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I’m okay with Elfman not scoring this. It wouldn’t be a challenge for him – and it does give Burton a chance to freshen up a bit. Without Depp, Bonham Carter and Elfman, the circle jerk is over – for now.
DannyBiker Wrote:
> I have a feeling they don’t know what to do with
> this film. Which could a very bad or very good
> thing.The same happened with Dark Shadows.
Natrebo Wrote:
> Elfman’s work last year was so diverseIt was diverse but it was also beneath him. Fifty Shades? This is a movie that even his die-hard fans didn’t wanna watch. Avengers 2? Another blockbuster where his score gets drowned by the sound effects. Goosebumps? Maybe if it were based on one of the actual books. The End of the Tour is the only respectable movie he scored last year. That has to change. Danny Elfman used to be one of the top composers in the film industry. Now he’s just getting scraps. These are some movies that Danny Elfman should have been considered for: Bridge of Spies, The Martian, Steve Jobs and Spotlight.
It IS odd that Danny Elfman would work for the Academy Awards considering how often they’ve snubbed him, BUT the Oscars telecast gets a HUGE audience and it’s great exposure for Elfman.
ddddeeee Wrote:
> Have you seen The End of the Tour? Terrific movie.I wasn’t necessarily attacking the movies. I was just criticizing what they offer Danny Elfman. I love Silver Linings Playbook but it was pointless to have Danny Elfman work on it. His contribution ultimately made no different. A film like Room, on the other hand, benefited greatly from the score, whether the audience realized it or not. I would love to see Danny Elfman work on film projects like that. I understand he no longer has passion for blockbusters, and for very valid reasons – even John Williams doesn’t do it anymore unless it’s Spielberg or Star Wars, but if he’s gonna focus on small movies he should get better choices.
lonzoe Wrote:
> Clive Barker’s Nightbreed came out in February of
> that same year. And Walker wrote a cue for that
> film. Elfman was touring then too?I don’t know for sure, but his Oingo Boingo album, Dark at the End of the Tunnel, was also released in February of 1990. It’s possible there was a scheduling conflict with both projects.
> And that’s the
> first I’ve heard about Dick Tracy having
> additional music. You have any proof the music
> from that trailer above was written by Walker
> instead of Elfman?.I don’t have evidence. It was just a guess. As for Walker’s re-writing, you can hear Elfman’s version of the opening in his Darkened Theater album. Walker’s contribution is very small, but it does appear in the actual score album:
https://youtu.be/enMx6RdxUwo?t=52s
edit: 0:53 to 1:25 is Shirley Walker
lonzoe Wrote:
> Well Elfman found time to write music for one of
> the “Edward Scissorhands” trailers, which was
> included on the Intrada expanded reissue album.Edward Scissorhands was released in December. Dick Tracy and Darkman, which both required additional composers, were released in the summer while Danny Elfman was on tour with Oingo Boingo. There’s an interview, probably on this site, where Danny says he was in a hotel room listening on the phone to Shirley Walker re-record the opening scene of Dick Tracy.
rkeaveney Wrote:
> Does the trailer from DICK TRACY count?
>
> https://www.youtube.com/watch?v=-4rzqSsqaqAThat’s probably Shirley Walker. Danny barely finished Dick Tracy due to his crazy schedule. I don’t think he would have written music for a trailer. Unless that’s alternate takes they used.
Wasn’t he also critical about Scrooged? If I recall correctly, didn’t the studio meddle with the movie at the last minute and changed the whole tone. That’s why the score is darker than the movie.
1. The Wolfman (2010) – Assuming it counts, considering the movie’s release date was delayed a million times.
2. Mr. Peabody and Sherman (2014)
3. Oz the Great and Powerful (2013)
4. Epic (2013)
5. The Unknown Known (2013)rkeaveney Wrote:
> I find it somewhat disappointing that
> this score generated very little heat when it was
> released.Because the movie came and went. Unfortunately, in most cases, a film score is only as successful as the movie it’s attached to. Even Black Beauty and Somersby aren’t as famous as they should be. That’s why I like it when a director like Quentin Tarantino uses old music in his films. It puts a spotlight on forgotten scores. I never would have listened to The Grand Duel by Luis Bacalov if he hadn’t included it in Kill Bill.
In Danny Elfman’s case, he just had Midnight Run featured in the new Chipmunk’s movie. It’s not a big deal, but it’s something. We were all stunned when a track from The Kingdom was in Rango and it worked better. Hopefully, there will be more in the future.
boingomusic Wrote:
> I’m confused about 1994 Boingo
> being their most successfull album.
>
> The “Dead Man’s Party” album was the only
> certified GOLD record. So, in terms of sales, this
> is definitely their best selling album. I believe
> “Boingo Alive” was pretty close as well.I think you’re right. Boingo only charted for 3 weeks. It peaking at #71 was probably due to lack of competition. Dark at the End of the Tunnel charted for 14 weeks and peaked at #72. Boingo Alive charted for 11 weeks and peaked at #90. Boi-ngo charted for 16 weeks and peaked at #77. Dead Man’s Party also charted for 16 weeks and peaked at #98. Although, Billboard lists Dead Man’s Party as having two release dates: December 1985 and January 1986. Also, it seems like I misread. Just Another Day is the song that peaked at #85 in 1986. Dead Man’s Party peaked at #45 in 2010 as a digital single.
I’m with Danny Biker. Why not both? Considering Miss Peregrine moved to December, I don’t understand why Danny Elfman couldn’t have scored it. I’m also puzzled by the no-name composers that Tim Burton chose. Howard Shore is a major composer. Love it or hate it, he was a good alternate for Ed Wood. Burton could have used this opportunity to work with another major composer. Michael Giacchino. Alexandre Desplat. Thomas Newman. Etc.
rkeaveney Wrote:
> 1990-1992 Elfman is my favoriteNIGHTBREED (1990)
Steve Bartek – Orchestrator
Shirley Walker – Orchestrator / Conductor / Additional Music
Bob Badami & Sally Boldt- Music Editor
Robert Fernandez & Shawn Murphy – Score MixerDICK TRACY (1990)
Steve Bartek – Orchestrator
Shirley Walker – Orchestrator / Conductor
Bob Badami – Music Editor
Shawn Murphy – Score MixerDARKMAN (1990)
Steve Bartek – Orchestrator
Shirley Walker – Orchestrator / Conductor
Bob Badami – Music Editor
Robert Fernandez & Shawn Murphy – Score Mixer
Jonathan Sheffer – Additional MusicEDWARD SCISSORHANDS (1990)
Steve Bartek – Orchestrator
Shirley Walker – Conductor
Bob Badami – Music Editor
Shawn Murphy – Score MixerARTICLE 99 (1992)
Steve Bartek – Orchestrator
Shirley Walker – Conductor
Bob Badami – Music Editor
Shawn Murphy – Score MixerBATMAN RETURNS (1992)
Steve Bartek – Orchestrator
Jonathan Sheffer – Conductor
Bob Badami & Bill Bernstein – Music Editor
Shawn Murphy – Music Recording Engineerddddeeee Wrote:
> That would be cool.All joking aside, if John Williams were to die, Michael Giacchino would replace him. J.J. Abrams is still a producer on the trilogy and Giacchino is his go-to guy.
This is a strange thing to complain about. Tim Burton makes a movie every 2 or 3 years. Danny Elfman has plenty of time to work with other people and other type of movies. The problem is that Elfman has chosen to focus on a lot of small movies that mainstream audiences ignore. So his Burton scores, and the occasional Sam Raimi scores, are the ones that get attention and create the illusion that he’s stuck doing the same thing.
ddddeeee Wrote:
> Young sounds nothing like ElfmanConsidering the circumstances, I think he did okay. When I watched the movie in theaters, back in 2004, I didn’t even realize that wasn’t Danny Elfman. In fact, the ONLY scene that seemed odd was the Hellraiser-esque music right before Doc Ock becomes Doc Ock. I remember a lot of geeks on the Internet were scratching their head and wondering why Danny Elfman ripped off Hellraiser. That was before any of us knew that Chris Young had worked on the movie. In fact, I don’t think I knew Chris Young worked on Spider-Man 2 until I got the DVD for Christmas and saw his name on the end credits. I don’t remember Ryan or anyone here mentioning Chris Young until Spider-Man 3 rolled around.
DannyBiker Wrote:
> Great video though, much better than the one I
> did…like man, more than 10 years ago already.Time flies! I remember your video had the music in different spots. If I recall correctly, you didn’t use the Spider-Man 2 CD. You had the leaked score. That could explain why your music is slightly different. I know Danny Elfman tends to make small alterations for the album.
rkeaveney Wrote:
> Rented a Blu-ray? From where?
There are two main options. Netflix, they still do disc-by-mail, and Redbox.
Spider-Man 2 train scene
Chris Young and Danny Elfman side-by-side
Score only. No sound effects or dialogue.
https://www.youtube.com/watch?v=a9Cd9pdL6eM
I think it’s obvious that this scene was tough to score and there was probably more music than necessary.
Better late than never.
I finally saw the movie and Danny’s involvement reminded me of Terminator Salvation. Most of the music was buried behind sound effects and only in the quiet scenes is when the music is allowed to breath.
I’ve had the same experience, Danny Biker. At the time, people always complained about the Spider-Man score because it didn’t have that simple and melodic theme like John Williams did in Superman, and I wasted a lot of time arguing with those people. But now, everyone praises the score. I think it’s because people finally have something to compare it to. Back then their only comparison was other superhero movies that required a different type of music. You can’t score Spider-Man the same way you’d score, say, X-Men. Now people have other Spider-Man movies with other composers and they realize the greatness of Elfman’s work.
Has it already been discussed that the album will be digitally released on April 28th (10 days from now) and on CD on May 19th?
When do you guys think we’ll get a preview? Sometime this week? Maybe Tuesday?
