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Oh, it fits the film perfectly, that I will not argue with. Whether or not I find it a good listening experience is an entirely other matter. I can barely bring myself to listen to the entire Disk, I just do not like it.
Anyways, I have been listening to “Serenada Schizophrana” and “Mission: Impossible” today. Both are wonderful, I would say, for entirely different reasons. By the way, I assume no one knows if or when “Rabbit and Rogue” would be recorded, no?
To be honest, I hate “The Kingdom”, and I will hopefully always consider it to be his worst score. So, how is “Midnight Run”?
I would sigh right now, if I could. Do you have a problem with John Williams, Ryan? I am curious to know.
No, no, you did not seem combative at all. And yes, Danny Elfman is the best when it comes to Jazz film scoring. He probably beats even John Williams in that regard. The only problem is that it never seems to be enough! I want a film to be released that would necessitate an all-Jazz score for Danny Elfman. I can dream….
I saw this on JWFan.com yesterday. Very tactless for Christian Bale, who I never really liked, anyways.
Well, perhaps not the “best”, per se, but I know I am in for in a treat when I see “Jazz” followed or preceded by “Danny Elfman”.
I apologize for abruptly changing the subject, but I just listened to Danny Elfman’s two “Chicago” pieces. They are incredible! I love Jazz, and I think Danny Elfman is the best writer of Jazz today, part of the reason he is my second-favorite composer (no one can beat John Williams, sorry). Though I am tempted to purchase the album just for those two Tracks, I shall gladly keep myself in check. A shame that his music was ignored by far too many. I scroll through eight pages of reviews, and I cannot even find five mentions of Danny Elfman! And if so, it is usually: “It is an instrumental, therefore it is garbage. Catherine Zeta-Jones and Queen Latifah are awesome!”Agggggh!
If I recall correctly, “Hellboy II: The Golden Army” was a mutually pleasant experience for Guillermo and Danny.
When I first listened to the score, I was very disappointed. “Where are the themes?” I wondered. “All I hear is noise!” However, back then (in August), I had yet to realize that scores may not necessarily “grab you” on the first listen. I think it took five full playthroughs of “Hellboy II: The Golden Army” for me to even begin to appreciate it.
I would be listening when I realized (gasp) I found a motiv in Track One! E Gadd, it is in Track Two, as well! And in Track Three! Hey, another motiv! How did I miss these earlier? By the end of the album: “Boy, was I wrong! I love this score!”I have listened to it far more times since then, and I am still discovering more and more about this score, aomething I consider to be good.
I liken Danny Elfman’s recent output (and some of John Williams’, as well) to a Hershey bar wrapped in tin foil. Upon first glance, one sees nothing but a non-descript (albeit shiny) object. However, upon unravelling that non-descript veil, one finally notices the sweet, sweet goodness in front of you the entire time. You just needed to look a bit harder.
Well, that is more than you old folks wanted to know, I am sure.
Oh, and I got “Nightbreed” in the mail today, but I have yet to listen to it.
I was actually thinking about that…. I guess there are only so many things to say about a piece of news that is apparently not too interesting. I love discussing films and scores that were made years before I was born, too, to see what people who have lived with (in this case, “Darkman”) for over 15 years think. I apologize for straying off-topic. I do not wish to start fifteen Threads for the films and scores that I wish to discuss, though… I do not think this Board needs excessive clogging….
I felt the film was at its worst when it came to action. I think it was at its best when it focused on Darkman and his scarred persona. Sam Raimi and (especially) Danny Elfman really made you feel sorry for Liam Neeson.
I am actually content with this album. From my recollections, there was not too much from the score that was not present on the album, and some of the score seemed to be…is filler the word to use? If I remember reading the credits correctly, Jonathan Sheffer (that is the conductor for “Batman Reurns”, yes?) wrote some music for the helicopter sequence, and I am glad that is not on the album. So, to summarize: there are better Danny Elfman scores to release in expanded form.
I can imagine their take on “Rage/ Peppy Science” right now. Yeesh. By the way, I just saw the film. Would someone be angry if I said the score was the best part of the film?
As a 15 year old, I take blatant offense to your generalization that all 15 year old boys love Fall Out Boy. I demand an apology, sir! (Currently listening to “Woe, The Darkman…Woe”)
I did not hear the Track except for the thirty seoncd-samples on Amazon.com. I have a feeling that it works great in the film. After all, a choral ensemble probably would not be so fitting for the subject matter.
Wow, Marco Beltrami seems to be pretty angry. In a way, though, it is hard to blame him.
And I find McG’s comments about “Wagner by the way of John Williams” reassuring, even though it seems as if he is saying that the score is already written. Danny just started last week, right?
I read that, too. To be honest, I am confused. I read an article about Gus Van Sant making a fitfh Psycho film a few months ago (November or December, I think), but when I tried to find that article last night to show you guys, I could not find it. I am beginning to wonder if it was just a rumor article, and if so, I apologize for making this Thread.
