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Correct Baker announced his retirement about four years ago, but I’m still skeptical about Sony and Gray bringing Elfman on board.
Actually Men In Black International is more of a spin off than a reboot. Emma Thompson even returns as Agent O. Anyways I don’t think Elfman will return as composer because I’ve heard Rick Baker didn’t return to do the make up either. Don’t know if it was either because Baker wasn’t approached or interested. So it wouldn’t surprise me if Gray avoids hiring Elfman as well.February 4, 2019 at 3:26 am in reply to: Sony Classical Releasing 'Eleven-Eleven' and Piano Quartet #98788
Nice, but is it digital only or will there be a pressed CD also?December 4, 2018 at 6:14 pm in reply to: Danny Elfman’s Flash Theme featured in upcoming crossover episode of CW series #98767
Yeah I caught that scene at the end of the recent Supergirl episode, which ended up being the highlight of an otherwise mundane episode. I wish they could’ve stayed true to the original red swirl trail and sound effect (of the 90s show) as he speeds away, but that’s minor nitpick. It was very surreal seeing John Wesley Shipp, who stilll looks great, in the Flash costume after nearly 30 years. I thought royalties to pay Elfman would prevent them from adapting his 90s Flash theme, but apparently not. Hopefully, Neely will also utilize and adapt Walker’s secondary theme as well.
Happy 65th Birthday, Danny Elfman.
Much appreciated ddddeeee.
Does anyone know the chronological film order for this soundtrack? If not? No worries.
Aside from length is there any difference between both versions of “Tunnel Fight”?
Based off of the scores for Man Of Steel and Batman V Superman a noise-fest is exactly what Justice League would’ve gotten if Junkie XL hadn’t been replaced.
> Did I miss anythng?
Besides the editing is there any differences between the 1990 Original Score Album and the “Unedited And Additional Original Score Cues”?
You mean best of the four scores.
I haven’t seen the movie yet, which will more likely be a rental for me anyways, but I figured that would be the case with the score.
I agree. Elfman is a lot more versatile than Hollywood and his detractors give him credit for. Didn’t expect Elfman to take a synth approach with this score. I was expecting something between “Fifty Shades Of Grey” and “The Next Three Days”.
Well according to that amazon link the album run time is 52 minutes.
Actually “Back To School” came out on June 13th 1986 in the US.
Terminator Salvation was truly awful, imo.
I knew TJ Lindgren was credited for additional arrangements on Oz however I did not know the score had any additional music b/c nobody received any credit for it during the closing credits or in the liner notes of the soundtrack album. Did Mounsey assist Elfman on those Epic and Oz cues or just wrote ’em himself? I agree I wish it was made more clear who wrote what under these circumstances.
Clive Barker’s Nightbreed came out in February of that same year. And Walker wrote a cue for that film. Elfman was touring then too? And that’s the first I’ve heard about Dick Tracy having additional music. You have any proof the music from that trailer above was written by Walker instead of Elfman?.
Well Elfman found time to write music for one of the “Edward Scissorhands” trailers, which was included on the Intrada expanded reissue album.
Yes the liner notes of the Varese Sarabande album of Real Steel credits TJ Lindgren’s assistance on three cues “Atom Vs Twin Cities”, “Twin Cities’ Intro”, and “This Is A Brawl”.
Yeah it’s frustrating as an Elfman fan. Especially when even his small films have additional composers. It’s probably why some of his more recent scores are lacking that Elfman touch. And I thought Oz didn’t have any additional composers.
I have to remember to record that when it airs.
Didn’t Elfman write 25 minutes of score? So all of it should fit.