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I thought He did stray very far from Elfman. The films in general strayed too far from what was set before. In contrast I thought Chris Young tried to stay as close to what Elfman did as much as he could considering He’s not wired the same as Elfman. Goldenthal didn’t even want to use Elfman’s theme let alone copy.I read that Schumacher wanted Goldenthal to use the theme in the first place, but Goldenthal talked him out of it. In hind sight, I’m still on the fence as to whether that was a good thing or not, but It would have lent some degree of continuity. Which is why I’m slow to judge Young.
I hated Goldenthal for many years because of Batman Forever. It was onlyrecently I began to appreciate his work. However Batman Forever is still my least favorite of his. I actually liked the score for Batman And Robin better. Sure it used a lot of previous music, but it seemed to hint at a more somber tone at times, which makes it a pity that it accompanies THAT film.
Granted, I’m not saying Young’s work in Spider-Man 3 is the best piece of music I’ve ever heard, but at least it tried to be respectful.
At the risk of being fileted alive, I actually enjoyed his music, but, with the exception of “Birth of Sandman” I didn’t think it fit the Spiderman sound that Elfman created. If they had given Young a different franchise to work on, say Fantastic Four for example, I don;t think we would have reacted as strongly. To follow Elfman is to tread on sacred ground, just ask Elliot Goldenthal.
Actually you can hear Corpse Bride in Charlotte’s Web AND Meet the Robinsons. And Charlie pops up in the Serenada. Listen to the Golden Ticket/Factory and then Improv for Alto Sax . This isn’t a complaint mind you, I have noticed that there are times when Elfman has written a strong motif it occurs in other places as well. Compare Dad’s Visit or Making Me Angry from Hulk with Doc Ock Is Born from Spiderman 2.
I get the impression that there would be a lot less postings on the internet if all the haters would shut up!
And I’m referring to the people at JWfan, not here. I haven’t got the impression haters post here.
It is sad when you read these message boards and you have these emotionally stunted, inferiority complex suffering, You-have-to-agree-with-my-opinion-or-I’ll-scream-and-swear-a-blue-streak-at -you postings. To quote Brazil “Happiness-We’re all in this together”.
If any of you don’t agree, I’ll Scream and Swear at you!
Hee, hee hee.
Okay. I’m going to switch subjects. I just found a copy of Midnight Run and boy If I didn’t already know that it was done by Danny, I never would have guessed! I know for me, one of the reasons I purchase an Elfman disc is for that signature sound that is in everything he does. I’m also amazed at how diverse he has gotten within that sound, but every so often He does something so atypical of him that it immediately stands out. I had a similar reaction to the Kingdom although not as extreme because it reminded me slightly of Proof Of Life. Now if only someone would release a score for Hot To Trot!
I would just like to add that if I sounded combative just now, I apologize. Iwas reading comments on a different site just now that were close to drawing blood and I think It might have started to rub off on me. The combativeness, not the blood.
I took Nick’s comment to mean the best for jazz FILM SCORING. Jazz for film and jazz in clubs is as different as Orchestral composition for film and Orchestral composition for the concert hall. Take the Serenda Schizophrena for example. Danny was able to develop themes over a period of time. Blue Strings is over ten minutes long! Then listen to Red Dragon. The theme takes about 20 seconds. The demands are different.
I haven’t had a chance to buy this one, but I checked the tracklisting and I’m pleased with the selections. I remeber going nuts over the Two-Face music back when the show was first aired. My friends and I are absolutely nuts over the music for “the Joker’s Favor”. That opening Title Card is absolutely nuts. One of my friends recorded it from the episode and has it for his ringtone.
The score for Hellboy II really had to grow on me considering I loved What Marco Beltrami did in the first one. Once I started to really listen, I fell in love with it fairly quickly. My favorite cue on the album has got to be “Mein Herring” when the choir comes in. No matter how many times I’ve heard it, it cracks me up! Reminds me of Elfman’s earlier writing when He wasn’t afraid to go goofy all of a sudden.
It’s a great film, back before Raimi went hollywood on us, but I agree the score is the best part of the film and hat says a lot for the score! It’ll never happen but I wish someone would release an expanded score for this film. the CD is just too short!
It is! It’s one of the very few non Pixar Computer Animated films to really blow me away!
I’m hoping 9 will do the same.If the Oscars follow suit with the other awards shows, then Slumdog Millionaire will probably win best score.
There is a part of me that hopes Robert Downey Jr. wins for Tropic Thunder. He was the best part of that film hands down! Ledger was phenomenal, but I worry that they will reward him out of sympathy instead of for the acting job he did.
As for all of the other categories? I couldn’t care less. What they need is a “Blockbuster/Escapist Oscar” Ceremony. That one I would watch on the edge of my seat. Then I’d scream in rage because they’d award “The Incredible Hulk” or “Speed Racer” over “Hellboy II” or “Kung Fu Panda”.
I don’t know how he felt about being replaced on Hellboy II. I thought I heard He was busy, but then it sounded like Del Toro went after Danny in the first place and was wondring if there were hard feelings on Beltrami’s part.
Really I should have stressed that I was speculating if Beltrami was referring to Hellboy II as well as this project.
Finally somebody is acknowledging Standard Operating Procedure! In my opinion, that was his best for 2008.
Are you dissin’ Little Women? Or Newsies? Because I know you couldn’t be referring to Transformers… I mean Pirates of the Carribe… erm, Batman.
“Mr. Beatty’s colorful dreamscape and characters gave me a much desired chance to write something big, old-fashioned romanticism on a grand scale. I tip my hat to Mr. Gershwin on this one.” – Danny Elfman, Music For A Darkened Theater, Volume One
I seem to recall Elfman also saying at one point that working for Beatty was insane. I think he meant it in a good way.
This will be cool. I hope he uses Brad Feidel’s theme, but more in line with how he used the Mission Impossible theme for that film. Or even how Marco Beltrami just used it for the end credits of T3. Just to tie it in more cohesively to the originals. I hate it when the music completely changes within a franchise, like X-Men for example. Elfman can otherwise do whatever he (or the director) wants.
Most of my favorite scores never get nominated. The only ones I can think of that were nominated were the Village, and The Return of the King.
They didn’t mention 9 or Coraline, both of which I’m more excited for. In my opinion some of the best scores being written anymore tend to be for animated films. They contain the kind of energy and excitement that used to be in live action scores. Elfman seems to be the only one I can think of who puts as much into his live action scores and even then they aren’t as phenomenal as his music was in his heyday. But great is still better than derivative {cough*Remote Control* cough}.
