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Yes, but I think Miss Peregrine will be finished earlier, the shooting started quite a while ago. So hopefully there won’t be a scheldule conflict…
Three additional composers on this one (for Elfman’s tracks) : Chris Bacon, Paul Mounsey and T. J. Lindgren. Not surprising considering the time he had…
I saw the movie yesterday, but there was a problem with the sound in the cinema (very low, lack of dynamism…). From what I heard, I agree with ddddeeee, a lot of temptracking (sadly, including during the end credits) and a music globaly drown under the effects.
But I heard the score on youtube (it was available again yesterday), and I love it. Quite hard sometimes to say exactly who did what, there is a real unity between the two composers, unexpected knowing how the “collaboration” worked…Happy to hear Elfman in epic mode again, the better Marvel Universe score for the moment, according to me.Descent Into Mystery wrote:Danny Elfman using additional composers is nothing new. Shirley Walker wrote some cues for Dick Tracy and Jonathan Sheffer wrote the helicopter action scene in Darkman. But I agree with Danny Biker. Elfman shouldn’t need additional composers for movies like American Hustle, Big Eyes and 50 Shades. That’s very weird.In fact it doens’t depend on the quantity of music, but on the time given to the composer to write it, and on the conditions of this writing…And, as you say, it’s not something new in Elfman carreer, I think most of his scores have in fact some additional composers. It’s the case for most of film music composers in the industry, even if for most of them they don’t do it at a Zimmer’s scale. And it’s not even something recent, it was already the case with “old age” composers (Morricone, for example…). I have no problem with the process, even if I prefer too when they are credited. So much things can cause changes in the music : wishes of the director, of the producers, new editing, money issues…A composer just can’t stay available for a project during six monthes. Well, in fact he can, but that would mean quite a lot less soundtracks for each of them…
Concerning “Bliss”, maybe Elfman wrote the main idea for the music, and David Buckley just made it correspond to the picture ?dag0n wrote:At this point a two-cd set with the work of both composers seems more likely.It would be great, but let’s not dream too much…
I don’t know if it’s only me, but I hear some hints of the “Mars Attacks” main titles in the track “Double Durante” from Darkman.
Descent Into Mystery wrote:1988
Beetlejuice
Midnight Run
Big Top Pee-Wee
Hot to Trot
ScroogedI love “Scrooged”, “Beetlejuice” and “Midnight Run”. I don’t know “Hot to Trot” so well (only the suites on “Music for a darkened theatre”, have you heard any more of it, Descent Into Mystery ?). I consider “Big Top Pee Wee” as nice, but a bit all over the place…I like to listen to it sometimes but it’s far to be among my favourites by Elfman.
Descent Into Mystery wrote:1990
Nightbreed
Dick Tracy
Darkman
The Flash (TV Theme)
Edward ScissorhandsAs you said, one can see here that Batman is still present in Elfman’s spirit. Maybe it’s partly his fault, but I think it was also what the studios asked for…In spite of this, “Nightbreed”, “Dick Tracy” and especially “Darkman” have some nice moments I think, and I come back to them quite often. And Edward…Well, Edward is Edward. Smiling smiley.
Descent Into Mystery wrote:1996
Freeway
Mission: Impossible
The Frighteners
Extreme Measures
Mars Attacks!“Freeway” : as for “Hot to trot”, I don’t know enough of it to give a real opinion…It seems very weird and hard to listen outside of the film, and I have the feeling that it lacks unity, but I rather like the extracts present on “MFADT”
I love both “Mission : Impossible” and “Mars Attacks”.
“The Frighteners” is nice, but not among my favourites. I still listen to it sometimes…
“Extreme Measures” is really underestimated, I think. It’s a very nice little moody score, that makes an agreable listening experience on the rather short album…
The common point of all those scores is how difficult they are to access on album, I think.Descent Into Mystery wrote:2012
Dark Shadows
Men in Black 3
Silver Linings Playbook
Frankenweenie
Hitchcock
Promised LandLove “Dark Shadows”, “Men In Black 3”, “Frankenweenie” and “Promised Land”.
“Silver Linings Playbook” is very nice, but too short to be a masterpiece, I’d have liked Elfman to have a bit more space to develop his ideas.
“Hitchcock” isn’t really original among Elfman’s recent works, and suffers from its album presentation, a lot of very short tracks…Few of the have the time to develop highlights. It’s agreable to listen to (there isn’t any Elfman’s score that I really dislike…), but not really memorable.I’ll add another year to the list :
2008
Milk
Hellboy II : the golden army
Wanted
Standard Operating Procedure
And “Wolfman”. Even if the movie was out only two years later, Elfman wrote the music in 2008…In the movie, quite a lot of additional music was written in 2009-10 to match with the re-editing, and Elfman had no part in it (probably working on other projects, or not willing to bother with this after the producer talked of replacing him by Paul Haslinger…). But on the final album, it seems as if the majority of what we have is Elfman’s stuff.I love this year. Each of this scores is fantastic (well, maybe “Wanted” a bit less, but it still excellent as a bombastic action score), and each of them is different from the others. Great year !
DannyBiker wrote:I really wonder what are the additional composers contribution though…I suppose they wrote some tracks, based on themes, or “suites”, written by Elfman : a work between arranging and composing, in a way.
Saw the film today (the delay between the American and the French release was quite long) : I liked it a lot, really interesting and a very good performance by the actors.
As for the score, I agree with Ddddeeee, it seemed to me to be present in a good number of scenes. And often, I had the feeling that the musical tracks were rather long. Strange, considering how short were most of the tracks on the FYC.Thor wrote:Although the site should be a venue for news and interactivity, there should also be a sort of ‘archive’ section for Elfman’s work. When I did the Elfman Buyer’s Guide for FSM back in 2005, I went through every bit and nook of his career up to that point (including non-film work and Boingo etc.), but you don’t need to go THAT heavy into it. A listing will often suffice.It would be interesting to say the differences between the different albums when there are several of them, so quite a precise article would be needed. In fact, it would be nice to have a tracklist for every elfman album…
Zimmer is usually quite honest with the “who did what”, additional composers are quoted in the booklet, and in many cases it’s quite easy to know more precise credits. He does not say it in interview because I guess most people are not interested in this, but he doesn’t hide the work of his collaborators, far from it. And in Zimmer case, it’s more or less the reverse of what you say : he writes suites with the base material, and all his additional composers make it work with the image (often writing some more material – more or less, depending on the project), so they are the music editors, not Zimmer.
Concerning Age of Ultron, I hope we will have some more informations soon in order to understand better all this mess. Why call Elfman if it was only to play with Silvestri’s theme ? Any composer could have done this work (including…I don’t know, for example…Silvestri ?)
That’s…Strange.
“Dumbo” is among my favourite Disney’s movies, and I usually like Burton a lot, so I’m curious to see this but still, it’s a bit frightening.I’m happy to learn this too !
If I can help on anything, I’d be happy to do so. Not concerning the news – most of the time I’m far from being the first informed – but for other contents, if you need it…I really hope he’ll do it. Seing how many “little” movies he has done recently, it’s not so improbable I think.
That must be the famous summer movie that Elfman was reported to be “saving”…
I’m curious to know how much music he has written. And I hope that means he’ll write for other Marvel movies, as the prime composer this time.I doubt it very much for Superman…First, it’s not a summer movie (it will be out next year) ; then, it’s a Zimmer score, already quite collaborative (as far as I know, he is co-composing it with his “pupil” Junkie XL), and I don’t really see what Elfman would do in such a musical universe…
After listening it on album, I must admit that the “Next three days” aspect is very present, it wasn’t so striking in the movie according to me. Amusing also to see that the main theme is a bit similar in its process to the ones of “The unknown known” and “Standard operating procedure” (solist piano, very regular rythm, most of the notes repeted two times…), even if the global mood is very different
I like it a lot, especially the second half. A strong work according to me. Elfman slowly builds his score, making the music more and more powerful as tracks go by (helped, maybe, by a good album presentation)…I’ll come back to it quite often, I think.Yes, the same for me…
I hope it will have a digital release at least (if there are only 25 minutes of score, an physical album isn’t even to consider…)I saw the movie today (it’s out in France) : not so much score in it, considering the album is 45 minutes long, I think the great majority of the music will be on it. I won’t talk a lot about the movie itself – it isn’t good, to say the least – but the music is excellent : I definitely love the main theme, and the score presents a lot of variations on it. The music is always quite subtle, sometimes difficult to catch in the movie, with the exception of “Bliss”, as beautiful as the sample promised.
It is for the lovers of subtle Elfman : it made me think of scores such as “Milk” or a bit “Promised Land”, or even some parts of “Silver Linings Playbook”…I’m impatient to hear it on album, and truly hoping Elfman will do the following movies.
