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I do like melody, but overall I like stuff that doesn’t bore me. “Planet of the Apes” for example isn’t as melodic as other Elfman scores but I still love it. “Spider-Man” isn’t an old-school fanfare like “Batman” or John Williams “Superman” but I still love it.
To each his own, obviously, but “A Simple Plan” is another of his forgettable scores. I rather listen to Carter Burwell’s score for “Fargo”.
Men in Black was nominated, true, but Good Will Hunting was the focus of the evening since the movie itself got other Oscar nominations and even won some awards. And his scores from then till Spider-Man in 2002 reflected more the style of his Good Will Hunting score than Men in Black. Sleepy Hollow and Planet of the Apes being exceptions.
“Proof of Life” was forgettable. “Charlotte’s Web” was a poor man’s “Black Beauty”. “Meet the Robinsons” was forgettable, which, if I recall correctly, we all agreed on back in 2007. “The Kingdom” had a good track or two, but ultimately it sucked.
As for the `90s, Elfman’s “Good Will Hunting” Oscar nomination messed with his head and resulted in some snooze-fest scores at the end of the decade but everything, or almost everything, before that was so great that it made up for it.
So, I’m sticking with `90s > `00s > `80s. Although the `80s and `00s are neck and neck. “Pee-Wee”, “Beetlejuice”, and “Batman” are better than anything he’s done this decade but when talking about the `80s we also have to acknowledge scores like “Summer School” and his band Oingo Boingo which was very hit or miss.
it was okay. some good scores. some bad ones. some happy memories. some drama. it was a mixed bag. The `90s were a better decade for him. And it’s a toss up between this decade and the `80s for second place.
I guess I should have been more specific. I didn’t mean action scores. I was referring to his more kinetic ones. Stuff like Pee-Wee and Beetlejuice. His “slow” scores like Good Will Hunting are boring to me.
EDIT:
Maybe slow is not even the right word. I guess I mean…quiet. His quiet scores. Whatever. You’ve heard Good Will Hunting, so you get what I mean.
DannyBiker, I guess it just comes to preference. I prefer Elfman’s more high-energy scores to his more mellow ones. I’ll take Batman anyday over Good Will Hunting.
Elfman isn’t gonna win. To begin with, Milk wasn’t even that good of a score. Wanted was a million times better. And Milk isn’t the best one among the nominees. Up and Star Trek are better.
The funny thing about that article is that they say he composed Spider-Man 3 when that wasn’t the case at all. Great research team they have over there at MTV. lol. But it’s amusing how political Elfman was. Everyone knows that the answer is “no” but he decided to answer with a “maybe.” Then again, he’s right. You never know. Its been 5 years. I doubt Elfman and Raimi still hate each other. And seeing how Chris Young’s score was also treated badly, I wouldn’t be surpised if they got rid of him. Raimi seems to like him, especially since he hired him for Drag Me to Hell, but I don’t think Sony is too crazy about him.
I remember hearing about this book a few years ago, but forgot to check it out. Are there any others like it?
Speaking of leaks, DannyBiker, whatever happened to your Spider-Man 2 train video? The rest are still there but that one is gone for whatever reason. It was the best. The others suck since they don’t sync it properly.
If Elfman’s music doesn’t get released, it’ll probably be leaked at some point. Well, hopefully. To this day we haven’t heard the rest of his Nacho Libre score. But we did get lucky with Spider-Man 2.
I get what you’re saying, elfboy. On a related note, I was watching Corpse Bride on ABC Family and noticed his credit as “Songs and Score”.
elfboy91, I always thought that “songs and score by” would have been good enough.
Anyway, before this info, I always figured the feud had something to do with “Little Demons”. It seemed odd that Burton wasn’t involved in that as a producer. I figured that Danny gave him the demo and Burton was like, “nah…I don’t think so” and he got mad.
You’re right. Elfman did indeed deserve a story credit. You can listen to the soundtrack and get the entire story.
MORE INTERVIEWS, YA’LL
1988 interview where he discusses being an underdog and briefly shows his work on the “upcoming” Scrooged:
1989 interview where he discusses Prince getting credit for his score of Batman:
1990 interview where he talks about Oingo Boingo and what people classify it as:
Another 1990 interview where he discusses Darkman, winning a Grammy for Batman, and his Emmy nomination for The Simpsons:
1995 interview where he talks about the exclusion of the `60s Batman theme:
