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Yeah, and the first two tracks are like that too. They were also recorded with no specific picture in mind… it was “extra” music to be used wherever they needed it.
Conrad Pope said that the movie will be nearly all Danny. He helped reshape a little toward the beginning and the end, and only a few interstitial bits during the body of the picture.
Elfman supposedly recorded around 75 minutes (66 of which will be on the CD!)
The rumor is that Pope recorded somewhere around 20.
During the time the score was “out,” Elfman gave promotional CDs to many people who worked on the sessions, totaling around 66 minutes. My guess is that the Varese album won’t be THAT long, but hopefully a good chunk of it will make it on there.
Yes… BUT expect what he originally did to be pretty hacked up in the movie, and mixed in with a good deal of additional music by other composers.
i have been told that there are still big decisions to made about the music for this movie. It comes out in about six weeks, so they’d better decide fast!
The Elfman scores I love most these days are all from this decade…
THE FAMILY MAN
HULK
SPIDER-MAN 2
CORPSE BRIDE
CHARLOTTE’S WEB
HELLBOY 2Starting around 03-04, I think his music has been better than its ever been (not to discount his earlier output).
Lucius Wrote:
> “Who?”
>
> “TOP…men”Let’s leave people’s sexual preferences out of this, okay Lucius?
This is the worst news I’ve heard recently. Elfman had already written and recorded the f***ing thing! I hope some label sees fit to do a “music inspired by” album.
Well, I know that, but since it was a one-man job for everything, couldn’t it have been one big credit?
Sort of like “Written and Directed By” ?
Doesn’t he have two music credits in end titles? Something like “words and music by Danny Elfman” and then “original score by Danny Elfman?” I always thought that was strange.
This is a very subjective question, but I will say that in 2008 he wrote four very interesting and diverse scores, and I loved all four of them. HELLBOY II in particular in one of my all time favorites.
My least favorite period of his music is from 1998 – 2001. I just don’t listen to (or especially like) much of what he wrote there. If you asked me this question then, I might have been a little more downbeat. Since 2004 or so, however, his music has arguably been better than it has ever been, producing several works that I’ve enjoyed playing over and over — SPIDER-MAN 2, SERENADA SCHIZOPHRANA, CHARLOTTE’S WEB, et al.
There’s only about 25 minutes of score in the film. The score CD is 35 minutes long as it contains some conceptual stuff that did not make the movie.
Also, the Wallace & Gromit short films on Blu Ray, including a new one: “A Matter Of Loaf And Death”
A lot of the Beck score is still in the movie.
I think the freakout happened at the studio level, and Elfman was brought in. Much of Elfman’s MX wasn’t used in favor of Beck’s music and temp score (Andrew Gross’s 8 HEADS IN A DUFFLEBAG in a few key scenes).
I’m in the minority on Giacchino: I think his music is dull as hell and mostly just serviceable. I liked RATATOUILLE quite a bit, but his other scores have mostly been duds for me outside of their pictures. I just don’t hear any magic in his music the way that most people seem to.
I think Debbie Lurie does a fine job pinch hitting for Elfman when need be. I’ve enjoyed when Steve Bartek has gotten to do an original score of his own every now and again too, and I’m sorry that that doesn’t happen more.
I’ve been pretty underwhelmed by John Debney’s collaborations with him… HEARTBREAKERS and SPY KIDS both didn’t leave much of an impression.
Hot to Trot is an amazing score! I saw the movie more times than I care to admit when I was a kid, and always thought the music was fantastic. It much more related to PEE WEE’S BIG ADVENTURE than any other score he’s done in that era.
Warner Bros. doesn’t even think enough of the movie to release it on DVD, however, so a soundtrack company hoping to release it may have some trouble.
Wow, it’s people like sunnyville_77, who either do it because they think it’s funny or out of spite, who make me not want to read these boards anymore.
Incidentally, other web sites, say that it’s 15 tracks:
1. Opening
2. All is Lost
3. Broadcast
4. The Harvester Returns
5. Fireside
6. No Plan
7. Reveal/ The Escape
8. Hydrobot Attack
9. Farewell
10. Marcus Enters Skynet
11. A Solution
12. Serena
13. Final Confrontation
14. Salvation
15. Rooster – Alice In ChainsI have mixed feelings. I think Clooney might have been an okay Batman if the tone of the film had been way different. He was probably directed to bring his fun swagger and natural charisma to the performance, which of course he did.
Kilmer, though, was sort of a blank for me. His portrayal of Batman was dark, certainly, but as Bruce Wayne he was really a cypher. Like Clooney, I think he could have had a better performance in him as well, but I somewhat blame the uneven tone of the movie. On one hand, they wanted to keep a little of the dark edge the previous two movies had under Tim Burton, but on the other, they let the Jim Carrey component kind of bulldoze everything else in the second half.
I think Bale is a fine Batman, if not a muted one. He’s still not the best. I think you’ve got to give that to Adam West! But I think he gets the character and is able to make it believable. Of course, he’s got an excellent director and some good script material to work with too.
Well, I think it may have been the other way around. Getting someone of Jackman’s status to agree to star in the musical pretty much ensures that it will get made.
The Spider-Man series was abnormal because instead of the director earning more control as the sequels went on, word is they actually micromanaged Raimi more closely with each successive movie. I think he was allowed to put his directorial stamp on certain parts of 2 more than part 1, but clearly he was forced to include story elements he wasn’t entirely comfortable with in part 3.
