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I was expecting “Meet The Robinsons” to be a very minor and forgettable Elfman score. I have the cd for a couple days now and it turned out to be one of Elfman’s most…..minor and forgettable score.
I’m pretty sure the music will work fine in the movie but as a cd, it just never gets anywhere. In terms of orchestration, there’s nothing we never heard in recent Elfman’s efforts. Even the main theme is a complete rip-off of his Corpse Bride’s theme. I like when Elfman develops a melody or motifs throughout several scores but here, he’s basically copying himself.Let’s hope The Kingdom will lead us to different (new ?) territories…
Thank you ! Two nice analysis of who I consider the most important film composer of all time…
I wonder though how long these kind of videos will be allowed on youtube. I’m pretty sure that in one year, we’ll only be able to upload home made videos…
That’s exactly my point of view. Yes, I’ll miss Elfman but if Young has been chosen, I would have preferred to see him being able to develop his work throughout the film…
While we finally got the opportunity to listen to the entire score he wrote for Spider-Man 2, I highly doubt we’ll ever hear those new themes. Maybe the same day, we’ll hear what he wrote for his wedding !
“It’s interesting that the first two scenes contain Elfman music that Raimi rejected from the second movie.”
I noticed that. So we’ll get new material in a way, lol.
As for Young’s music : it sounds a LOT like the cue he wrote for the train sequence. Huge brass blasts, nervous ostanti, silence, then a huge brass blast and then nervous ostanti. Except ‘this time he had several months to write this…hem.
That’s col legno with some other percussion. Like Knight said, it’s a pretty common technique nowadays.
Children of Men should have won every single category (yes, even best short animated film !). It’s a shame this movie didn’t get the recognition it deserved. I’m pretty sure though it will end up being considered as a classic in five years, the Blade Runner of our time…
I was never a fan of the Silence of The Lambs in the first place so you can imagine how I never cared for these se-, pre-, post-, ante-, reverse-quels…
And let’s not forget that Dante Ferretti worked with Pasolini, Fellini, Scola and Ferreri. I don’t think many people can say that nowadays…
I read somewhere (don’t ask me for the source, I don’t remember….maybe a mid 90’s number of the french magazine “Les Cahiers du Cinéma”) that he had several meetings with him. But I don’t know if Goldsmith was a fan.
Yeah great work Ryan, thanks !
I have a question though : is it possible to go back to the main page once you’re in a category ?I’ll give the score other chances, of course (it’s Danny, you know !).
I know that Elfman’s method is all about variations on one or two main themes (with some real achievements : Spider-Man or Corpse Bride) but in this one, I really feel like the orchestration is repeating itself over and over again. It might be that this is not my favorite type of orchestration; as an instance, I absolutely recognize Black Beauty’s amazing qualities but the score never actually moved me due to the traditional sound of it.
And Elfman’s approach for Charlotte’s Web is close to the one he adopted for the Caroline Thompson movie. So, maybe it’s just a matter of taste.About Big Fish…well, just think of the complete opposite of what you wrote and you have my point of view !
Except for the length of the album of course.Anyway, even if I doubt that the score will become one of my favorites in a near future, it’ll certainly grow on me. I hope I’ll end up finding what you hear in it.
So I’m listening to the score since yesterday and I must say that it sounds like the weakest Elfman’s effort in years. Yes, it’s all sweet and nice but also very (too) professional. The themes are pretty redundant if you have listen to his scores since 2002 (although the main theme is quite good, something between Victor’s Theme and Factory/Improv for Alto Sax). It’s quite obvious that Elfman didn’t try anything on this film. While I’m sure that the score will work very well within the film (and therefore gain in interest on album), there aren’t great moments enough to keep you alert during the 45 minutes it lasts. “In the Mud” or “The Plan Begins” do what they can to wake you up but there are lost into too many bucolic strings.
I must disagree with John Mullin (on the FSM board), I put this score way below Big Fish, one of Elfman’s most brilliant score considering the challenge it represented. It might sound a little mean but Charlotte’s Web looks like a compilation of Big Fish’s leftovers to me.Thank God the Serenada has been released this year, 2006 would have been quite a poor Elfman year.
So, nothing terrible but certainly not a score I’ll listen for months (even for days).
Of course, this is only my opinion and I’m sure many will like this one !I’d be interested but it all depends on the shipping costs (I’m in Belgium). Paypal wouldn’t be a problem…
Exactly, he wrote the score for The Battleship Potemkin, one of the most important film in the history of cinema. So it could have been that one…
