Forum Replies Created
- Posts
Spider-Fan, sometimes I’m under the impression that you want Elfman to score every single superhero film. He has done so many that I’m not really excited to see him work on those projects anymore, as good as he is when he composes for the genre. What would be the artistic challenge for him to work on a summer blockbuster with the director of The Transporter ? Money maybe, but he can do better than that.
I really wish he’ll go back for more subtle and off-Hollywood projects (like he did in the mid 90’s) or continue with his concert work.
I don’t mind the change at 2:40, in fact, I wish we got more variations of that kind as slight as it is. I’m much more sceptical about the way the string anticipate the brass section at 2:52. It’s quite pointless and really feels “wrong” even if it’s tolerable musically speaking…
>> “Elfman managed to make the Doc Ock Theme last a out the same length as the Goblin theme in the first movie’s titles”
I read that comment quite often but I still don’t hear the Goblin theme in Spider-Man 1 Main Titles. I guess you are talking about the part at 1:20 but to me it’s just another Spider-Man theme variation, only a partial one that keeps repeating.
The confusion may come from the fact that Elfman plays the Green Goblin Theme on an equivalent rythm and orchestration in the End Credits.I see…
Well to me that’s just a very classical variation around the main theme harmonics, a simple heroic sentence. In terms of these heroic variations, I actually prefer the one that follows the one you are referring to in Spider-Man 1 Main Titles (at 2:11 to 2:19). It leads the melody to new and more unexpected harmonics.But I really consider those variations very minor in relation to the main Spider-Man theme, analysed in the FSM podcast. That’s the real Spider-Man theme to me because of its versatility and its slow but powerful progression…
I’m not sure to follow you Spider-Fan, they did analyse the main Spider-Man theme…
What theme are you talking about ?The Prokofiev motif is a very popular one in film music, many composers borrowed it through the decades…
John August (screenwriter for Big Fish, Charlie & Corpse Bride) comments about the screenplay of the film :
http://johnaugust.com/archives/2007/…of-coincidence
I completely agree with him…
>> “He was asked to adapt Elfman’s theme.
Ryan”
Eh ? Are you saying that Young was asked to adapt Elfman’s theme for Sandman ? I thought Elfman didn’t deliver his themes in time or that Raimi wasn’t interested by them. Am I misunderstading your post ?
I completely agree with you Spider-Fan. I didn’t even want to write a review as I felt that I already lost two hours of my life watching the film.
Thanks !What an awful music for an awful film. I still don’t believe that this was made by the same team that brought us Spider-Man 1 and 2. Let’s pray God it fails at box-office, it really hurts to see a director completely destruct what he build during several years.
As for the music: it’s a Spider-Man 2 situation. Young’s music is generic when not ridiculous and the new orchestrations are bland when not way too melodramatic. To summarize the absurdity of what became Spider-Man’s music: there are several cues that were rejected for the second film that are back in this third episode (Young even quote the theme of the Theater Montage cue !).
If you want to see what happens when people go crazy in Hollywood, this is the film you should see. Elfman was SO right to leave Raimi for good. The guy doesn’t know what he’s doing anymore…
A french magazine (Mad Movies) had an Elfman interview last month about The Kingdom where he says that he used a lot of samples and percussions of his own, so maybe Wisdow is not that far…
Well actually there is, the cue almost starts with a dark version of Spider-Man’s theme but I’m not convinced by it…
My God the “Crane” clip was horrid. It’s symptomatic of the disaster the temp-tracking technique provoked in the film music business. By watching the video, you can tell exactly what happened: they wanted to go with a “no music” scene with the usual deep sounds (the crane) responding to high pitched sounds (the screams) with some cheap effects (the heart beat); if you ask me, it’s a pretty vulgar way to conceive a sound mix. But Spider-Man must get his theme while swinging so let’s put the main title, that should be enough, just ask Young of who ever is writing the score to take off the percussion and change one or two elements of the orchestration, so it’s not exactly the same.
That’s sad. Danny Elfman’s theme for Spider-Man is so versatile; it’s more a motif than a real melody so the possibilities are enormous. If he had the opportunity to write for the scene, it would have been some crazy cue. In fact, he wrote something similar for the first film: when that huge structure was about to fall on a kid during the Parade scene, it seems that Raimi didn’t like his take on the main theme variation he proposed (the one you can hear on the score cd of the first film) and probably asked him to go for a variation that was closer to the main title. So what you can hear in the film now is something based on the main title variation but with a completely different orchestration, fitting to the scene. Not some cheap reediting.Then again, the music would have been rejected anyway. Real sad…
As for the rest of the clips, there’s nothing that really impresses me but I’ll have to hear the entire score to give a pertinent opinion.
I made my homework Ryan : apparently, the extra is 5 minutes long.
It seems like they finally nailed what a good extra material around a film score should look and sound like !
