Forum Replies Created
- Posts
Thanks! I was mostly curious about where the score was recording. It’s interesting (to me) that he did it all in NYC. I remember the tweet from a few months ago that indicated that he was recording there, but I sort of assumed that it was a few soloists, not the whole thing!
Can anyone tell me where THE GIRL ON THE TRAIN was recorded? And what the album credits are? I bought the 24 bit version from 7Digital, and it doesn’t contain any of that info. I assume there was a small string section that was recorded at some point? Those can’t be all synths.
Huh, interesting. They were just recording GOOSEBUMPS at Sony in the first week of May (the 4th-8th, to be specific). It seems a little quick for him to be recording a score for a different movie already, but of course it is possible. Another guess I would have is that he’s recording choir for GOOSEBUMPS in London right now, but an argument against that theory is that their final day at Sony was a choir day and I’m not sure why they’d do it in both places.
I’m working on the Sony Lot presently, and also saw that they are indeed on the scoring stage now. The schedule says that they will be there all week, through Friday May 8th.
The name of this movie has been changed to EPIC… comes out May 2013.
OZ: THE GREAT AND POWERFUL is due out in March 2013… hope he’s able to stay on both!
Woah, some of those synths are crazy!
The clips are a lot darker and more sinister than I would have guessed them to be, based on the trailer.
No, I still do think it was scheduling conflicts.
It sounds like the HUNGER GAMES sessions happened a little late… around the time that Elfman would have had to have been deep into getting everything ready for the DARK SHADOWS sessions. My guess is that as the schedules grew tighter for both movies (and who knows how MIB3 figured in), Elfman realized that he just couldn’t do all three and had to make a change. It makes sense that HUNGER would be the one that he’d bail on… he’s not going to risk damaging his relationships with either Tim Burton or Sony Pictures (which paid him a King’s Ransom, I’m sure, for returning to score MIB3, much as they did for MIB2). HUNGER GAMES was already expected to do well, which of course it has, and potentially might have kept Danny aboard for the sequels, but often times keeping up established relationships are more important than these things.
Then again, maybe scheduling had nothing to do with it, and he simply wasn’t coming up with material that Ross liked. He did leave the picture only a few months before it was released, and JNH said in an interview that he only had about 4 weeks to write the 80 some minutes that he recorded. As usual, only those involved know for sure…
Yes, but composers can only do what the director/producers will let them get away with.
Randy Newman scored Gary Ross’s two previous films… on the first, PLEASANTVILLE, Ross insisted that Newman model one cue after a segment of EDWARD SCISSORHANDS (which Newman did, while trying to avoid copying it wholesale). On the second, SEABISCUIT, Ross insisted that Newman basically copy cues from his cousin Thomas’s THE HORSE WHISPERER, which Newman ultimately refused to do, and left the project. William Ross (no relation) came in and did the HORSE WHISPERER sound-alikes after Newman left.
I’m not bringing this up to prove any point other than that Ross has a history of being very heavy handed with composers (which is totally his right: he’s the director!). As such, he probably got exactly the score he wanted out of JNH.
I’m not sure, but I think I remember hearing cues that were a lot like “Men at Work” and “Doomed” in the mix of the first movie… meaning unreleased cues that weren’t on the CD.
I’m 1000% convinced that whatever they do will be either a reworking of an existing piece for the show or a flat out reuse from the show.
Hey Ryan,
I’m sorry to be so late to chime in…
I think the main event on this site is the forum, and I’d be excited if that can continue in some form. I think the WordPress idea is a good one…
Maybe the Elfman forum can become its own entity somewhere, and many of the MFADP feature articles that have amassed over the years can be archived either here or at Cinemusic.net?
In any case, thanks for the effort over the years… this site has been a huge part of my online life, but I understand that as we all get older, buy homes, possibly lease our fourth VW in a row, have children, etc., finding time to obsess over this subject like we used to has gotten harder and harder.
There’s a pre-show “turn-off-your-phone-and-no-pictures” song that he does indeed sing. That’s the only part where you hear his voice, however (as least as far as I could tell).
According to this website(http://soundtrack-movie.com/real-steel/), this is the tracklist:
1. Fastlane – Bad Meets Evil (Edited)
2. Here’s A Little Something For Ya – Beastie Boys (Edited)
3. Miss The Misery – Foo Fighters
4. The Enforcer – 50 Cent (Unreleased)
5. Make Some Noise – The Crystal Method Featuring Yelawolf
6. Till I Collapse – Eminem (Edited)
7. One Man Army – Prodigy & Tom Morello
8. Give It A Go – Timbaland Featuring Veronica
9. The Midas Touch – Tom Morello
10. Why Try – Limp Bizkit (Edited)
11. Torture – Rival Sons
12. All My Days – Alexi Murdoch
13. Kenton – Danny ElfmanOnly one score track, unfortunately.
In 1993, Burton and Elfman had been working together for eight years. Neither Burton or Elfman have really gone into detail over what happened… I think the credit thing is assumption, more than anything.
And they split up well before ED WOOD was ready to be scored. Burton wanted Henry Mancini once it was clear that things wouldn’t be worked out with Elfman, and it was Mancini who suggested that he hire Shore instead.
I finally saw the movie tonight, and I’ll retract my “crap” rating on the score. I thought Jackman actually did a pretty good job once I heard it in the picture, and I was pleased that he brought back some of Kamen music from X-MEN 1 when the scene from the beginning of that same movie was replayed at the head of this one. Classy.
His theme for Magneto seems to share some similarities with John Ottman’s Magneto theme from X2, but it would take a person more musically inclined than me to say how, exactly!
I thought Ottman’s X2: X-MEN UNITED score was really good at the time, but later… the more aware I became of the other scores he blatantly ripped off (Mancini’s LIFEFORCE in particular), the more I realized I was mistaken. I can’t even listen to it now.
The best score the series has had is John Powell’s X-MEN III: THE LAST STAND by a mile. No question about it. I like Michael Kamen’s score for the first movie, but like the film itself, it kind of felt a little awkward and the scale of it wasn’t quite what it should have been.
Harry Gregson-Williams’ WOLVERINE was crap, and apart from the first track of FIRST CLASS, I would say that Henry Jackman’s effort is too.
Also, I suspect they only hired Kamen for part 2 because of the K-Men = X-Men thing. I think there similar reasoning behind hiring Henry Jackman (because of the shared last name with Hugh Jackman) for this new one.
Yeah. honestly I’d have no interest in something like that. A lot of Elfman’s filmmusic for me kind of is what it is because of the specific recording. Elfman re-rerecordings never sit right with me, and so a concert in which Elfman (who does not like to conduct, and claims he’s not that good at it anyway) leads an orchestra in renditions that aren’t quite as good is something that I just wouldn’t want to attend.
I just went to the Goldsmith concert at UCLA last week, however, and had the totally opposite reaction… it was amazing to hear his music performed by the really talented kids who are part of the American Youth Symphony. It was a really unique experience to hear selections from scores like UNDER FIRE, POLTERGEIST, and TWILIGHT ZONE: THE MOVIE live and unencumbered by the limitations of the technology that was used to record them originally. That said, Goldsmith’s music works well in that kind of setting in ways that I don’t think much of Elfman’s music would.
Well, there doesn’t really need to be a reason other than the people who made the movie liked the piece… They were willing to spend the money to get it, so they did. Doesn’t make a lot of sense to me either since Zimmer has a whole army of McComposers working for him who could have easily done a quick knock-off, but hey it happens. I have a feeling that situations like this would happen a lot more often if it were more economically feasible to do so.
According to Dan Goldwasser, they got some incredible sounding 3 track masters from WB for this release. It’s the exact opposite of LLL’s BATMAN earlier this year, for which the elements were in pretty rough shape, and had to come from a variety of sources.
As for the expanded content, the OST was about 65 minutes while score in the film is closer to 90. Plus there are a lot of Alts. I’m so down for this!
What makes you think that Selick and Elfman didn’t get along on NIGHTMARE? I’m only asking because I’ve never heard that before. It’s known to be the film that ended the Burton / Elfman relationship for a while, of course, but I never saw any indications that Selick had any problems with him.
As for JAMES AND THE GIANT PEACH…Burton and Elfman weren’t speaking at the time, of course, and I always assumed that that’s why he didn’t participate in any of the movies that have Burton’s name as a producing credit. Selick tried to get Disney to go along with a few different singer / songwriters before the studio agreed to Randy Newman (who had yet to score TOY STORY when he was signed). I remember reading that Selick and Burton had a falling out themselves whilst working on that picture in part because Selick felt that Burton wasn’t being hands on enough or helping him with the studio battles.
Since then, he’s directed MONKEYBONE in 2001 and CORALINE in 2009, neither of which involved Burton (or Elfman).
Wow, the CD will be over 71 minutes! Tracks 24 and 25 are songs, meaning that there’s about 64 minutes of score on this sucker.
1. Prologue 1:38
2. A Way In 3:36
3. What She’s Lost 0:58
4. Pittsburgh’s Tough 2:02
5. Blood Stain 1:32
6. Same Old Trick 1:45
7. Don Quixote 1:30
8. All Is Lost 3:10
9. A Promise 2:58
10. That’s Ok 1:53
11. It’s On 4:32
12. The Evidence 1:24
13. Last Three Months 3:29
14. The Bump Key 2:30
15. A Warning 2:22
16. Breakout 8:20
17. Touch 0:57
18. Reunion 3:08
19. The Switch 2:42
20. They’re Off 4:56
21. Got ‘Em 2:19
22. The Truth 5:25
23. The Aftermath 1:06
24. Mistake 3:46
25. Be The One 3:29There are a handful of loops from Danny’s score on the official website:
