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Clip with music:
https://www.youtube.com/watch?v=Ww5JGEKyGjw
That’s Brian Tyler’s Iron Man 3 music in the beginning of the clip. The rest? I don’t know.
Danny Elfman using additional composers is nothing new. Shirley Walker wrote some cues for Dick Tracy and Jonathan Sheffer wrote the helicopter action scene in Darkman. But I agree with Danny Biker. Elfman shouldn’t need additional composers for movies like American Hustle, Big Eyes and 50 Shades. That’s very weird.
Hans Zimmer is producing the score for Terminator Genisys. Lorne Balfe is composing. So once again… Hans Zimmer is involved in a franchise that Danny Elfman also worked on.
DannyBiker Wrote:
> 2008 could be my favouriteCall me old fashioned, but 1989 is arguably the standout year for Elfman. He composed the score for Batman and wrote the theme’s for The Simpsons and Tales of the Crypt.
Lambegue Wrote:
> I don’t know “Hot to Trot” so well (only the
> suites on “Music for a darkened theatre”, have you
> heard any more of it, Descent Into Mystery ?).I’ve seen the movie. The music is a sister to Back to School.
> I’ll add another year to the list :
> 2008
> Milk
> Hellboy II : the golden army
> Wanted
> Standard Operating Procedure
> And “Wolfman”. Even if the movie was out only two
> years later, Elfman wrote the music in 2008…In
> the movie, quite a lot of additional music was
> written in 2009-10 to match with the re-editing,
> and Elfman had no part in it (probably working on
> other projects, or not willing to bother with this
> after the producer talked of replacing him by Paul
> Haslinger…). But on the final album, it seems as
> if the majority of what we have is Elfman’s
> stuff.I agree. 2008 was a great year. Wanted and The Wolfman are among my favorite “modern day” Elfman scores.
rkeaveney Wrote:
> 89-93 is my favourite Elfman periodYeah. My favorite Elfman period is 1985 through 1994. I love everything he composed during those 9 years. Even when he repeated himself, it was still fun to listen to.
Ryan, quick question. Do you still run those other composer websites? Maybe I’m wrong but I recall you running fan sites for other musicians. If those still exist, maybe you can combine everything into one site. It might bring in more traffic and make the message board more diverse.
Did Danny Elfman pull a Hans Zimmer with this movie? He just played around with other people’s music and added his own to make the blend work. But hey, at least he’s honest. He’s calling himself the music editor. You’ll never see Hans Zimmer do that… or even acknowledge the true writers during his interviews. Also… I can’t be the only one getting flashbacks to Spider-Man 2 & 3 with this project. There might not be any bad blood in this movie. I haven’t heard or read anything about Brian Tyler having the door shut in his face or walking out of the project, but he is getting the same treatment. Another composer was brought on board to “fix the mess”. That’s what happened to Danny Elfman in Spider-Man 2, and hilariously, what happened to Christopher Young in Spider-Man 3.
Tim Burton’s go-to costume designer, Colleen Atwood, has designed the costumes for the superheroes in the TV shows Arrow, The Flash and now Supergirl. Check out the Supergirl costume here: http://i.imgur.com/Ogmmx7L.png . And I think it would be awesome if the producers hired Danny Elfman to write the theme for Supergirl. Arrow and The Flash have very generic music. It fits the show, don’t get me wrong, but it’s the same forgettable music we heard on Smallville for 10 seasons. I think it’s time they took some notes from the 1990’s Flash TV show and Batman: The Animated Series and got Elfman on board. If he’s willing to compose additional music for The Avengers: Age of Ultron, I think he would consider this as well.
dag0n Wrote:
> Perhaps, but it could just be at 100% wishful
> thinking ,next poster will see only Danny
> Elfman’s name on it.Yeah… it’s wishful thinking. This sounds more like Army of Darkness situation where Danny composed the “March of the Dead” theme but Joseph Lo Duca did everything else.
lonzoe Wrote:
>Wonder if this means more MCU scores from Elfman?It’s possible he’s being brought back to the Spider-Man franchise.
There’s two big rumors concerning Danny Elfman’s involvement. In the trailer, we hear the villain say “no strings on me” which is a reference to Pinocchio. So it’s being speculated that Elfman was brought in to write some dark 1940’s style music for the bad guy. Something similar to his Oz: The Great and Powerful score. The other big speculation involves Spider-Man, who will now be making appearances in various Marvel movies. It is being said that Spider-Man will have a cameo and Elfman was asked to write a new theme or at least a new version of his old theme.
DEJA VU
James Horner on why he didn’t return for The Amazing Spider-Man 2: “It was just dreadful”
During an interview with James Horner Film Music (via CBR), composer James Horner has revealed why he opted against returning to score this year’s superhero sequel The Amazing Spider-Man 2, stating that the movie “ended up being so terrible” that he simply didn’t want to do it.
“[Director Marc Webb] was very inexperienced and he and I had a very good relationship and the producers had their own opinion. And they didn’t want his input. And then Sony had their own, they just wanted action. To me, the whole thing about doing the first movie was I liked the director and there was a chance to write something for the two lead characters and then she dies in the next movie. But the next movie ended up being so terrible, I didn’t want to do it. It was just dreadful.”
I’ve seen a few “FOR YOUR CONSIDERATION” ads and Danny Elfman’s name is on it. So, I’m glad the Weinstein’s are throwing some support behind the score and not just the Lana Del Rey songs. However… like others have mentioned, I’m not feeling the score. It’s NOT bad, but it’s not what you want from a Tim Burton movie. Then again… I need to watch the movie before arriving at any conclusions. I wasn’t sure about Elfman’s score for Oz: The Great and Powerful, but then I watched the movie and ended up loving the score.
It looks cheap because Burton has nothing to play with. All of his other movies have elaborate sets and action sequences. This one is about real people and the real world. And all the bright colors and filters can’t hide that.
