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Excellent response from the fans. I found out that early on Danny was in third place!
They will officially announce the winners on Monday, December 5th.
Williams always had the advantage, and in the album category Sith had a huge margin of victory with 57%. So it definitely made a difference that we voted this weekend and brought Danny from 5 points behind John Williams to 15 points in front for Best Modern Day Composer. It took alot of voters to make those numbers move!
That’s pure sensationalism.
I’ve never found any truth to what that woman is suggesting, that they were fighting over doing the score and decided U2 would just do the songs.The drummer and Bassist from U2 contributed two versions of Lalo’s theme and Danny Elfman was hired to replace Alan Silvestri’s rejected score.
The other soundtrack CD, not the score album, has other songs as well by various artists. Most tracks not in the movie.“During 1995 Larry Mullen and Adam Clayton were both spending time in New York on a break away from U2. During this time they recorded the theme to 1996’s blockbuster movie, Mission: Impossible. The movie soundtrack featured two versions of the title song recorded by Mullen and Clayton. A single was released with additional remixes of these two tracks. The single and the soundtrack were released on U2’s own Mother Records label in Europe, and on Island elsewhere. The song went to the top 10 on the charts around the world, and was a definite success.”
But I did find that Sting called the duo’s 4/4 version of the Mission Impossible theme “crap.”
It takes a long time, but now there’s something extra at the beginning.
I heard.
It’s just a little hard to find. Good luck.
Good, because I really want to punch whoever’s using a camera or whatever over and over again in the otherwise enjoyable bootleg Carnegie Hall recording.
I just watched Hellraiser the other night. I always liked his music for that and used alot of cues from the Hellbound CD for Halloween compilations, but haven’t heard his music in much of anything else. I always wished he would get a chance to do something bigger, Hellbound is glorious.
But this is all really cheesy. Sam violated his respect for one composer by trying to get him to imitate another’s cue, and when Danny quit Sam hired Chris Young only to recycle his Hellraiser cue for use in Spider-Man. That’s an embarassment to everyone involved, whether they know it or not. The filmmmakers, thanks to Sam, have to earn some fans/moviegoers respect again. Fans who really love these kinds of movies and the people who make them; many Elfman fans.
If venom is indeed in the next movie as rumored, I guess I like that fact, but I think the franchise has lost its integrity thanks to Sam Raimi who I really loved when I was a teenager. His style and creativity really inspired me and he represented an individual with a unique and imaginitive vision, and the senibilities to commit them to screen in very exciting and effective ways that took courage and integrity.
Sam Raimi today often seems very weak-minded and weak-willed. With the first Spider-Man he was afraid to use masks even though Spidey has one of the most identifiable and cool-looking costumes ever. He wanted a clear mask for Spider-Man and he was petrified almost by the very concept of a a character in disguise as much as the Green Goblin–a classic and thrilling personification, I will add. He was afraid viewers couldn’t relate to the masked characters and wouldn’t see the movie. That’s what he has evolved into after his experiences with films for bigger studios after his independent work. With films like Darkman and Army of Darkness for Universal he was often reminded of how nervous he made them with his daring ideas most crap-making idiots in Hollywood wouldn’t understand or appreciate. It wore on him and now he’s very paranoid about what he believes will satisfy the audience and the studio. It’s very narrow-minded and I think that’s how it came to a point where someone like Mr. Elfman was taken advantage of. After all, he was replaceable to Raimi in the scheme of preserving his vision where apparently the Hellraiser cue was extremely important to him.
Kevin Smith released a statement a few years ago reminding people that he loved Tim’s films and he’d still be first in line to see his newest film.
Tim Burton wasn’t the only one on the project who didn’t like Kevin’s Superman script.
“If it gets halfway in and doesn’t sound like Elfman and Raimi is unhappy with it is Chris Young going to say, “you want it to sound like Elfman, so go f***ing hire Danny Elfman” and walk out.”
Laughing my ass off.
Maybe the Spider-Man 3 score will be all stock music and credited to a fake shemp!
This time of year (september-October) is traditionally very slow.
Movies will debut at number one with teens of millions rather than 20 and upward.
So looking at the recent box-office slump…
Throw out a typical mundane or even horrible movie and it will conquer the box office reciepts at #1 with an embarassing amount cash like 15 million–
about 10 million this time of year if the Olympics are on TV.A movies opening week box office is a good estimate of half of what it will make in theaters.
Looking at recent movies that opened this weekend, I’ve heard of Doom, but video game movies are box office poison anyway. It’s like those orange-frosted cupcakes Hostess makes for the Halloween season. A novelty. It’s opportunity was to capitalize on the desire for a horror-type movie as Halloween approaches, and it made a typical October debut with 15 mil. Not too bad, they couldn’t have been expecting any better.
The Rock’s new movie I haven’t heard of and from what little I read I would not pay to see it on a big screen. It made around 9 mil.
Next week it should be better. Legend of Zorro, I think will do 14-15 mil at least. Then you have Saw II, that should be about the same. One could easily reduce the other to 10 mil, but I think these are the number one and two movies. Nic Cage has a new movie which looks interesting. 5-10 mil. Hmmm, I feel like I’m betting on the Belmont again. Hide my wallet before I hurt myself.
Come November with Harry Potter, and especially in December with King Kong you’re going to see some serious shit.
Revenge of the Sith, Charlie and the Chocolate Factory, War of the Worlds–these all did well, as did Corpse Bride. And they were all exceptional films. I saw Sith six times and War of the Worlds twice. Wanted to see Charlie again but hated the theater it was at. Give the world something exciting to see and they will see it (again and again even), but most films released don’t even deserve to play on the big screen in a theater, much less make 20 million or more on any given opening weekend.
See you at the Derby.
Something I really noticed was the different sounding version of “First Confrontation” in the end credits of Shadows of the Bat.
I don’t know if it’s a different take or something new.
For all I know it just sounds better because it’s equalized or mixed differently,
which is very likely.I think a re-release of the Batman scores would be great, with improved sound;
whatever bitrate that is now. I’ve always noticed the levels of the CDs are a bit low.One possibility is a multi-disc set. Both scores in their entirety, with alternate cues as well.
It would have a well-written booklet . Definitely an essay on Elfman’s score and the movie. Possibly explainations of each cue.That has been done before with the original three Star Wars scores.
On CD the tracks from the Batman scores don’t really leave much to be desired.
I support the idea as an audiophile. I’ve listened to these scores since they came out, I had the first one on tape even. And I do believe the audio quality as it is now is not its best.We’re four years away from the 20th anniversary of these films.
(How did I get this old?)
It would be cool for something special to happen.You know, Danny has shown no intent on his own to produce score albums,
Special Editions, and even another Music For A Darkened Theater.
From what he said on the MSN interview he would be happy to compile such things, but no one from a label has asked him to do it.I think we all realise there is a ton of stuff we want on an official MFADT 3. Someone needs to be encouraged to produce it.
Maybe we need to collectively campaign for a new Music For A Darkened Theater.
I’m ready when you are…–Ghost
Unfortunately Sam is very comfortable with his ambitions serving the studios and production companies rather than an artist and friend like Danny Elfman.
This isn’t the same kind of guy who made the Evil Dead films, or even Darkman.
He was once my favorite director, he was a creative visionary and I could expect originality from him, which took risk on his part.
When it was announced he would direct Spider-Man I was thrilled, he was my choice for anything.
Now Sam makes movies for a studio and he is very shrewd about producing a product with minimal risk and anxiety, relying on conventionalities for security and profit.Think about the lack of consideration towards Danny. What if Danny copied the Hellraiser cue just to stay on the project and get it done?
Then everybody’s going “Oh now Elfman is copying Christopher Young. He’s not even writing his own cues now.”
Danny doesn’t even want to copy himself and repeat a sequel score with no originality. Then Raimi is going to use cues from the first movie in the new one where Danny has already composed original music?
“Now Elfman is just recycling his music from Spider-Man one…”There’s no point in Danny working for a director who no longer has enthusiasm for his original work and creativity.
If Sam apologised to Mr. Elfman and sincerely understood what he did to Danny was wrong–and stupid–then he might begin to earn his trust again.
I wonder what composer wants to walk into this hornet’s nest now? I’m sure these guys have followed this rather dramatic story. Who wants to score the next Spider-Man movie knowing the circumstances of Spider-Man 2? On one hand does another composer respect and admire Danny Elfman enough to think it in bad taste to replace him, and on the other hand who wants to be instructed to imitate other composers including Danny Elfman?
Well, there’s always some hack.
Wow, whatever that music is it’s very annoying. I couldn’t get out of that site fast enough to get away from it.
Danny said he hadn’t seen anything from the movie yet in the recent interview on suicidegirls.com.
I’m hungry all of a sudden. Who else wants some bacon?
It’s a very exciting day. Batman was the first Elfman album I bought, and I hadn’t even seen the movie yet, but I loved Beetlejuice. And for a kid who mostly listened to heavy metal or the Cure (Disintegration came out the same year) it was unusual, but I swear I listened to Elfman every night.
I wasn’t that entertained by Batman Begins as I was with Burton’s films, I liked the first third of Batman Begins, then I lost interest. Michael Keaton is my favorite Batman, he could express himself behind that mask so well, he was just so cool that the debate over his height is really laughable now. He had a great presence.
For all the passionate championing of Begins being so faithful to the comics and conquering Burton’s twisted vision, it just isn’t so. Batman Begins is not Frank Miller’s Year One. The Joker in Burton’s film is being derided because he was “Jack Napier” who killed Bruce Wayne’s parents. Well, I tell you what, I’ve read all kinds of Batman origins and that’s a damn site better than the Red Hood running around–and you are not going to see the Red Hood in the next Batman movie, what then? Batman Begins takes as many liberties as Burton’s film, and in the end result I think Burton’s were more effective and memorable.
I like Goldenthal, and I listened to his Batman Forever theme again the other week, it ‘s cool. I checked out the Batman Begins score again because I saw it measured over Elfman’s score by a bunch of geeks and I thought maybe I missed something because I didn’t remember it at all. Well, I liked the percussive sound of the main titles or whatever it was supposed to be, but musically it failed to fuel my imagination at all.
That is the power of Elfman’s score. It’s very dynamic, exciting, and unforgettable. And I like the love theme written by Prince and his Father, John L. Nelson, and what Elfman does with that. I think I’m partial to the original score, probably because it’s the one I spent more time with on its own before there was Returns, and which distinctly developed my musical appreciations, my imagination, and my affinity for Mr. Elfman.
Finally, and most importantly, that kid Katie Holmes has nothing on Kim Bassinger.
Shirley Walker did do a great Batman score–
For the animated movie, Batman: Mask of the Phantasm.It did not use Elfman’s themes, but it is very cool.
Hmmm, maybe he should have hired John Debney and Christopher Young….
I wonder what the debate was over.
I wasn’t hounding the internet and following what was happening with Spider-Man 2
so I was surprised when I saw the movie and recognised Christopher Young’s music,
but this is insane:ELFMAN:” They wanted this one cue that was basically from Hellraiser and I was like “I can’t get any closer and I’m not going to imitate [Hellraiser composer] Christopher Young. Go fucking hire Christopher Young.” So they hired Christopher Young to do a cue like Hellraiser and he couldn’t get close enough to Hellraiser so they ended up licensing the cue from Hellraiser.”
Wow.
And Sam Raimi has become this shrewd a film-maker, that really sucks.
But I like the first two Hellraiser scores.
After Boingo? you mean “Don’t Fear the Reaper”? The Blue Oyster Cult cover from The Frighteners? It’s on the CD. (Performed by The Mutton Birds)
A vulgar film score?
Oh my.Ottman’s X-2 score wasn’t very Elfman, it was more in the Jerry Goldsmith and John Williams tradition, which is a very enjoyable one.
I agree, Kamen wrote the most original score for superheroes.
Where other composers would envigorate an audience with wonderful and melodic themes, Kamen proved he could achieve new depths of banality with unidentifiable, forgettable, and unmoving pieces of music.The crap Kamen did for X-Men did nothing for the movie, much less its audience.
In the context of the X-Men film score the music’s vagueness is its only complexity.
It’s one of the most unfortunate superhero film scores ever, it makes the movie even more boring than it already is.Ottman’s score to X-2 was fantastic, it’s a shame he won’t be continuing with X-3.
I even saw one review online where the critic called it a sequel to Beetlejuice!
As far as Ebert and Roeper,
they take fair turns in proving they both have equally bad taste.
Many find Richard Roeper’s reviews “forgettable”.
The demos didn’t blow me away, but the Coprse songs grew on me.
And the final versions of these 4 songs in the film and on CD are pretty damn good.
The most annoying review for me was on Amazon,
this cat said something about Remains of the Day being too zany just for the sake of it.
It’s a song sung by an animated skeleton in a dark romantic comedy.
It is zany, get over it.–Ghosty
This is all I found:
Reel Time Special: The Career of Danny Elfman
Cinemagic – XM 27
Friday 8/5/ @ 6PM ET
Cinemagic’s Dave Z talks to musician/composer Danny Elfman (Batman, Edward Scissorhands, Charlie and the Chocolate Factory) about his illustrious career- from his early days in The Mystic Knights of Oingo Boingo to his on-going career as one of today’s top composers.With a repeat the following Tuesday at nine.
Haven’t found any quotes from the interview.
X-M 27 is also available online.–Ghosty
KALW interview hosted by Anthony Svejda if I remember correctly.
Thanks, I caught that one and set up an mp3, but it was 15 minutes into it.
Does anyone have them both in full?When I turned it on Spider-Man was playing, I didn’t catch his remarks on it.
It was a pretty standard overview, stuff we’ve heard before in commentaries.
The most interesting thing was how he met Bridget at a party while working on Red Dragon.
They talked about film music and Bernard Hermann.–Ghosty
