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Thor Wrote:
> A redesign, you say? I believe it when I see it!
>
>
> Seriously, though, your suggestions sounds fine.
> The issues I have are only those that have existed
> for years. Ever since the 90s, I have been hoping
> for a slightly ‘brighter’ messageboard, and
> eventually also a more contemporary one that is
> more attractive to post in.
>
> Other than that, it’s mostly to do with keeping
> the information up-to-date.
>
> Although the site should be a venue for news and
> interactivity, there should also be a sort of
> ‘archive’ section for Elfman’s work. When I did
> the Elfman Buyer’s Guide for FSM back in 2005, I
> went through every bit and nook of his career up
> to that point (including non-film work and Boingo
> etc.), but you don’t need to go THAT heavy into
> it. A listing will often suffice.
>
> But if this is really happening, I wish you good
> luck. Can’t wait to see it.Thanks, Thor. The message board should work a lot better. It’ll allow people to have one account to login, post comments and use the message board. Plus there will eventually be member-only benefits and other cool stuff.
Descent Into Mystery Wrote:
> Ryan, quick question. Do you still run those other
> composer websites? Maybe I’m wrong but I recall
> you running fan sites for other musicians. If
> those still exist, maybe you can combine
> everything into one site. It might bring in more
> traffic and make the message board more diverse.They still exist more or less. I’ve thought about possibly creating a small network of sites, but I’m just trying to get the Elfman site online first, then Cinemusic. I barely have enough time to accomplish that! We’ll see.
Thanks, Nat. Good news, the new forum will have signature files
And with the site running on WordPress, I’ll be able to intensify content, including more links to listen to and get music.
ddddeeee, I’ll reach out again when I’m ready to assemble the team. This should prove to be a big summer for Elfman fans, and I want to make sure we’ve got everything covered!
Thanks, Monsterhead — noted!
Thanks, DannyBiker. I think we’ve discussed your help in the past. I’m happy to have you on the team. I think the board in particular is going to be a huge improvement in look, etc. Imagine, proper YouTube embeds!
I use Basecamp at work for project management. It might be a solution.
I’ve emailed Richard Kraft about this and he responded “Danny Elfman is writing and recording music for AGE OF ULTRON.” That’s all I’ve got.
Danny Elfman talks about creating the “dark” orchestral music that accompanies the developing romantic and sexual relationship between Christian Grey (Jamie Dornan) and Ana Steele (Dakota Johnson).
THE END OF THE TOUR director James Ponsoldt spoke with Comingsoon.net, sharing a few thoughts about collaborating with Danny Elfman on the score:
CS: That’s pretty funny, wow. You mentioned Danny Elfman. He obviously is a great composer, but it seemed like an odd combination of you and him for some reason. He usually does Sam Raimi and Tim Burton movies, much bigger movies.
Ponsoldt: Yeah, I mean, from early on, R.E.M. and Brian Eno were two musicians, a band and a musician that sort of factored into the time that Lipsky and Wallace spent together and they had conversations about what they listened to. So I knew that R.E.M. and Eno would feature in the movie. We end the movie on this Eno song. We have a couple of R.E.M. songs. There was talk of potentially working with Eno, but then the assistant director that I worked with for multiple movies now, Nick Harvard, we spent a fair amount of time working together, he was the A.D. on Whiplash. He’s a great AD. He actually asked me, while we were pretty early in post, he said, “Hey, are you locked in on a composer or anything?” I was like, “No, not yet.” He said, “Well, there’s this family friend I have that is a composer. He’s been asking what I was doing up in Michigan while we were shooting this thing and he’s just really curious about it. Anyway, I feel like I should just mention it.” I was like, “Oh, who is it?” He’s like, “Oh, Danny Elfman.” I was like, “Oh, I’ve heard of Danny.” He’s like, “Yeah, well, he’s really interested. I don’t know what you think.” And the reaction I had was kind of the one you had, right? The truth is that Batman was the first movie that I ever… I never have told Danny. This is such a fanboy thing. Batman is the first thing I ever bought on VHS and when I was a kid I would watch it like, three or four times a week. I learned what a composer was through the Danny Elfman, Tim Burton collaboration, like Pee-wee’s Big Adventure, Batman, everything after that. Then, the work that he’s done in the past few years with David O. Russell, but especially with Gus Van Sant, with both of them, it’s working in a completely different mode, a more minimalist mode, and it’s not the Danny Elfman sound we associate with “The Simpsons” or Burton. So I would love to meet with him because he’s a genius, and even if it works out or not, how can you say no to that? When we sat down, I just realized he was such a patient, kind, open collaborative real artist, and I was like, “Oh God, he could do this in his sleep.” He has gotten famous for doing Sam Raimi and Tim Burton movies, where he does 100 minutes of score with lots of sound effects and the London Philharmonic, but that must get old. I was interested in doing something that would be like 25 minutes of score that’s ultra minimalist, that’s real undertones to the movie.
CS: It’s very subdued, that’s what I’m saying. I would not have realized that he could do that kind of music.
Ponsoldt: Yeah, and I think he was really excited. I mean, the movies, he had done last year, he was working on Fifty Shades of Grey and Big Eyes. I think he was really excited about the challenge of this. Yeah, he was just a wonderful collaborator. He worked so, so, so, so hard on it. I was really blown away. As far as seeing someone who does something different than what I do, but my respect for his craft and artistry, he cared as much as if it was the first movie ever scored, like he was sensitive and vulnerable and self-conscious, like, when he was first playing me cues, he was really nervous. I was like, “How are you nervous?” It was mind-blowing and disarming. He was just a great collaborator.
I think you can see clips from the film on the Film Music Society website, the address of which escapes me…
Really like that last track. I love when Elfman does these variations for the end of his albums like MEN IN BLACK 2, APES, etc.
Well to be fair he’s scored some big movies since, then — many of them noisy!
MEN IN BLACK 3, DARK SHADOWS, REAL STEEL, OZ THE GREAT AND POWERFUL. He’s not necessarily trolling the art house these days
Now, the question is will he score Gus Van Sant’s DEATH NOTE remake?
Would love to go to this but after two concerts in two years in two cities other than my own, I’m content to sit and wait until I can see it closer to home
I saw those tracks, even posted them here, but I don’t believe they’re legitimate. Why?
– The video thumbs have the Vevo logo in them — but if you watch the videos the logo is not in the video
– The uploader is who again?
– Music sounds nothing like Danny Elfman
– Track lengths don’t matchRyan
Tracklist for the soundtrack album has been announced. Danny has two tracks to close the album out. This one may be big $$ for the composer.
1) Annie Lennox: ‘I Put a Spell On You’
2) Laura Welsh: ‘Undiscovered’
3) The Weeknd: ‘Earned It’
4) Jessie Ware: ‘Meet Me In the Middle’
5) Ellie Goulding: ‘Love Me Like You Do’
6) Beyoncé: ‘Haunted (Michael Diamond Remix)’
7) Sia: ‘Salted Wound’
The Rolling Stones: ‘Beast of Burden’
9) AWOLNATION: ‘I’m On Fire’
10) Beyoncé: ‘Crazy In Love (2014 Remix)’
11) Frank Sinatra: ‘Witchcraft’
12) Vaults: ‘Where You Belong’
13) Skylar Grey: ‘I Know You’
14) Danny Elfman: ‘Anna and Christian’
15) Danny Elfman: ‘Did That Hurt?’He also praises Elfman’s orchestrator saying he “deserves a lot of credit” or something along those lines. James of course has always used orchestrators, ghost writers and the temp track liberally
Thanks for the comments, folks! It’s funny, I keep making plans for upgrades and then things come up that push things back. I’m really, really looking forward to a time (hopefully soon!) where my nights are totally free to just tinker on MFADP. Maybe there will be some stuff in place before the Elfman concert in October. Until then I’m glad you’re still getting a kick out of the site as is.
I want to say it was released in September, 1989. Prince’s album was in stores the second week of July.
