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This matches exactly what I heard too, John. And I can’t blame him, because in a few sequences, i couldn’t even hear the music.
Yeah that was me. I was just repeating what I’d heard through people who work everyday at Universal. I’m not one to try and spread silly, unconfirmed rumors. I wonder if they meant they replaced a lot of what he wrote first, and then he had to do a lot of 12th hour rewrites?
I can definitely confirm they were looking for extra orchestrators to make the score sound “bigger.”
Then it’s probably Del Toro. Like I said, I was told he was constantly wanting the music “bigger.” Guess he misses the thick sound of Beltrami…or…gasp, Navarrete.
I wonder if this in any way is a reflection on the increasingly “smaller” sound Elfman has been using lately. Someone noted his mixes have sounded much flatter lately, and I completely agree. I thought SOP was a completely disaster, mix-wise. The last Elfman score that sounded orchestrally big to me was probably Sleepy Hollow, which by no coincidence was the last Elfman score mixed by Shawn Murphy. I miss him! They must have had a falling out, because for my money, there aren’t many recordings better than Mission: Impossible.
Not really, unless you count Spider-man 2, or A Civil Action, which had about half the cues thrown out, moved around, or buried in the mix.
I heard him on XFM awhile back, and he said he was extremely close to getting kicked off of Sommersby. He said he had to re-write a lot of the music in the last hour. I wonder what it sounded like before that?
