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My mom absolutely loves the old “Rudolph” Christmas special, so one Christmas we found a card that had that creepy Santa from the special saying his “Rudolph, with your nose so bright…” line in his creepy voice. Mom didn’t know the card was going to speak to her and jumped out of her seat. Of course I got all of that on video for posterity. Heh heh heh…. (mine is an evil laugh)
I don’t think Danny would ever do a video game! He has more class than that! Now if you’ll excuse me, I’m going to go listen to Fable….. wait a sec…
This is sort of off the subject, but I didn’t know Carter Burwell was doing the score to “Where the Wild Things Are”! Of course I didn’t know they actually got anywhere onf film version of the story in the frst place! I think he’ll be a good choice, although that was always one of those stories I had hoped Danny would do. Oh well I’ll just have to console myself with Alice next year. Forget console myself, I’ll be dancing in the aisles!
If you can track down the bootleg 2 disc complete score it is totally worth it! For the Chris Young haters, be ye warned; his versions of the train and Doc Ock’s original accident are on there too. I was also able to come accross he complete score to the first Spider-Man as well. I’m not advocating unofficial releases, but in this case I was desperate, plus I already bought the original albums so I did support Elfman monetarily speaking.
I’m so excited! I have always thought Burton would be a good choice to make this into a(nother) film. More importantly, I have always wanted Danny Elfman to write an Alice score. When I was younger and they were showing the Beetlejuice cartoon I would listen to the opening and closing credits and for some reason (dont ask me why) that version of the tune would make me think of Alice in Wonderland. I know Danny isn’t going to write anything like that for this film, but I’m virtualy having a nervous breakdown in anticipation! Why oh why does it have to be a year away?
I don’t mean to be dragging out other franchises. I just have a hard time articulating what I mean and The opening reminded me of the first Star Trek. I don’t want to have a lengthy discourse on the Star Trek films now though.
The most effective moment in Watchmen comes with using Simon and Garfunkel’s “Sound s of Silence” during a funeral. Mr. Bates left absolutely no impression in the movie.
I wasn’t trying to say that Brando was a bad choice. I thought he was very good. And I recgnize how the beginning was to set up the whole savior motif, but to me it’s one of those cases where it’s visually or intellectually interesting, but kind of uninvolving. It’s like Star Trek: The Motion Picture. Very interesting but kind of static at the same time.
I loved the Spirit precisely because it was so silly and not to be taken seriously for a moment. Sam Jackson was hysterical and I actuall thought he and Scarlett Johansson had good chemistry together. Even more amazing, I acutally liked Scarlett Johansson for a change! To be honest, I was worried about the fact that the trailers made it look too much like Sin City, which is something the Spirit is NOT, but when I heard that Newman was scoring the film, I was more intrigued. His score for the Phantom is one of my favorites and His score for the Spirit was one of my favorites from last year. The Batman nods are abundant in the score, but the one that really surprised me was the “Village” -like passage during track 13: “Lorelai “You’re Mine”/Spirit Wants” at the 3:20 mark.
I heard Watchmen for the first time today. The only major Elfman moment I heard in that one was the last cue. It sounded like “Waiting” from the Kingdom. I’m not overly enthused about the score at present, but that last cue made me wonder what Elfman would have done with Watchmen.
I wasn’t trying to imply that they were similar, just that Batman was much more economical with its story, while Superman, perhaps intentionally, was allowed to ramble through the origin. I think the only reason Krypton takes so long is because of Marlon Brando, He was the biggest name in the cast and they wanted to capitalize on that, but I think it hurts the film.
Superman: the Movie is required viewing if you are a comic book fan or a comic book movie fan. That being said, I think Batman was put together a little better than Superman: the Movie, because the story flows better. In Superman you have three sections, the first section is interesting but univolving, the second section is a little more involving, but it is the third section when you’re actually in Metropolis that the movie, in my opinion, really gets good. In Batman, you’re pulled in right away and the movie never lets go.
I was nine years old. We went to see Batman. At this point in my life I was only aware of Jerry Goldsmith and John Williams in terms of film scoring. Because of Superman:The Movie, I was expecting John Williams to do Batman as well. When the main title started The music hit me like truck! I didn’t care about the cast or the DP or the costumes, I wanted to know who wrote the music. Well, the rest, as they say, is history. My dad bought the score album a few months later when it finally came out. The next Elfman album to become part of the family was Dick Tracy, but that was quite a few years later, when we found it in a bargain bin in Media Play (which is now completely closed in my area. Curses!) Batman Returns soon followed and then I really started collecting Elfman when I found Men in Black a full six months after that movie came out! After that I’ve been slowly but surely adding to my collection and trying to make sure I have every album of his when it first comes out.
I blame all of this on my dad, who got me hooked on film music in the first place and because he’s the one who bought Batman( I’ve since bought my own copy.)
The quotes of Serenada are few and far between in the score. It does have very strong thematic writing and some interesting stylistic choices. In short it wasn’t what I expected and is in my top five scores for 2008.
I saw the movie last saturday, the score as a whole reminded me of Thomas Newman’s score for A Series of Unfortunate Events. Coraline however should have been called “a Series of Uninvolving Events”. I was very disappointed with the film.
From the clips I’ve heard it reminds me more of some of the music from Jean-Pierre Jeunet’s films, like “Delicetessen” or “City of Lost Children” , in tone more than melody.
I wish Elfman would score a treditional western; it’s one of a few genres He hasn’t done yet. Another would be a medieval fantasy or medieval history type of film, and no, one cut for Army of Darkness doesn’t count. I can’t think of any other genres at the moment.
I was playing LEGO Batman the other night and during one level, you had to sort of build a disco arena, once you finished they played a disco version of The Batman Theme. It was both cool and wrong at the same time!
I actually tried his music over both Batman Forever AND Batman and Robin, and in both cases the movie seemed better.
Of course, you couldn’t hear the dialogue….
