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It’s always safe to assume, but not always wise to do so
But I can’t see anyone being in line to score it before Danny.
Wait, wait, WAIT. That is the poster for the ORIGINAL ‘9’ SHORT FILM, not the feature length produced by Burton and Bekmamtenov.
I love seeing all these Elfman clips on YouTube, seeing as my entire YouTube account was deleted because I had the same clips!
Very cool. Didn’t see that one coming! Guess it’ll fill the vacant slot that THE WOLF MAN has left since it was pushed back.
Thanks, elfboy, and indeed it’s been posted before
Here’s the tracklist. Don’t peek if you don’t want to know!
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0:00 Anywhere But Here
0:25 Big Fish
1:46 Charlie & The Chocolate Factory
2:43 Nacho Libre
3:05 Dick Tracy
3:19 Milk
4:00 Scrooged
4:48 A Simple Plan
5:25 Sleepy HollowThis is a perfect thread to wish everyone a Merry Christmas and share this little suite I’ve made for all the board faithful.
Please don’t link this file elsewhere, or I’ll kill you!
Half the fun will be guessing where the cues come from. Enjoy!
Season’s Greetings, Merry Christmas, Happy Holidays, Happy Chanukhah!
Ryan
I’d like to know precisely how many films Howard Shore has been hired to score only to find out that the entire music budget only allows for synths. I’ll bet it’s 0. The music budget, including composer’s fee, on a middle-priced feature is $600,000. I don’t think Shore has worked for that little in at least 10 years!
“The Little Things” from WANTED is one of 49 eligible for “Best Song”…
http://www.variety.com/awardcentral_article/VR1117997506.html?nav=news&categoryid=1982&cs=1
I just heard that the other day. Very generous of Daniel Schweiger and La-La Land to link to my Shirley Walker website!
I don’t think it’s a matter of which theme is better. To me it’s fascinating just to hear this piece of music and wonder what it’s for. The BATMAN score is my all-time favorite. It was the score that got me interested in film music as a kid (and I’m not talking about discovering it on video, I’m talking 1989, in a movie theater here). Every little bit of info I can find or learn about this score is an absolute thrill. So I don’t believe anyone is rating this mystery theme as better, they’re probably just interested and excited, like me!
To me it sounds like Elfman. The first bit reminds me of the extended ending to “First Confrontation”, finished with what sounds like the melody and brass idea from “Up The Cathedral”.
OK, so I did some digging, and with the help of one of my good buddies and an esteemed member of this forum, I contacted editor Hubert de La Bouillerie, who was one of two editors of the “Making A Hero” BATMAN documentary. My e-mail:
“Dear Hubert, please excuse my intrusion, but I was hoping you could help. My name is Ryan Keaveney and I run [boastful description removed!] Danny Elfman website (http://elfman.filmmusic.com/). Elfman of course wrote the music for BATMAN in 1989, and you worked as an editor on a rare documentary on the making of the film (“The Making of A Hero”). There are a great deal of people who are wondering where the music in the opening of the documentary comes from (it sounds like it comes from the score, but it doesn’t appear in the film). I know it’s been almost 20 years, but I’m hoping that you might recall, or even have the music in your possession.
The opening can be viewed here: http://youtube.com/watch?v=0rujArU3il8&fmt=18
Thank you for your time. It is greatly appreciated!
Best regards,
Ryan Keaveney
http://elfman.filmmusic.com”Hubert was gracious enough to reply just little while longer with more info:
“Ryan,
No intrusion happy to help. How you found out I cut this is unbelievable. I had long forgotten about it. John Peters brought all the material from London and I cut it over an extended weekend at Warners. I was also cutting Tango and Cash for Jon and Peter at the time, so it was a little crazy. But my memory was that it all came from London and the music was part of the original score. Hope that helps. (We did a dub at Warner, it’s possible all that material is still in the vaults at Warners. We were pretty methodical about boxing everything.) The only other person that could help you is Jon, it was his project, he might now were the original material is.
Hope that helps.
HB”So while we don’t necessarily know what the piece of music is, we know for sure that it is from the original score elements. It is not plucked from a library nor is it original material for the documentary itself. very cool!
Now, who has a contact for Jon Peters?
Ionzoe, David Reynolds wrote two cues — the first was when Wesley is scooped into the Viper and the second was the train wreck. Not sure what Deb Lurie wrote, however.
“Fate” I believe is the cue heard when Fox fires the arcing bullet that takes out the other assassins.
I figured it was time to reveal the darkhorse winner at the Academy Awards. AR Rahman for SLUMDOG MILLIONAIRE. Just watch…
