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You can upload a song through http://www.putfile.com or http://www.yousendit.com
I heard Blue Devils and all I thought was rape trial… :confused:
I don’t know if you’d fully call what Elfman does “press junkets” per say… but you may catch an interview here or there… or some studio interviews whilst he’s working… but the majority of those end up on the DVDs anyway.
Considering the importance of a score to a film, it’d be nice to see composers get a little more public attention when the flick is released. I loved it when the press stopped Danny on the red carpet of ‘Chocolate Factory’ to ask him about his upcoming tasks… and more to the point, I loved his candid responses. I guess it’s just a pipe dream.
I don’t think he’s the greatest filmaker… especially with adaptations… and his vision is farrrr too limited (see the overly scripted awkward scenes involving Pete and MJ for reference).
Ultimately though, he has done Spider-Man a fair amount of justice in the public eye, and that’s given him the right to stay on… for now. The image with Spidey in the brooding hungover state is supposed to be a reference to the black suit that Spider-Man will wear for part of the movie.
***For those who don’t know*** in the comics, a symbiote brought back from space (likely this’ll be where John Jameson is used primarily) got attached to Spider-Man turning the suit black. Spider-Man shakes it, and the symbiote attached to Eddie Brock (you may remember Robbie Robertson mentioning “Eddie” from the first flick) causing him to become the villiaous “Venom”. The picture is the first real sign from Sony that they’ve chosen to address this storyline despite Raimi’s constant remarks that he’d never be involved with a Spider-Man movie featuring Venom.
Anyway, seeing that picture, and thinking of the potential storylines gives me renewed feelings of disappointment that Elfman isn’t attached here. Between Spidey’s struggle with the symbiote and a Sandman (Thomas Haden Church) theme, I think this could’ve been Elfman’s best comic/action work since the early Batman era. I’m not ruling out a good score from Young though…. there’ll be plenty of brooding moments, and maybe a darker tone than the previous flicks… but he’s gotta study Elfman’s groundwork and discover where the music should head to form a natural progression, as oppose to stabbing the movie with his own scent. This is really a composer goldmine with the areas this could go in, and the established music that came before. We shall see, I suppose. One thing’s for sure, it won’t be any where near as good as it could be if Raimi worked hard to patch things up with Elfman.
Weird, I just watched Lion King this morning as I did Edward Scissorhands. Seriously, I can’t work for myself much longer if I wanna turn a dime at some point.
Well, either way I figured Williams would win it for Geisha. Didn’t hear it myself, but the buzz around it is big… and he won the Golden Globe for it which is usually a sign of what’s to come.
Spider-Fan, you’re right about Brokaback Mountain being on there. Truth be told, the Oscars are very limited in their perception. They don’t watch movies in a way that lets them take each part seperately piece by piece… so even though Chocolate Factory wouldn’t be up for Best Picture, it could be eligable for Best Score. I see this every year… only movies that generate alot of Oscar buzz in other categories are the ones that get any attention in the score category… which, within itself completely undermines the task of scoring and composing. In other words, the composer is just along for the ride if the movie is epic, and he can compose something epic.
Just about any composer worth their soul can compose an epic “sound” if the movie lends itself to that. A movie can drip “Oscar” but actually be fairly lame when stripped down. That’s why I’m not the biggest fan of John Williams… because I feel he gets far too much credit for the work he does in areas where many could step up and do the same deal. I’m not undermining his talent…. he is indeed talented… but not the best, in my opinion. But he does seem to hover around these epic types, and henceforth gets the recognition.
Then again, if that’s how the Oscars truly work… then I’m not sure if they’re worthy of Danny Elfman. He’s no tag-along…. he’s a genius that can’t be limited by award status in my mind.
No noms period.
http://www.oscars.org/78academyawards/noms.html
Another brilliant year for Elfman, and yet no glory. The guy deserves much better!
I think he’s very fitting…. that’s probably why his name was mentioned. I think of his style, and I think X-Men. But whether or not he uses Ottman’s stuff isn’t the biggest concern to me, more that he’s able to make something really melodic as the fanfare. Ottman’s score was NOT complete to me. His Suite was brilliant…. and that’s it. It fell flat after that… but the fanfare and the accompanying theme musics were done well. It they had a cross between Michael Karmen’s X-Men score and Ottman’s fanfare with a Powell twist, I think they’ll have one of my favorite comic-movie scores since 2002.
It was the most commercialized song from Danny this year, and certainly one of the most commercialized songs associated with any movie PERIOD!… which is probably one of the reasons I always thought Elfman was too good for these awards, and one of the reasons I don’t believe in piling on any more praise to the likes of John Williams (again, nothing against him personally).
If he wins for this, then well done…. but in my opinion, it’ll be for all his other work that this honor would go to. Anytime he gets any sort of public recognition, I feel it’s good, considering the public doesn’t even begin to honor him for his true masterpieces.
Yeah, Sith is probably one of the better scores in the series, but it shouldn’t be eligable. I think you’re right. I can’t remember the scores I bought this year, but it can’t of been that many… and they’re obviously not that memorable. I have a few fun listens (Mr. & Mrs. Smith; Legend of Zorro, and Shrek 2 — even though it came out last year) but nothing too memorable.
This is exactly my point. Danny doesn’t have to do that to make his themes fit the movie perfectly. He accentuates the movie experience with his work… others just give you an individual experience with their music. Danny gives you both.
I meant alive… I think Herrmann would be an obvious second choice, especially for most people here. But I generally meant alive and active in the field.
Willliams… I dunno. He’s fantastic, but he gets the respect he deserves a little too easily. Maybe it’s because he’s been so well established before I was even born… but I always lean towards those who I’ve been able to see earn it by others around them. Williams is good…. but he still doesn’t write complete scores like many others I enjoy. He tends to overpower a movie so that you know you’re listening to him… instead of conceding to what the true needs of a scene is. His themes, however, are another story. Very memorable, very powerful, and of course with the points you mentioned with regards to his process and age, he definately deserves a nod.
Yeah, same here. I use Elfman’s name so many times in a day either in my mind or on the internet with fellow Elfnuts, but everytime I say it out loud, or to someone I know, they give me a blank look that pretty much characterizes their confusion personified:(
Most still confuse a score with a commercial soundtrack:(
‘Tis a sad, sad day. Oh well… I can officially have closure now. And by now, I mean when the movie comes out in 2007 and I criticize it no end…
Indeed. She wrote me an e-mail… but some of the contents are about family relatives we have in common, so I won’t post it up… but if I get anything interesting, I’ll let you know.
What is your favorite…
Danny Elfman score –Batman & Edward Scissorhands for the tie.
Track –
Tough one… but I’m gonna go with either Finale from Batman or Farewell from Spider-Man… but as of late it’s been Finale from Charlie. I guess ultimately I’ll go with Farewell.
Director Colaboration –
Tim… and Sam used to be a close second.
Song with lyrics –
Uh, tough one. I really loved Face to Face, but if you’re talking about sung by Elfman, then I’m gonna have to go with Out of Control by Oingo Boingo. After that, I’d probably list Veruca Salt.
Charlotte’s Web is just his cover. It’s not one or the other… right? My point being that it wouldn’t be a conflict as far as time?
Basically, what I’m getting at is, I’m still holding out hopes of him being there for Spider-Man 3. Slim hopes…. but hopes all the same. Especially now that Sandman has officially been cast. I’d of loved to have heard a Sandman score by Elfman:(
Man, he really seems giddy. Good to see him in such a good mood… especially on the heels of working with Raimi under those circumstances. He probably had a renewed appreciation for Tim… if that’s possible.
Mr. Keaveney is the person who you just responded to, and this is very old news. Upsetting… but not new.
But I (and I’m sure many others) share your pain heavily. But acceptance is the first step to happiness… and now, the healing can begin…
