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If I remember correctly (so who knows?), Walker said that Elfman did write the title sequence in an interview that appeared in the book “The Score.”
I’m assuming that people are taking this from the fake story I wrote on this board (a friend of mine then posted it on IMDb). The article was also put up on the Tim Burton Collective a couple of months later. I accredited the article to Wicks Cherrycoke, the narrator of Thomas Pynchon’s Mason & Dixon. Also, it would not be good news if Sondheim was kicked off of Sweeney Todd no matter who replaced him.
Which is a sad commentary on the expectations of American audiences. Sure, the movie made a fortune, but do you know anyone who really likes it?
It was thrown out when the project was shut down last summer. Personally, if they can’t settle on a script, I have no problems with this project being abandoned. The last time a Burton film had major script problems was Planet of the Apes. I don’t think anyone here wants to see another Planet of the Apes fiasco.
HEY! Don’t you dare limit the brilliant vision of Mark Steven Johnson by consigning it solely to Daredevil… he also wrote Grumpy Old Men, thank you very much!
Directors have to pick projects for themselves. “Believe it or Not” will come along soon enough, and with it a fantastic Elfman adventure score.
Filming is complete according to this link:
Furthermore, Ed Wood, arguably Tim Burton’s greatest film, lacked an Elfman score. It certainly didn’t hurt the movie.
House of Leaves was fantastic. Only Revolutions is ghastly, hoping its gimmick will distract people from the fact that it is not well written. I don’t see how OR will work as an audiobook either. At least we get some Elfman music out of it.
First time they’ve released an Elfman score in nearly seven years. Hopefully the print off will be low enough for a decent sized album.
According to FSM Online’s Top 40, Elfman is attached to Errol Morris’ next film. I guess Elfman is hanging up his superhero clothes to be the goto documentary composer.
Have to agree with JMY. Elfman’s Batman music would not have worked with the new film, which focused more on detective work and less on superheroics. That clip does more to hurt the cause. Furthermore, there is more to film music than scoring what’s on screen. Just because Gotham is grandiose doesn’t mean the music should be. Zimmer and Howard considered the psychological side of the story, which, if you notice, the movie dwells on a lot. If anything, Batman Begins felt like a Law & Order episode with the minor exception that one of the officers had a tendency towards wearing capes. If Elfman had been involved, I’d be willing to bet that his work would have been a complete stranger to his work on the Burton films.
From what I’ve read, Koepp’s work with the first film consisted mostly of cobbling together several different drafts by several different writers into something cohesive. Either that, or I’m confusing it with Spider-man 2, where Sergent had to sift through screenplays written by Miles & Miller and Pulitzer Prize recipient Michael Chabon.
I would argue that you have made the most honest assessment of this film. Much like Sandman in his formative stages, it’s having a bitch of a time trying to keep itself together.
The movie was all over the place. That being said, and I know this isn’t going to be a popular opinion, I thought Young did a pretty good job overall (at least for the parts where I could tell it was his music). My favorite scene in the film was also the one I felt was the best scored: the birth of Sandman. For that alone I hope there’s a score album. And as for all that talk about Young not doing varying the Spider-man theme enough, let’s be honest. If he did do a whole bunch of variations on the theme, most of the same posters would be complaining that he didn’t stay close enough to Elfman’s sound. We might just be too close to the situation to look at it objectively.
Maybe we should ask if Young was allowed to do anything. I might be one of the few people hoping for a score album just so I can hear what his original intentions were.
I’m almost tempted to say that composers will be hesitant to work with Raimi in the future, but I know that’s not true. They’ll gladly sign on even if they know their work will be drawn and quartered. Brilliant director, bad coworker.
I was kind of hoping they would preserve the “horned” hair from the original production. The costume is magnificent.
Though I admire Tarantino, I don’t worship him the way a disturbingly high number of my friends do. It’s good to see a talented director who pays tribute to the filmmakers (be them great or terrible) who have come before him, but it’s another thing when this practice becomes so selfindulgent that we’re left with a film that come off more as collage than an original work. That being said, I really hope that his next film is the long-anticipated Inglorious Bastards. We don’t need another exercise in trashy genre entertainment that’s supposed to be clever just because there’s a hidden reference to the works of Antonionie.
I personally thought Meet the Robinsons was the best animated film Disney has made since 2000’s The Emperor’s New Groove. That statement would have been even more impressive if not for the fact that it means its competiting against such masterpieces as Home on the Range and Treasure Planet. Elfman’s score works very well in the film and there’s plenty of material that should have been on the commercial release.
