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Good to hear that he’s working on MIIIB. The Hunger Games might be speculation b/c that’s too close to MIIIB and Dark Shadows release date. If he’s done with Real Steel then he’ll probably start on The Hunger Games later this fall. That’s good to hear Raimi and Elfman have patched things up. If true.
Descent Into Mystery Wrote:
> Henry Jackman’s score for X-Men: First Class was
> awesome. Magneto’s Theme in particular. That’s
> gonna be a tough one for Elfman to top.Thanks man. I needed a good laugh.
Descent Into Mystery Wrote:
> Trust me. I really, really, want Elfman to score
> MIB 3, but its release date is literally two weeks
> after Dark Shadows. The only way Elfman can pull
> this off is if he’s already begun writing the MIB
> 3 score which I highly doubt because that film has
> shut down production several times due to creative
> differences between Will Smith and the director.
> They’re STILL shooting the film. And don’t expect
> Sony to move MIB 3 to another date. Summer 2012 is
> already jam-packed.Yeah I know they won’t push MIIIB. That’s why I was suggesting and hoping TPTB push Dark Shadows to a later release date. That’s just a crazy spot for a movie like that to be on. So I’m still gonna hope DS gets pushed to a later release date next year.
Descent Into Mystery Wrote:
> Dark Shadow has already begun production. It will
> get a summer release for several reasons.
>
> 1) Burton and Depp’s last film grossed $1 billion
> worldwide.
> 2) We’re in a vampire craze, so the genre doesn’t
> have to be limited to Halloween.
> 3) It’ll serve as counter-programming. Fast Five
> and Bridesmaids are doing well opposite Thor. So,
> I assume Dark Shadows will be fine the week after
> The Avengers.
>
>
>
> Edited 1 times. Last edit at 05/19/11 12:07AM by
> Descent Into Mystery.That had a lot to do with ticket prices for 3d films being expensive. Ticket sales for 2d and 3d films went up right around Alice’s release date. I just hope Elfman can score MIIIB. I want him to have a trilogy on his resume. It’s been long overdue. Unlike DS which picked a release date a year from when they started filming. MIIIB had the release date way before they started filming. Not to mention before the DS cast was put together. B/c of those reasons I really hope Elfman achieves scoring MIIIB while still having plenty of time to score DS.
ddddeeee Wrote:
> Um, wasn’t the problem that Raimi loved what
> Elfman did so much that he didn’t want anything
> else for a lot of it?True. I was just joking earlier when I said Raimi was jealous of Elfman doing a better job of capturing Spiderman with his music than Raimi and his team was in front and behind the camera.
They still could push Dark Shadows’ release date b/c it comes out a week after the long awaited Marvel’s The Avengers movie. Besides I think it should come out around around Halloween and Frankenweenie can come out early 2013. Or keep Frankenweenie at it’s spot and have Dark Shadows come out around Thanksgiving like Sleepy Hollow did back in ’99.
bookbinder3 Wrote:
> I’m quite looking forward to this. Van Sant and
> Elfman make a good combo, and Danny’s done a run
> of great scores recently.Agreed.
I hope Elfman can squeeze MIIIB with that tough release date. I want him to finally complete a trilogy.
Danny Biker Wrote:
> How about songs ? And I want Justin Bieber to
> write the Spider-Man theme, Lady Gaga the romantic
> theme and Mika the bad guy theme !In a world where Trent Reznor gets an oscar and Elfman, Silvestri, Morricone, Young, and The Newmans
still have not received theirs. I can see this actually happening. Especially how studios for these type of movies don’t really give a crap about the scores anyways.Descent Into Mystery Wrote:
> Danny Elfman’s Spider-Man theme wasn’t all that
> great. The score themselves were pretty good, but
> the actual THEME was under-whelming. After giving
> us an iconic Batman theme he disappointed with
> Spider-Man. Ultimately, I think this is why Sam
> Raimi was so harsh on Danny. He expected something
> better.
>
> I think anyone can easily top Danny’s Spider-Man
> theme. Michael Giacchino. John Ottman. Alexander
> Desplat. James Newton Howard. Howard Shore. Any of
> them can do it with their eyes close. Even Hans
> Zimmer and his team of 50 additional composers.Thanks I needed a laugh. Raimi was harsh on Elfman b/c he was doing a better job capturing the essence and spirit of Spidey/Peter Parker and his universe better than Raimi and team did behind the camera, Add on the fact he doesn’t know jack about music as much as I thought. With his temp track fetish. I’m sorry but i lost alot of respect for Raimi b/c of that incident with Elfman on Spider-man 2.
Danny Biker Wrote:
> Wow…I think you should copyright this as “The
> only way to score a superhero film. Period, you
> idiots.” So we can all live in your wonderful
> musical dictatorship.
>
> Not that Danny Elfman’s score was highly
> experimental either. But in theory, you can score
> anything any way you want, as long as it works.
> Reducing a genre to drums and a brass section is
> the best way to kill any chance left to one day
> get something fresh and new.
>
> And no, Spider-Man didn’t need a fanfare, it would
> have been a huge mistake. You have to distinguish
> “SPIDER-MAN the Stan Lee kick ass superhero that
> finally comes to the big screen” and “PETER
> PARKER, the kid who is discovering himself new
> powers that are a metaphor to adulthood as it is
> depicted in this particular film called
> SPIDER-MAN”. I’ll let you imagine which approach
> Elfman went for…Well said.
Parker is who Spiderman really is and not the other way around unlike Batman and Supes. Bruce Wayne trained most of his life to become Batman and Supes was born and destined to become Superman or a hero period. B/c both of his biological and adopted parents were good people and raised him well. And knew he had a gift that could help his new home planet and others.There alter egos are facades unlike Spidey. That’s why it makes complete sense for Spidey to have a motif and not a march. Plus Descent Into Mystery needs to realise this isn’t 1989. Film music and composing have changed considerably now. Plus Elfman has done a ton of these movies in this genre. I’m sure he wanted to keep things fresh by trying something bold and new. I think he pulled it off really well.
I’m curious to what direction the reboot will go with the score. Will they go with a march (yeah right) or with Elfman’s approach (a motif ) ?
Hey Ryan you might as well sticky this. B/c it’s official now.
Oh and Happy belated Birthday.
Mine’s finally arrived early this afternoon. I waited till I got off from work to open it , which was after nine.
But the box looks great. I can’t wait to read that book (and of course listen to the music). I don’t know where to start. Man is this going to be a treat.Phewww. That was close. I hope it will never get brought up again by TPTB or anyone else in Hollywood. NB4C is a masterpiece that doesn’t need to be botched by a sequel.
rkeaveney Wrote:
> Agreed. Think about it — you’re getting Danny
> Elfman’s autograph for free (if you paid for the
> set of course) as a gift. He personally signed
> 1000 copies of the album days before Christmas. He
> did this as a gesture for us, the fans! No reason
> to complain about that.
>
> RyanI agree that it was a nice gesture. But they shouldn’t have been coy about what was on the bonus disc. Especially if it was going to be stuff we already have or going to get in the box. That’s what I’m upset about. Like I said I still want the box and everyday’s been like torture anticipating it to finally come to me.
I know I said I was going to write my thoughts, whenever i got around to listening to this. I’ve listened to this album I think three weeks ago. Like people said above it feels like listening to it for the first time again the way it was suppose to be. It’s good to hear tracks that never made it on album that i wanted to hear for years. As well as hearing tracks without the micro edits. The alternates were nice too. That penguin theme really is something else. I also thought the inclusion of “Super Freak” ( the way it was heard in the film at Shreck’s Costume Ball in it’s entirety) was a nice touch as well. A great release indeed and should hold me till the B/E Box in February. That doesn’t mean I won’t stop listening to this when the Box finally comes in.
Burton said back in 2006 when NB4C was released in 3-d in Imax that he wouldn’t do any sequels. He should leave it alone, imo. You don’t want another Tron Legacy, Indy and the Krystal Skull, and any other sequels that wait a good amount of years to come out after the first one. (or second and third one) Burton isn’t the same director he was then that he is now. I want to see new characters that he’s created in his book that he’s yet to reveal on screen. I want Burton to do something original again and not adaptations, musicals, and remakes. He hasn’t done anything that pushed him since Big Fish and I know that’s an adaptation, but it’s an adaptation based on short stories.
Disappointing. That’s stuff that’s already In the Box not to mention we got that on their original albums. (The Main titles and end credits at least.) I’ve done that b4 where I listen to Elfman’s main titles for the Burton films for fun. This ain’t nothing special except for the autograph. IMO,there should’ve been music that they couldn’t fit on some of the albums. Like POTA, for example. I remember Elfman said he wrote music for the war scene and Burton liked the ” Ape suite #2 ” (which was originally written for the album, b/c the music wasn’t finished yet for the movie) better and played that with the scene instead. I’d ve liked to hear his original version of that scene and other stuff they couldn’t fit on some of the albums. I guess we’re never going to hear Elfman hum the Batman theme on tape recorder in the bathroom of an airplane. Oh well. At least the autograph will be worth it.
Oh yeah I also notice they’re using the original album edits of Sleepy Hollow and Big Fish main title. Instead of using the complete Main Title. That doesn’t make sense. When I hear main titles I’d like to hear it in it’s entirety. Not an edited version. (that really ticked me off about the Spider-man score album b/c the song album had the complete main title, but the score album didn’t) They could’ve at least got that right. That’s proof that this was really released for the autograph which was fine but if the autograph was the only thing special about the bonus disc . Then they could’ve had Elfman signed the certifcates or the book or the dvd. Sorry about this rant and whining. I’m still excited for Elfman’s autograph and the box ,dvd, and book itself.
My order came in last Saturday and I still haven’t gotten around to listening to it yet. Been busy with work and stuff plus I ordered Star Trek V with it . Hopefully I’ll be able to listen to this this weekend so I can post my thoughts on it. I’ve already read the liner notes. which were good. Just wish Elfman would talk about the score today and not be quoted off of old interviews. I guess that’s what the Burton/Elfman box is for, though.
Might as well get rid of this since Elfman’s no longer scoring. I think everyone’s gotten over this. This wasn’t hard to get over. Well at least for me anyway.
ddddeeee Wrote:
> Won’t be out in January. Supposedly they’re
> holding it back until fall to build some buzz from
> festivals etc.Sucks. Did Elfman score this already or the scoring sessions hasn’t begun yet ?
Shawn Levy interview
http://www.collider.com/2010/12/09/shawn-levy-interview-real-steel-edit-bay-visit/Those that don’t care for the movie or Levy’s interview, but just want to know about Elfman and the music in the film like myself. Look below.
Levy: … And we’ve all seen other robot movies, so you know that you get sonic exhaustion, so a lot of structuring the movie has been orchestrating quiet, and making sure that you kind of create those peaks and valleys, because if it’s all loud, all music… Danny Elfman is doing the score and we talked about the Evangeline and Hugh scenes, which are sexy, romantic. The obvious idea is you score those kinds of scenes. I was, like, ‘No, we’re leaving ‘em dry.’ Because the movie gets so sonically full in its fight venues, that I want the human drama scenes to play in the silences. So we’re choosing to leave those scenes actually simpler, sound-wise. So accounting for sound has been a big part of seeing these robots.
And with that, let’s jump into what Levy had to say during our extended editing room interview. However, since I’ve seen how popular bullet points are, here’s the highlights of what I learned while there:
•Levy wants to leave some scenes without any score because the fights will be loud and each one will have different music. Also, you can’t have the volume turned up all the time, you need to have some quiet moments
•The music will be a mix of hip hop and electronica
•When I walked into the building, I saw Tom Morello (from Rage Against the Machine) walking out. Levy says Morello is going to do some of the music and he “looked at five different scenes with Tom.”
•Crystal Method is coming in next week to see some footage and might do some of the music
•Every fight will have its own song/sound and he’s reaching out to a lot of musicians and hip hop artists
Looks like Elfman won’t be scoring a lot of the robot fight scenes or even the quieter moments for that matter. So why even call a composer with the caliber of Elfman’s to score this. Well another movie that’s going to waste Elfman’s talents. They should’ve went with Ottman, Debney,or some MV/RC composer for this instead of Elfman. I don’t know why Elfman would want to work with someone like Levy anyways. Besides I’m not of fan of Levy’s either. The only movies I’ve seen of his were the Night At The Museum movies and those weren”t even good. It’s sad because I was pumped for this score but definitelly not the movie when I found out Elfman was scoring it. Now my expectations have dropped considerably the movie looking like something Michael Bay’s movies would look like after taking a dump doesn’t help either. End rant.
rkeaveney Wrote:
> 82. Best Score Soundtrack Album For Motion
> Picture, Television Or Other Visual Media
>
> Alice In Wonderland
> Danny Elfman, composer
>
>
> Avatar
> James Horner, composer
>
>
> Inception
> Hans Zimmer, composer
>
>
> Sherlock Holmes
> Hans Zimmer, composer
>
>
> Toy Story 3
> Randy Newman, composer
>Sweet. Eventhough Zimmer is probably going to win for Inception.
http://www.lalalandrecords.com/BatmanReturns.html
Eight soundclips are up.
