst’s “The Planets.” But…then again…so has everyone.
It’s funny, because Hulk came out in ’03 and the Hulk main theme is in Superman Returns (for that matter, as was music from Legends of the Fall and Witches of Eastwick).
Let’s not get started on ripping off. Danny Elfman has ripped off as well. And even John Williams!
I think the reason Elfman is even doing Green Hornet is because of Michel Gondry.
No doubt, but it’s also comfort zone for him. It’s another high-profile comic book hero movie. After 20 years I think he can do those in his sleep.
And don’t forget that Captain America
I haven’t, but that’s up to whether or not he wants to work with Joe Johnston again…and vice versa. Or whether or not, Marvel, thinks he can do it. Around 2002-03, Marvel was in love with Elfman but I think that has past. John Ottman kinda took over but I think that time has past as well. I think they’ll be looking for the composer who could rip-off John Williams the best.
Ottman’s Superman score was sort of stuck in temp track purgatory. And his X-men score didn’t really leave an impression on me, either..
“Superman Returns” was the best score of 2006. And X2 was one of the best in 2003. Next to Michael Giacchino, whose quickly becoming the IT composer in Hollywood, John Ottman is the best. The problem with Ottman is that he’s also a film editor and director, so sometimes he’s a bit distracted. But when he hits a home run he hits a home room.
Please no more superhero film.
Blame John Ottman. He was supposed to be his successor, but has been slacking off for the past 3 years. With the Green Hornet set for December, it seems like Elfman is not done with the genre. After 20 years I think Elfman is aware that he’ll never escape superhero/comic book adaptations.Especially when he pioneered the sound for it.
That “Alice Theme” is the most different thing Elfman has done since Hulk. Also, 45 minutes? That sounds rather short.
Oh, cool. I guess Danny and Joe don’t hate each other. Maybe Danny will score Captain America. Let’s keep our fingers crossed.
Our first anniversary is coming up. February 16. Twenty years ago on that day, “Nightbreed” was released in theaters.
Music Composed by Danny Elfman
Conducted by Shirley Walker
Orchestrations by Steve Bartek and Shirley Walker
Vocal Performances by The L.A. Master Chorale
Recorded by Bobby Fernandez and Shawn Murphy / Mixed by Shawn Murphy
Album Produced by Danny Elfman and Steve Bartek“Once again it was time for me to stretch out…Combining dark/fun/sweet/tribal all into one. The great joy in the score for me, other than working for Clive Barker, was being able to use the children’s voices and a whole slew of ethnic drums and instruments together with an orchestra, in an attempt to bring a unique musical tone to the film.”
– Danny ElfmanWhen I listen to Nightbreed, I am almost immediately reminded of the classic children’s story “Where The Wild Things Are” By Maurice Sendak. Equal parts dreamy magic and foreboding monstrous danger, Nightbreed cleverly mixes soothing ethnic percussion, woody riffs and calming choir (both adult and children). Ultimately resulting into a score fully capable of transporting you through visceral action and stunning beauty.
-RyanGB: What was the very last thing you finished on Sunday?
DE: It was this crazy dance that the Mad Hatter does. It’s called the Fudderwacken. That was something we had tried many different approaches before we reached the one that is in the movie.
Is Danny Elfman gonna write something about Shirley Walker that Ryan is never gonna get around to posting?
Yeah, they shot the movie in England so it seems odd that Elfman didn’t score the movie there. Then again…the movie was in post-production for like a year. So, I assume at one point they moved the production to L.A.
Alice Reprise? So, instead of using the theme within another composition he just used the theme over and over agin with different arrangements? Interesting. And very different for Elfman.
Well, considering all the controversy one should be investigating. Has anyone close to the movie said anything?
Here’s 7 clips from the movie…with Elfman music:
http://www.shocktillyoudrop.com/films.php?id=665Two suites? Interesting. How much of this music is actually in the movie? Is this another “Spider-Man 2” or we have nothing to worry about?
I hope that is similar in style as his Mission: Impossible score but with a more tongue in cheek approach.
I highly doubt he’s going in that direction. Why? Because I don’t think that’s the reason Gondry and Rogen (whose a writer/producer on the film) hired him. To begin with, “The Green Hornet” is rooted in jazz as a result of the iconic theme score from the series. Elfman loves jazz. Secondly, it’s a pulp hero like Dick Tracy. Elfman scored Warren Beatty’s adaptation of Dick Tracy. And, finally, Elfman is the superhero guy.
So, I see it being a combination of the following three…in STYLE/GENRE that is:
