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Thor Wrote:
> Well, you know what they say…more isn’t always
> better!
>
> I think this score would work wonderfully in a
> 40-50 minute presentation.That would just make me hungry for more especially with this score, but that’s just me.
Here was my reaction when I heard the Burton/ Elfman box was pushed to February.
Now here’s my reaction about the bonus disc with Elfman’s autograph.
What did anyone think of the movie ? That is those who’ve seen it. I was one of the few who saw it last weekend.
SPOILERS
I thought it was good. Eventhough I didn’t agree with some of the decisions Crowe made before breaking his wife out of jail. I also think Crowe gave a very believable and realistic performance. This is what a normal man would do to break his wife out of jail. He even has nervous breakdowns (well almost anyway) before he makes a move to breakout is wife. He isn’t Jason Bourne or any other action hero you see today he felt like an average joe who’s a professor at a community college, which is exactly who he is in the movie. I also like how the previews made it look like he was a professional at this and knew what he was doing. When really he’s in way over his head and made a lot of mistakes before he actually attempted to breakout his wife. Elizabeth banks also gave a good performance and not the usual comedic roles that she’s usually offered. I thought it was well made. Haggis’s direction was fine. I wouldn’t mind seeing it again. Elfman wrote what was appropriate for the movie. I wouldn’t mind purchasing the album to this.
Happy Thanksgiving Elfmanites.
I found out back in August (after re-checking ” Danny Elfman’s Batman A Film Score Guide”) that the LLL 2CD for Batman was missing the four different versions of “Stair Kiss” and an alternate opening from “Descent into Mystery” Which looks like the music box is also missing. As well as the five tracks that were dialed out of the film (“Morning After”, “Board Meeting”, “Vicki Hides”, “The Truth”, and “… or their sons”) which I mentioned back in August over at the LLL 2CD Batman score thread. So its still missing cues. Oh well you can’t have everything.
Who am I kidding hopefully someone in the future will release another expanded cd with all the cues I mentioned above and then some.
Just kidding. The Elfman fan in me has to accept that.
And wait for Music For A Darkened Theatre Volume 3 to include those missing cues.
Kidding again. For real this time. The waiting and the fortune I paid for this music box that will only be availiable to me in more than two months must be driving me crazy. Just can’t get enough Elfman music.
I have to buy this rather I’m happy or not with the HUGE price tag attached to this. That’s how big of an Elfman fan I am . I’d beat myself up everyday If I didn’t purchase this. No way I’m missing out on this. Ryan is right this is history being made.
At least in terms of album releases and presentation and all the music rights and publishers involved. I look at it as a blessing that they decided to do this with all the other goodies attached to the scores.
I got my cd yesterday. I still haven’t gave it a spin but notice the cds are mising the dialed out cues “Morning After” “Board Meeting” “Vicki Hides” ” The Truth” and “… or their Sons” that were mentioned on “Danny Elfman’s Batman A Film Score Guide” paperback . Anybody know why la la land didn’t bother putting these cues on the cds.
P.S. Hopefully Burton/Elfman box will feature these missing cues.
johnmullin Wrote:
> Shearmur and Lindgren were involved from the
> beginning. Because Elfman had to score the movie
> early, they were there both to help Elfman make it
> to the original recording dates (the ones where
> all the material that’s on the album was
> recorded), and also to be familiar with the music
> in case they had to step in and compose music for
> the pick up sessions, should Elfman be unavailable
> due to ALICE IN WONDERLAND.
>
> They were NOT involved with the pick-up sessions
> that ultimately did happen with Conrad Pope in
> January, however. That was all Pope, who
> seemingly did not use any of Elfman’s thematic
> material in his music anyway (not sure if there
> are legal reasons for that or what).
>
>
>
> Edited 1 times. Last edit at 02/24/10 04:09PM by
> johnmullin.I looked up Lindgren and it says according to IMDB that he also wrote Additional music for T4 as well as Alice. I know he didn’t write additional music for Salvation b/c it’s not stated on the end credits or album
but maybe Ryan can confirm that . Also is that true for Alice is it stated in the end credits and album that there was additional music from TJ Lindgren ? Can you confirm this for us Ryan.
BTW, I know IMDb is an unreliable source but they got The Wolfman correct.Does anyone know how much music Danny wrote for this ? Just curious to know how much isn’t on the album.
johnmullin Wrote:
> Conrad Pope said that the movie will be nearly all
> Danny. He helped reshape a little toward the
> beginning and the end, and only a few interstitial
> bits during the body of the picture.
>
> Elfman supposedly recorded around 75 minutes (66
> of which will be on the CD!)
>
> The rumor is that Pope recorded somewhere around
> 20.Cool. I can’t wait for this. 75 minutes huh. I guess that explains track 19 b/c what happened to “Wolf Wild #1 ” .
rkeaveney Wrote:
> Stay tuned for THE FLASH. That’s coming in 2010
>
> RyanFor real. Where did you hear this ? What label is releasing it ?
Descent Into Mystery Wrote:
> 8.Charlie and the Chocolate Factory (I am not a
> big fan of this one as well, but it has some very
> nice highlights)
>
> The highlight of “Charlie” are the songs. The
> score itself is nothing special and quite
> forgettable. But those songs make up for it, in a
> BIG way. “Charlie” was the worthy successor to
> “Nightmare Before Christmas” that “Corpse Bride”
> wasn’t able to be.Very strongly disagree. Charlie was and still is amazing score . The score is far from forgettable. “Wonka’s First Shop” was beautifully written especially how it started off. Makes me almost want to cry the first 15-20 seconds of the cue. It ended off with a bang (dark ,epic and magical). “Charlie’s Birthday Bar” is a hopeful cue that ends on a sad but peaceful note. The “Golden Ticket/Factory” cue is another great cue especially in the middle where the music plays during the overhead shot of the factory and when everyone approaches through the gate,though the CD left out the organs that played during that cue before it merged to “Factory”. “First Candy” is dark and fun cue,while “Up and Out” starts off crazy and wacky but ends very peaceful and pleasant. I can go on about this score. But I don’t have the time. C&tCF score is a masterpiece in my book.
BTW, I think “Remains of the Day” owns any song off C&tCF ( which had great songs too) even “Wonka’s Welcome Song”. So not all the songs were weak in Corpse Bride.
Thanks . Very interesting.Sorry it took me two weeks to reply. Been too busy to check the internet. Thanks again.
Now for some labels to celebrate these anniversaries and reissue expanded scores for Forbidden Zone, Pee Wee, Nightbreed, Dick Tracy, Darkman, Edward Scissorhands, and The Flash (in volumes like Batman: The Animated Series) I know this is only going to happen in my dreams. But hey Back to the Future finally got released. So…..
I thought 2006 was a good year for Danny especially in evolving music wise. Eventhough there were some problems with Nacho Libre and no score release. BTW, I still haven’t seen the movie. Until there’s a score release I’ll check it out. I heard it’s really silly and not that good. Charlotte’s Web was pretty good I don’t listen to it that much though. Serenada Schizophrana was and still is a brilliant piece of work by Danny.
2007 was probably his weakest year. In fact, I believe 2007 to be the weakest year in film music period in this decade. Williams, Horner, and Thomas Newman didn’t score anything. There were MV/RC scores that year which weren’t good with “The Simpsons Movie” barely being the exception. Back to Elfman this pains me to say it , but MTR was a disappointment ,IMO. That’s his weakest score of this decade, IMO. It reminded me too much of TBCB. It felt like a mish mash of scores he ‘d done previously. Plus it wasn’t represented good on album, IMO. Now brace yourself ,but I enjoyed The Kingdom more than MTR. That’s right I play The Kingdom more than MTR. I really enjoyed The Kingdom it showed Elfman expanding his palette and proving that he’ll get out of his comfort zone when needed. I enjoyed “Main Titles”,” Friendship” , “Waiting”, “The Chase” and “Finale” a lot. I believe he really captured the tone of the movie and what Berg was looking for a lot. He even complimented Elfman on the commentary track where the “Waiting” cue takes place. I believe The Kingdom to be very underrated around here and other music score forums.
Now to 2008 that was an excellent year for Danny right up there with “02”. SOP was another score
that should’ve been nominated screw the two adapted serenada cues. That was a great score. I still don’t know how it works with the movie b/c I still haven’t seen it. Wanted was probably one of the best scores that summer along with HBII and Speed Racer. Speaking of HBII I believe that to be underrated as well b/c a lot of people were shocked at how dense the score was . I mean it’s Danny Elfman. He’s been writing dense scores since Dolores Claiborne. People should’ve expected that. Every track is amazing ,eventhough some are edited down. Also “Hallway Cruise” is dialed out of the picture. As well as 1/2 of “Training”. Then there’s Milk which I think deserved the nomination as much as I think SOP did.
2009 was a good year for Danny . Ain’t no 2008 ,but it ain’t no 2007 either. I haven’t heard tthe only cue release that was Elfman on the CD or seen Notorious. Terminator Salvation was a good score I think it’s unfair how Elfman gets blamed for not using the Fiedel theme since IMO the movie didn’t feel like a Terminator movie,more like a mish mash of Aliens/Mad Max/ Road Warrior/Transformers movie. Also,SPOILER
Arnold was only in it for 30seconds and he was digitally there . So why use it.
Danny did do a variation on the terminator theme. There was nothing to work with . The movie was a piece of crap anyways . I only looked at it cause of Danny,. I mean If you got McG directing a $200 million terminator sequel nine times out of ten it’s gonna suck you know what. Anyways I thought Elfman did his best with what he had. Taking Woodstock was a nice pleasant score. Nothing groundbreaking but proves once again that Danny is verastile and can score anything.
I hope 2010 – will give us more movies and scores where Elfman is evolving his palette and craft.
Danny Biker Wrote:
> Good Lord, I’m surprised to see how “Milk” is so
> underestimated around here. From all the great
> scores of 2008, it’s my favourite along with
> Hellboy II…and quite frankly, I was disappointed
> by both of them at first !
> These are the work of a very mature composer;
> while they have very strong themes, these scores
> are more about textures and carefully balanced
> orchestration. Early-90’s Elfman would I’ve never
> been able to write that kind of music…
> In the end, although I was really fond of Wanted
> when it was released, I just realised the score
> completely disappeared from my playlists – and
> won’t come back for a long while. Very fun
> score…but that’s pretty much it. It’s just a
> million miles away from his big brother Mission:
> Impossible…Me too. I think Milk is great, underrated, and a very mature score and it deserved the oscar nomination. Descent into Mystery just needs to stop getting Elfman ‘s scores from now on. Everytime he does a drama. He gets ticked. I remember last year at the FSM boards two users were calling Elfman the next Williams or believed that he finally reached Williams. I know all opinion. A lot of those guys up there like Elfman when he’s scoreing boring–I mean dramatic and quiet music and not when he’s scoring superhero action scores. Even in his action score listeners tend to like his drama cues more than his acton cues. BTW, I like action scores but when it comes to scores like Milk the quieter the better. I’m just trying say that just because you think his dramatic writing is boring doesn’t make it fact.
I enjoyed this decade of Elfman a lot. In fact I was just doing a marathon of Elfman scores I have. In order of when the movies came out. Yesterday I finished Spiderman 2. I think POTA was and still is amazing. I think 2002 was one of his best years. Spiderman, MIIB, Red Dragon were amazing and different from eachother. 2003 was great as well Hulk and Big Fish , which doesn’t get enough love,were both some of the best stuff that year eventhough I believe Matrix Revolutions to be the best score that year, IMO. 2004 was a rough year for Elfman and us Elfmanites, but the original material Elfman wrote for Spidey 2 was still brilliant. It’s one of my favorites of this decade from Elfman or any composer for that matter. 2005 was a great year for Danny and us but I think Elfman was robbed of a nomination for either score and a best song nomination for TBCB ” Remains of the Day”. I’ll talk more later. I’m running out of time on the library computer.
Another misoppotunity (sp?)
I am very F—-ing DISAPPOINTED. I was really excited for this score. Definitely pass on the movie now. This confirms that it’s a STINKER. Now nothing can save this movie. Haslinger ? Please. I’d take Zimmer over him. A better replacement would’ve been Beltrami. His Underworld Evolution score beats the crap out of Haslinger’s Underworld score. I’ll stop ranting. I’ll just p–s and moan off the computer.Looks very Sleepy Hollowesque. Yep Elfman definitely has a lot to play with. Six months to go and see it.
Descent Into Mystery Wrote:
> As for Prince, Elfman did credit Scandalous on the
> CD. So, if any ripping off was done there was
> credit given.This is BS. Everyone that talk about the batman theme Elfman COMPOSED hear the Hermannisms.And that’s not a criticism. I remember one critic thought Elfman was watching “Journey of the Center of the Earth” on the plane the day he came up with the batman theme. Even the FSM Spider-man podcast joked about how he came up with his spiderman theme and played JOTCOTE music. So that’s a bunch of BS about Elfman copying Prince. He was only FORCED to adapt ” Scandelous ” into his score for the the love theme.
I believe Hellboy II to be Elfman’s most underrated score of 2008. It didn’t get a lot of talk when it should’ve. I thought it was one of if not the best score of the summer and one of the best of the year. I was prepared for the score to be dense. These days Elfman writes dense and complex even for summer action fare, but I enjoyed every track. Eventhough some tracks are edited down. Like the fairies track as well as the cue where Hellboy fights Mr. Wink. I was pleased with the score and believe there was no filler cues. Also anyone ever put “hallway cruise” with the actual scene. I tried it on my DVD with the sound in and out and it sounded fine.
I also got a question. What did Elfman think of this movie and will he continue to work with Del Toro ?
B/c I’ve never seen him talk a lot about HB2 or Del Toro and never seen any pictures of him at the premiere.
When I read interviews about HB2 it always centered around Wanted since they were opening around the same time. He seemed more excited for that movie and working with Timur.After reading about what McG is saying. I’m worried that he’s trying to make Elfman copy temp tracks off of the first two movies. You know what that could lead to ….
