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Thank you for being the only one to love CHARLIE as much as me. I thought it was one of his best! Obviously i’m one of the only ones with that opinion!
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I forgot about how much I didn’t like this movie.. Look at him.. I never believed he was in high school.. I mean.. he’s small but he doesn’t look like a high schooler. The movie was cheesy. But I’d still watch it if it was on.
I think it does. When the French Horns get the melody the second time, it sounded very Elfmanesque. The style is a bit different but it’s a cool find!
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True.. also you should take into account that MIB was nominated under the Best Score Musical or Comedy and GWH was nominated under Best Original Score, in the same year. The Best Score Musical or Comedy was only around for about 2 years prior and only lasted for a year after that. It never seemed like a good enough nomination, I guess, to keep around. Though, maybe if they would have, Elfman could’ve won for CHICAGO.
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I feel like I’m dogging on DECENT INTO MYSTERY now but I totally disagree. There was a big argument about which decade or era in Elfman’s career was his high point and a lot of people kept saying that he fell off the map in the late 90s which is kinda true. I think the 00s were a more balanced decade throughout. I would go 00s, 90s, 80s. Therefor, he keeps getting better. At least that’s my opinion!
Sorry Decent, don’t mean to be picking on you.
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Or write all new music because Ryan keeps suggesting that there will be Wolfman music to hear… Maybe?
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Yes it does… but I thought we were discussing more action ish scores to more mello scores.. Edward is way mello… I can fall asleep to it.
But, you’re right, of course there are times where it is very upbeat.
I think CORALINE should have been nominated… I find it to be just as good as UP! My choice is UP but knowing the GRAMMYs you can never tell who wins.. For all we know STAR TREK could win it.
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Yes but this is the only one about Danny Elfman. There are other great ones out there.
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Yeah.. I read it a couple years ago and didn’t understand all of the technical stuff.. then I took Music Theory at my high school and I read it again and a lot of it made sense. I find myself going back to it whenever I sit down and listen to the score. Great book!
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I know right.. I also got CAPRICA, TRICK ‘r TREAT, and BATMAN MASK OF THE PHANTASM.. all Free.. I got some good friends..
btw.. if you haven’t heard Trick ‘r Treat yet.. it’s awesome.. very Herrmann-esque.. and Elfman is mentioned in the liner notes…
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A film composer friend of mine gave me a free copy a couple of weeks ago and I haven’t had a lot of time to listen to it yet. I don’t mean to come off as grumpy but i was just wondering if it was any good.
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Descent Into Mystery, I understand.. but this was in the time of the big “Disney Renaissance” which had a lot of Classic animated films that Alan Menken collaborated with lyricists, as well as a few other musicians. Therefore it would be very appropriate during that time to acknowledge that Elfman did both music and lyrics by himself! Just sayin’…
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Not really… if you think about it… “Score, Original Lyrics and Music by..” seems too long.. I think it works out the way it is.
I hate when threads are popular but they have long-ass titles… maybe it’s just me. It’s kinda funny!
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I wasn’t talking about their concert works… We aren’t arguing about Concert works. We’re here for the Film music stuff. You want to compare every single work Williams or Korngold has done, Elfman has a long way to go.
What I was talking about was the JOB Elfman has and how it effects his music. He does not have complete freedom.
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WARNING!!!
>>> RANT!!!So we are arguing about the quality of Elfman’s music for movies, right?
Um…. can I bring up the point(unless it’s already been brought up… too tired to read every single word)… that Elfman does not have COMPLETE freedom… because, It is not HIS movies he’s scoring.. he’s doing a job. He is collaborating to fit the needs of someone else’s vision! He can’t express himself fully as a composer… that is why Serenada Schizophrana was so freaking awesome. He was commissioned to write a piece of music but they didn’t have specific requirements.
I think that is a big part of it.
Now some may argue this point. He DOES have a lot more freedom with Burton, Raimi, etc.. Yes he does. Your right. But Tim Burton and Sam Raimi don’t keep making the same movies… We don’t see more BATMANS or DARKMANS or EDWARDS…The film makers’ films change. It’s what they want to do. What they feel like! Elfman has to do different movies with these people. You don’t get the same product. It changes. Of course CORPSE BRIDE isn’t going to be like NIGHTMARE. They are totally different. So what, they are both Stop Motion Animation… that doesn’t mean they are similar in quality.. Especially when it comes to the music. And You cannot compare BLACK BEAUTY to CHARLOTTE… Completely different… “they both have talking animals in them“… but not similar. Sorry.
Yes, Decent Into Mystery, You are correct that 85-94 was an AMAZING period! But that is not his PRIME. A film composer can have no prime. He isn’t a regular composer… He’s a film composer. The same can be said for Williams, Steiner, Herrmann, Korngold, Newman(all 50 trillion Newmans)… etc.! They work for other people. Every composer has a time in their life were they can dish out greatness, but it does not mean they don’t stay consistent as a composer.
In my mind, it all comes down to the versatility of the composers. Elfman is amazing when it comes the being versatile. He does the work he is called to do, and he does it well.
Of course this is all opinionated. You can sit here and argue that BATMAN is better that BATMAN RETURNS or EDWARD SCISSORHANDS is better than BLACK BEAUTY, but it’s all pointless in the end. Elfman is a great composer who knows what he is doing and has not changed in excellence for 1 minute. You can love old Elfman, you can love new Elfman. It’s up to you. But I think, all around, from 1985 to today(and for the rest of his career), Elfman is in his Prime!
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