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He said many times that Burton and him were looking for a Kurt Weill’s approach, especially “The Threepenny Opera”.
To my knowledge :
PeeWee’s Big Adventure*
Beetlejuice
Edward Scissorhands*
Mars Attacks !
Planet of the Apes*
Tim Burton’s Corpse Bride
Family Man*
Red Dragon** With Elfman’s commentary
“but the fact that a bunch of them don’t speak English natively means that my shitty jokes usually go unappreciated”
What ?
Well, obviously, Lee didn’t want Elfman to do his usual routine when it comes to superheroes. To me, it’s actually a very intelligent and reasonable approach; he just didn’t want an average score for his film. Pushing someone to try new things, new ideas, is always clever, even though the result might not be a success. I remember Elfman saying that, although it was a bit tense at first (they only had 30 days), he came to like Lee’s vision and I remember Lee complimenting Elfman’s music in the commentary track as well.
Those two were “forced” to work together I guess, so I doubt they will again but that doesn’t mean they didn’t eventually respect each other’s work.
Yeah, I remember reading that.
I read most of his work and I always thought that with all the references he makes to many 80’s bands, Boingo had to pop up.Great novel by the way; maybe its best.
Yeah, I must say that the “instant accessibility” offered by the Internet sometimes makes me melancholic. I remember when I was checking every single cd of the “Film Music” section in various European stores, hoping to find the one it was impossible to get here in Belgium.
Now, a Visa, one click, one week and there you have it. Surely easier but where is the pleasure?I completely agree with you. Even though Danny wrote the famous theme, it’s actually Alf Clausen who gave the Simpsons’ their musical identity. Who never sung a Simpsons’ song on his way to work ?
Too bad for Corpse Bride but I’m not pissed off : it was either Burton & Johnson or either Miyazaki or Park. It was, for once, a very coherent and talended nomination list. As for Danny, I think he’ll never get the recognition he deserves.
Here is my version (I already posted it a year ago) based on Ryan’s work that you’ve seen. Quite similar except for several parts (and the damned anaphormic format !).
The concert work has been recorded :
Besides, I hope the soundtrack cd (if it gets released) will contain the original Serenada and not only the adapted one for the film…
Thanks Ryan !
I have that cd but even though there is obviously much more music than on the official score cd, it’s far from being complete. In fact, all the best parts are missing : the first climbing, the rescue of the kid in the parade scene or the wonderful presentation of the Spidey theme when the cop is trying to arrest him in the fire scene.
My guess is that this is a copy made before the final mix; it was Elfman’s previous ideas that he had to change during the process. So, it’s still rather interesting, ’cause with that, we can actually see how his music can evolve; but if you’re looking for something that would be close to an isolated dvd track, then you’ll be disappointed.>>especially since Danny is apparently going to record the piece with a Belgian orchestra in the next few weeks.
Hey, I live there !
That’s pretty much what I had to say.Good news…
Well, here’s your answer. I was pretty close from the truth :
Well, I don’t think he cares much about it. He said on several occasions that he’s not into comics or super-hero movies at all; I even wonder if he actually saw it. Releasing two movies in a row doesn’t give you a lot of freetime you know…
I read an interview (I think it was in Cinefonia but I’m not sure) where Danny said that Bartek left with him. Rumours of Bartek working on the film’s score on his own seem to be false…
I thought the extras on Planet of the Apes’s dvd were exceptionnal. A commentary track and a 13 minutes featurette, you don’t see that everyday…
I must disagree; Ottman wrote a generic, vulgar superhero score. He tried to match both Elfman’ and Williams’ styles in the genre and only offered poor Ottman.
Kamen wrote the most original score for a superhero (yes, Batman and Superman included !) and never had the credit he deserved while Ottman simplistic work was praised. I guess “catchy themes” will always be more popular that interesting and complex orchestration work. That’s what John Williams did to a whole generation that I don’t feel close with, even though it’s mine…
Anyway….go Lalo !
The film is actually aired right now and I like what I see. Beside Elfman’s contribution, I really appreciate Van Sant’s formal approach. This remake belongs in a museum more than theatres : what happens to a movie 40 years later its release. What can we modify, what can’t we ? Is the addition of the colour changing the perception of it ? Can we recycle a masterpiece ? All those kind of very abstract questions that Warhol, to take a famous example (but there are many others), introduced in our cultural panorama.
This isn’t your ordinary remake, believe me; Van Sant is a far more intelligent and concerned filmmaker than that. But of course, you can dislike or disapprove his approach…
