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Well, that’s your opinion and you’re definitely entitled to it but I think you’ll find that you’re in the minority with that one. I think you’re off base thinking that only Burton lovers and Sondheim lovers are the one two groups that will enjoy this movie. It’s a great movie.. simple as that. If you want emotional beat, one has only to watch the endings to “Edwars Scissorhands”, “Big Fish” or now “Sweeney Todd”. Can you honestly say that you felt nothing at the end of “Sweeney Todd” especially with that powerful final image. In one single frame Burton captures more emotion than any writer could with a hundred words. Burton is one of the best directors working today and I hope this leads to his first Oscar nomination (as I’m sure it will).
I agree to an extent, but I think this is one of those rare cases where a new version is a great idea for the fact that the original short is known mostly only to Tim Burton fans so the idea to make a feature length stop-motion for a wider audience to see will not only mean that this great story will now be seen by a far greater amount of people but it might even get people to check out the original short who might not have heard of it before.
I certainly hope this is false. I would’ve absolutely LOVED to see Burton tackle this material with a great Elfman score. And I was really looking forward to seeing him work with Jim Carrey. That would’ve been quite a collaboration.
Somebody put up a video of the Main TItles for “Spider-Man 3” online. Maybe somebody can convert the sound to MP3?
http://www.youtube.com/watch?v=aLo7zZaNWlc&mode=related&search=
I agree! His music is excellent! I think the studio must’ve liked what Elfman did as didn’t they use a piece of the score for one of their logos music?
Hook!! If anyone can remember a few notes in the Sandman theme (not the whole theme mind you), compare it with the track “Hook-Napped” of the Hook score. Am I crazy or are they note for note? (and I am absolutely NOT bashing Chris Young or claiming he copied some notes from that score… just pointing out something that stuck out for me)
I have a question that was bothering me about the score the entire movie.
Sandman’s theme. I actually enjoyed it quite a bit. But it sounded so familiar. Specifically, there was a few notes played that sounded like the exact notes from another movie score. Can anyone help me out here?
A re-imaging wouldn’t work in this case. I don’t think people would accept it. For one thing, it had been 20 years since the last Superman film which had totally sunk the franchise. “The Lord of the Rings” will only be 6 years when “The Hobbit” is expected to be released. The films are Academy Award winning Best Pictures. I don’t think people will accept an entirely different world. Changes yes… but a new interpretation? No… the films are too successful for that and it hasn’t been long enough.
As for Ian Holm as Bilbo? I know what you’re getting at and I think a new actor as Bilbo only makes sense as he’s supposed to be MUCH younger in this movie but I think it’s important to bring back Ian McKellen and Andy Serkis as Gandalf and Gollum. It should definitely feel connected to the trilogy as much as it can while still open to the vision of the director. Kind of like Alfonso Cuaron when he did Harry Potter. It was HIS vision but it still respected the world that was already established including keeping the composer and themes. Even the fourth film which didn’t bring back John Williams, kept the themes that were already established..
I think there are quite a few themes that should crossover. The shire and hobbit theme for one. Gollum’s theme. Even the ring theme when it is introduced. The Rivendell theme. It would just make the film that much more rich and in line because while it is a different tone and a smaller story, it is part of the bigger picture. It would be nice to be able to watch “The Hobbit” and “The Lord of the Rings” trilogy and feel as a whole connected.
I agree completely. If anyone should do the score for “The Hobbit” it should be Howard Shore. And if not, his themes should definitely be kept.
7 NEW Clips! Through the clips looks like the themes of Elfman will be re-used quite a bit.
http://iesb.net/index.php?option=com_content&task=view&id=2319&Itemid=99
I don’t think it is Anamorphic for Widescreen TVs. Disney never bothered to do it. Hopefully they will this time.
I agree. Out of ALL the “Spider-Man” films, this is the score I would have LOVED to see him do. Ah well!!
This amazing interview with Elfman pretty much sums it all up by the man himself.
http://suicidegirls.com/words/Danny+Elfman/
DRE: Supposedly about 12 years ago you and Tim had a fight and that’s why you ended up not scoring Ed Wood, is that an exaggeration?
ELFMAN: No, we had one big blow up in our 20 years together and that is true about Ed Wood. We were very upset and we both said we‘d never speak to each other again. It was one of those kinds of moments. But with Tim and I, it’s almost like a family thing. Now with the wisdom of age and hindsight, over a two decade period with our personalities being what they are, it’s inevitable that we’d have to have some kind of meltdown somewhere.
DRE: It had been about ten years up to that point.
ELFMAN: Yeah and we used to joke that we’d end up like Bernard Herrmann and Alfred Hitchcock and sure enough, we did. But fortunately, this is where the family thing comes in, we never disagreed over a piece of music. Let me put it that way.
DRE: It was just over probably nothing.
ELFMAN: It’s too complex to even get into. But these things are never over about one thing. It was probably something that had been building up for years and had to explode. In the year and a half or so that Tim and I didn’t speak, I felt really *beep* It turned out that he didn’t feel very good about it either. So that’s where the family thing comes in because I’ve had fights with my own brother where I vowed I’d never speak to him again. But in the end you’re family and you find yourself missing that person. That’s absolutely what happened with Tim. So it was gratifying to find out that we both felt the same way. While Tim was shooting Mars Attacks, I got this call from a producer saying, “Will Danny ever consider speaking to Tim again?” I was on a plane the next day. We met in a coffee shop in Kansas, hugged, sat down and said, “That was *beep* up.” He said “Let’s forget the whole thing and just move on from this discussion.” I said “Absolutely.” We never spoke of it again and we’ve never had any personal issues again.
DRE: On purpose or it just has never come up again?
ELFMAN: I think it was a learning experience so now I think we’re probably both a little more cautious. We’re both really passionate about what we do so you get smarter about stuff like that. It’s like in a marriage, you know. You go through like a big horrible break up so you get together and you really don’t want that to happen again. Then when you feel your emotions getting all worked up and intense, you step back.
DRE: What do you think of the score to Ed Wood?
ELFMAN: I didn’t really know what to make of it. The whole thing was just weird, so I didn’t really have any objective opinion. I never was even able to like watch the whole thing in one sitting. It just represented a really nasty period. Once again, if you’re in a marriage and there was something in the center of that whole thing, a part of you will never be able to just go and look at that thing because it’s always going to remind you of that really nasty period.
That was a particularly intense time because I’d been on Nightmare for two and a half years then did Batman Returns in the middle of that. It was all this overlapping stuff and a lot of frustrations just kind of blew up. But I’ve had different kinds of disagreements with different directors over the years and there are directors who I don’t want to work with anymore but as intense as it was I’ve never had an unworkable disagreement with Tim over a piece of music. At the end of the day I always got to remember that. I’ve always come out of a Tim Burton movie feeling good even with some of the ones that were really difficult to work on.
I guess what would be interesting is to now hear the rejected Howard Shore score for “King Kong”. Cinescape has posted up an article on the controversy…
I don’t necessarily agree with that. After “Edward” he sure did show he could act and of course bring in a certain audience, but he was in no way a mainstream actor that could open a picture. Before “Pirates of the Caribbean”, his biggest hit was “Sleepy Hollow” which had been his only 100 Million dollar hit. It wasn’t until “Pirates” where he gained that mainstream superstar success. I don’t think Depp would’ve gotten away with some of his choices in “Chocolate Factory” without the success of “Pirates” and I bet if “Sleepy Hollow” was made after “Pirates” they would’ve let him do his whole Ichabod Crane nose and what not.
Thanks for sharing Spider-Man Fan,
I knew things didn’t go too well between the two of them but not to this extent. I sort of assumed that it would be sort of like what happened to Burton and Elfman in the mid-90s, they’d do a movie apart and then patch things up. Seems like this is much, much worse and we might never hear a Raimi/Elfman collaboration again.
There’s a few pictures from the Conference here … http://www.thegate.ca/gallery/thumbnails.php?album=17
Also an article about said event … http://www.ctv.ca/servlet/ArticleNews/mini/CTVNews/1126393524877_45?s_name=tiff2005&no_ads=box
That’s definitely a 2001 reference (music; apes going nuts with the chocolate). Other slight Burton references could be the cutting of the ribbon when Wonka opened his factory is like Edward Scissorhands with the way he is holding out his arms with scissors. The black and white swirl is also on Wonka’s cane.
