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Let’s not forget that there’s more than one way to designate pedal settings for a harp. There’s a way to write it where you don’t use letters at all, but 7 bars along a line set to up, middle, and down along the line.
I think it’s more of a director being veered into madness by the studio’s (now global entertainment entities) who supply the money AND the power.
I actually think this would be a better project for Javier Navarrete than Elfman. I love Danny, but I would think Javier could do wonders and still keep the film within the Howard Shore realm musically.
Just a thought… nothing much I know.
Cool, I never heard this MC Chris song before…
I have a friend who used to listen to him before he was ever on Aqua Teen Hunger Force.
… don’t forget a rapping fly in the Movie!
Here is the press release:
STANDARD OPERATING PROCEDURE
Original Motion Picture SoundtrackMusic Composed by Danny Elfman
Is it possible for a photograph to change the world? Photographs taken by soldiers in Abu Ghraib prison changed the war in Iraq and changed America’s image of itself. Yet, a central mystery remains. Did the notorious Abu Ghraib photographs constitute evidence of systematic abuse by the American military, or were they documenting the aberrant behavior of a few bad apples? We set out to examine the context of these photographs. Why were they taken? What was happening outside the frame? We talked directly to the soldiers who took the photographs and who were in the photographs. Who are these people? What were they thinking? Over two years of investigation, we amassed a million and a half words of interview transcript, thousands of pages of unredacted reports, and hundreds of photographs. The story of Abu Ghraib is still shrouded in moral ambiguity, but it is clear what happened there. The Abu Ghraib photographs serve as both an exposé and a cover-up. An exposé, because the photographs offer us a glimpse of the horror of Abu Ghraib; and a cover-up because they convinced journalists and readers they had seen everything, that there was no need to look further. In recent news reports, we have learned about the destruction of the Abu Zubaydah interrogation tapes. A cover-up. It has been front-page news. But the cover-up at Abu Ghraib involved thousands of prisoners and hundreds of soldiers. We are still learning about the extent of it. Many journalists have asked about the smoking gun of Abu Ghraib. It is the wrong question. As Philip Gourevitch has commented, Abu Ghraib is the smoking gun. The underlying question that we still have not resolved, four years after the scandal: how could American values become so compromised that Abu Ghraib and the subsequent cover-up could happen?
Written and Directed by Errol Morris, this probing documentary features an original score by composer Danny Elfman.
Winner of the Silver Berlin Bear Award at the 2008 Berlin Film Festival.
Sony Pictures Classics opens Standard Operating Procedure on April 25.
Varèse Sarabande Catalog #: 302 066 897 2
Release Date: 05/06/08I WOULD like to see him integrate guitars into the score for Wanted… just thinking of how he did that in the scores for To Die For and Freeway (also Dead Presidents) reminds me that he is one of the best at inserting the guitar into orchestra. Just thinking about these scores makes me want to listen to them right NOW!!!
These would be just examples of using an electric guitar, because right now I consider his wonderful use of acoustic guitars to me A Part of this orchestra palate (it’s now fully integrated into his sound).
Me too, They Might Be Giants are my favorite band! I’m so looking forward to this now. Their last album “The Else” was such a wonderful sound that hearkens back to their earlier 80s work!
I just watched the Deep Sea IMAX film and would LOVE a release of it’s music, I find that some of the ideas from the concert work was taken in new directions, enough for another release, the same might be said for S.O.P.? Or at least I hope so.
Thanks 9 fingeredElf, the board was acting screwy (at least on my end), and I couldn’t even edit my first two posts.
So, has anyone bought this yet?
Sorry, for some reason I can’t get the link copied from Amazon, but here is the profile if you do a search on Amazon for books….
Biography – Elfman, Danny (1953-): An article from: Contemporary Authors Online [HTML] (Digital)
Sorry, I forgot the rest of the post. I’m such a bone head!
(Just copy and paste the link)
Just thought I would give a quick rundown of what I think of the CD at this time. I gave the tracks a rating from 1 to 5 *s just on the merits of the album. As far as the CD goes compared to other Elfman Scores I would have to say it rates as a ** (on a scale of 1-5). Again, even thought the overall rating is low I do think there are some promising things in the score that I can’t wait to hear Elfman expand upon in the future. Also, with many more listens I might find more of this score to love…
Track Rating
1. *****
2. ****
3. ***
4. *
5. **
6. **
7. ***
8. **
9. ***
10. ****
11. ***
12. *
13. ****Again, this is based upon the CD only and not the rest of Elfman’s output or how the score worked in the film. Overall it has about 18 minutes that I return to a lot, but if I subtrack the repetitive last track then there are 3 good tracks totaling about 12 minutes that I find as a great suite to the score!
As a composer that has to work under circumstances that don’t allow for a lot of money thrown towards the score, I really respect those that can use synths to the fullest – if it calls to replicate an orchestra or if it’s used to enhance one (that Elfman does better than most). Television scores are usually compromised in the score department because of the budget, but that doesn’t mean they’ll be devoid in melodic, harmonic, or emotional content.
Heroes music is perfect for the series.
Smallville is over the top drama and the scores are pitch perfect (even if the series is uneven)
Actually one of my favorite recent shows carries a very eeh kind of score, but then I grew up loving Post’s macho action music for The A-Team!
“It takes less time to tear something down than it does to build it.”
If anyone is looking for a show that had great music on it’s season premiere then look no further than Smallville – great stuff there!
And I would also like to defend the scores for Heroes… sure, it’s not a great thematic tour-de-force, but since the beginning the composers involved didn’t take the music lightly and it has developed – slowly, like the show itself. Don’t believe me then compare the beginning of last season with the beginning of this season. Like the story lines themselves, the music seems to have a plan to them.
Arranging is nothing to look down upon. I wonder if John Williams ever got any Broadway fan grief over his work on “Fiddler on the Roof”, or any of his other arranging duties?
actually Amon Tobin has scored a film, Taxidermia: a Hungarian film that I haven’t seen or heard the score to, but Wikipedia’s info on this film is:
Taxidermia is a 2006 film about three generations from Hungary, including a taxidermist, starting during the Second World War. The film is surreal in nature with dark comedy.
The director is György Pálfi. The film is a Hungary / Austria / France collaboration and the language is Hungarian. The film is based on short stories by Lajos Parti Nagy.
The film features music scored by electronic artist Amon Tobin. This is Amon’s first movie score, but not his first soundtrack.
Hasn’t he also done some game scoring as well?
If anyone has heard this, please let me know about it.
Thanks.
Has anyone ever heard of Amon Tobin?
The reason I ask is because the music on his CD “The Foley Room” is built around sound manipulation, and sound experiments and really got me interested in this type of music. The Kronos Quartet plays on one of the tracks. Also Osvaldo Golijov’s opera “Ainadamar” contains sound manipulation within the full vocal and orchestral patchwork.
I’m actually looking forward to the Kingdom score just to hear what Elfman can do in this vein.
Like many concert works, it may be available to rent out the score and parts for an orchestral performance. I’ve seen this with a lot of modern orchestral and band music (I used to play bassoon in band and then later in orchestras in Mississippi). I remember when our band played just one movement from Johan de Meij’s (sp?) Lord of the Rings symphony a year after he wrote it, and they costs just to rent the score and parts were close to a thousand dollars at the time.
I love the show Heroes as well, and at first I thought it was just the same old droning trick, but it seems to be evolving as the show is. There are actually little motives that pop up, and only now have they started to be developed. The last episode really showed that! I think the music in this show was as carefully thought out as the story itself… you can’t rush it, but it can’t overpower the show either right now. After every episode I’ve said, “wow that was a great episode” even when there isn’t much acting. I just hope it doesn’t go the way of Lost where it seems the writers are just trying to throw in whatever to make it last before the big reveal that they are in a virtual reality simulator on vacation or something like that. But it is about heroes so it can pretty much go anywhere (as the last episode showed). Enough geeking about Heroes…
… who loves Elfman?!?!?!?!
