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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:
Wow, I had no idea that Aaron Sorkin had written the book for it. Cool! I hope this make it to CD at some point.
According to Amazon, Lion’s Gate Records will put out a NEXT THREE DAYS soundtrack on November 16th, but it’s not yet clear if it will be songs or score. The listing says “various artists,” but it could just be that they don’t know either!
No, I hadn’t caught the bit about REAL STEEL or any of his other projects! And it’s nice to know that indeed he’ll be doing MIB3!
Yeah, I’m thrilled that they’re leaving the songs off of BATMAN RETURNS, BEETLEJUICE, EDWARD SCISSORHANDS, BIG FISH, MARS ATTACKS (and any others than might have had them)… It leaves more room for unreleased score.
The BIG FISH album had, what, 39 minutes of score on it? The new one looks like it’s going to be closer to 76 minutes, something that there wouldn’t be real estate for if they had tried to license the songs again for the set (which, by the way, might have jacked the price up even higher).
YES!
It’s my childhood in a box! (please don’t think of the Justin Timberlake / Andy Samberg song here)
Holy crap! Expansion of THIRTEEN of their scores together? That’s all of them, isn’t it?
I wasn’t sure if I was going to pony up the cash for this one, but I don’t think I’m going to be able to say no!
I love the score to CABIN BOY, and I have a soft spot for the movie, awful as it is.
The movie came out in really early 1994, as I recall, and I have a hunch that Disney decided to dump it there after it didn’t test well. So… it was probably completed mid-1993, which is probably around the time the Burton-Elfman dustup happened. My suspicion is that Elfman felt he ultimately deserved more credit for shaping the film than he got, and that was part of the trigger. That probably happened when the film was in its home stretch.
Anyway, regardless of that, I’m sure Elfman was very happy that Bartek got the job or any other one. I don’t hear a lot of Elfman in Steve’s music , honestly, but there are certain phrasing things that the two certainly have in common. I’d love for this score (and much of Bartek’s other work) to get out someday. Hell, I’d even take a good bootleg of it, but I don’t think even that is in circulation.
Yeah man, that’s what BATMAN BEYOND is all about! An elderly Bruce Wayne guiding a young Batman in the future. Get Adam West and Justin Beiber, and you’ve got yourself a picture!
Huh… it’s due to hit US theaters by the end of November. I guess this helps enforce the “scheduling conflicts” story that was attached to his GREEN HORNET departure. Movie looks good, but I’d rather see him on HORNET between the two.
WOLFMAN is awesome! I don’t really like T4 much apart from a few cues (the main title, “Broadcast” and “The Reveal.”)
I love JNH. I’m sad it’s not Danny, but JNH is usually very interesting, and I think he’s got tremendous range. I love love love THE LAST AIRBENDER. NANNY MCPHEE 2, however, is like whimsical torture.
This sounds like Hollywood speak for “they didn’t like some of the early demos he gave them.”
I suppose there could be some kind of internal freak out at the studio, though. The trailer was not well-received at all. When I heard that Gondry was doing it, I was excepting something more imaginative and crazy than what the trailer suggested it will be. That is to say, a kinda dumb-looking action-comedy.
That said, any new Elfman score is good news in my book, and I’m still holding out hope that reports of his departure have been greatly exaggerated.
