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Interesting side note: Smith was one of the few people to absolutely slam the first Spider-man during its initial release.
Okay, time for apologies. I posted my last comment in a fit of anger, which breaks one of the most important rules of netiquette. I shouldn’t have done it, and I’m sorry.
Maybe the Academy just really wanted to honor a stop motion animated feature film that had Helena Bonham Carter in it.
Also, does it really matter if you understand SleepyHello’s opinion? I loved Elfman’s work on that horrible “Planet of the Apes” despite all the complaints from the film score community that it was dull and droning. I don’t understand their opinion but I accept it.
Of course, it is not the quality of animation that determines the winner. Clearly, fingerprints played little, if any, part in the judging.
From what I’ve read, “Robinsons” is one of the few projects currently in production that will not be affected by the Pixar acquisition. Does the delay neccesarily mean retooling? Does it even mean a change in the post production schedule? The post production schedule of “Cars” alledgedly remained the same when that film was moved to this upcoming June, complete with Randy Newman wrapping up scoring sometime in September or October. Who knows?
Considering how much of Elfman’s music Raimi threw out of the second “Spider-man,” I somehow doubt that Young will be studying the groundwork of those scores if he wants to keep this assignment. He’s a good composer. I hope he knocks it out of the park.
He just sounds like the dozens of other Media Ventures alums (I wonder how Harry Gregson-Williams and John Powell were able to find their own voices considering that none of the others have).
Look, not everyone is going to like “The Corpse Bride.” Just because someone was profoundly disappointed in it doesn’t mean they have to fully explain themselves. I also preferred “Wallace and Grommit,” and would rather have Burton win for something better, like “Big Fish” or “Ed Wood.” “The Corpse Bride” touches on a lot of interesting things, but its brief running time prevents further exploring and development. Perhaps that is where “Wallace and Grommit” found its edge, what with the characters having been featured in a few earlier shorts.
Corpse Bride may have lost, but Wallace and Grommit is also a very good film. If you haven’t seen it, do so, along with all of their shorts.
In Burton’s defense, Kevin Smith’s script for the film sucked. It’s been available online throughout the years. I know that his hand was forced a bit due to Jon Peter’s ridiculous demands, but it still stands as a piece of work that should humble Smith (as opposed to “Jersey Girl,” which I actually liked. Maybe it was the Sweeney sequences).
Yes, but the world of Batman already worked with Burton’s filmmaking sensibilities. Not so with Superman. I’ve always felt that Burton’s commitment to “Superman Lives” had more to do with “Mars Attacks!” bombing spectacularly and his need to reclaim his position in Hollywood than any affinity he had for the property.
Good thing Elfman’s not going. He might try to sucker punch Christopher Young! Just kidding, of course.
If you have the money, buy the box sets, especially the first season. The show’s a blast!
“Please! Show some mercy!”
“Mercy? I’ll show you mercy! After I’m done killing you, I’ll send your kids to college.”
Also, sorry if my post seems hot-headed. I’m just a huge fan of “Sweeney” and don’t see how Burton would gut it like that. If you thought there was an uproar from “Planet of the Apes,” wait until you see the reaction for “Sweeney.”
“Willy Wonka and the Chocolate Factory” might have been a musical, but it wasn’t an opera. Burton was not working from that movie, he was working from the book. If Burton is indeed interested in adapting the musical “Sweeney Todd,” I don’t see why he would choose to throw out the most celebrated element, i.e. Sondheim’s contribution. If Burton threw out the Sondheim songs, that would require 80 percent of the show to be rewritten from scratch. The article says he’s interested in adapting the musical to screen. Why would he adapt the musical and wish to throw out everything that made it a musical?
Please, buy yourself the DVD. You’ll see why throwing out the songs would be impossible.
Yeah, but if this is an adaptation of the Sondheim musical, I don’t see where there would be room for more than fifteen or so minutes of score. “Charlie and the Chocolate Factory” was an adaptation of a book that happened to have been filmed once before. “Sweeney Todd,” though based on an updated telling of an old-fashioned melodrama, already has it’s musical sound set in stone. And like I said before, “Sweeney” is almost entirely sung through. I just don’t see how Elfman would fit in all this.
I’m also curious as to how Depp will handle Sweeney if this news is true. Sweeney is one of the most notoriously difficult parts in all of musical theatre in terms of singing. Anyone know if Depp is a baritone? Christopher Lee is apparantly a trained bass and, if Burton’s involvement can be believed, would make a wonderful Judge Turpin. Helena Bonham Carter would make a brilliant Mrs. Lovette.
For those of you who don’t know what I’m talking about, go to Amazon.com and order either the cast recording or the DVD. And buy “Into the Woods” and “Sunday in the Park with George” while you’re at it. If you hate all of the cliches of musical theatre, you will love Stephen Sondheim.
I wouldn’t really call “Sweeney Todd” a typical Broadway show. It’s closer in nature to an opera. I don’t see where Elfman would be involved in this apart from the possibility of a score adaptation. “Sweeney” is almost entirely sung through.
I hope this is a good film. If any children’s book is capable of inspiring a great film, it’s “Charlotte’s Web.”
The animated one from the seventies is good, but I think it’s time someone hit it out of the park, pardon the cliche.
It’s possible that this delay might not have any effect on the post production schedule. “Cars,” the upcoming Pixar film, was pushed from November 2005 to June 2006, but Randy Newman apparantly had the score in the can by September or October.
Of course, it is equally possible that the producers hate the current cut and are delaying the film in a desperate effort to save it.
Anything’s possible in Hollywood.
