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Yes, “Biss” is quite intriguing. For the rest, it’s rather classical Elfman, but the main theme seems very beautiful (if it is what we hear in the first sample), and the whole thing still fresh although familiar. Looking forward to it. And I think I’ll see the movie, only to know how the score works in it.
Maybe it is a mix of the two ? The “Zimmer Mafia”, as you say it, can handle quite a lot of scores itself, and when a score for a big budget movie is given to another composer he is quite often asked to emulate the Zimmer sound (thanks god, it’s not always true, but it still happens quite often). Some succeed in it (Patrick Doyle’s “Thor” was a good mix of modern filmmusic sound and of Doyle’s more personal style), but I suppose it is hard for composers to impose their ideas when producers absolutely want something “in the style of…”. From what we know, that’s in good part because of this that John Powell has nearly completly left the world of filmscoring…
And I suppose the pressure is less and less important as the budget goes down, so that’s maybe a sacrifice to do in order to keep a greater artistic liberty, without having to fight for every single note.Very interesting exercice, I hope this will be released on album (does any of you know if there is a lot of score in the movie ?)
I’m beginning to think that something went wrong again between Elfman and Burton on Big Eyes, seing how it was released…
That’s a possibility…
Plus, I just realised that the track lenghts don’t correspond to what was announced beforeWell at least it will be a unique score in his corpus.
I had a hard time listening to it the first times, but I’m starting to like this tracks…VERY surprising ! Impossible to make any kind of opinion with this of course…but it’s not at all what I (or, I think, any of us) expected
Well, even if I don’t like so much most of recent Zimmer’s scores, I think what he does worth much more than Reznor’s works…his drone sounding, ambiant, non-thematic music really gets on my nerves (plus, he doesn’t seem to care about corresponding to the picture. He writes pieces of music, and the director deals with this bank of music…At least Zimmer is attentive about this, even if he does not do it himself most of the time : he directs his assistants…And he has a sense of storytelling
I’m getting a bit annoyed by Zimmer always talking about the innovation in his scores, as if it was the only important thing, and as if this alone was a proof of quality. Plus, most of the scores he presents that way aren’t so innovative…
Yes, this is the promo version of the score. Maybe the complete score has even more music than this (even with 27 tracks, the whole thing is pretty short).
Still no information about an “official” release by the way ? the movie will be out in two weeks, that’s weird.
I must admit that this score is quite surprising as a Burton’s score. It has really a lot in common with “Milk” and “Promised Land”.
I like it a lot too, but this presentation is quite disturbing to really get into the score. And I hope it will be a bit longer on album…It’s probably because this is a FYC presentation of the score…They are sometimes quite awful (because, like you, I doubt very much that this is a complete score. And certainly not what we will have on the album, I hope…)
Pee Wee ordered !
Any of you have got news about the release of Rabbit and Rogue ? There were rumors about it being recorded some monthes ago, and since nothing, as far as I knowI’ll order Pee-Wee soon. It’s a good score, but the first album presentation was terrible, so I’ll definitely get the La-La-Land one.
for Batman, it depends if the increased quality of sound is really consequent…Like you, I’d love to see an official release of The Family Man, and an extended one of Dolores Claiborne (even if there are problems of rights with this one, as far as I know). i’d also be very happy in a proper release of Dead presidents…
That’s nice to see a director so interested in filmmusic. I’m getting more and more impatient about this score.
Fun to see that this picture, like the previous one whose link was posted here by DannyBiker, concentrates on percussions…I know that we can’t deduce anything from so few informations, but I’m getting really curious with the orchestration for this score.
(Does any of you know if Elfman had to write some late-minute cues or arrangements, in order to fit the re-shoots of the sex scenes ?)
