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According to the L.A. Times critic, SWEENEY TODD is the best pic of ’07:
http://goldderby.latimes.com/awards_goldderby/2007/11/finally-we-have.html
Cha-ching. Elfman makes some more cash.
http://adsoftheworld.com/media/tv/visa_juggling
More on the ad: http://www.broadcastnewsroom.com/articles/viewarticle.jsp?id=191807
Ryan
http://www.jimdooley.com has clips from his score for the show.
Ryan
Man, I love “Finale”. It’s like Danny Elfman doing EXPLOSIONS IN THE SKY, one of my favorite bands (post-rock instrumental style). Not surprisingly, EITS scored Peter Berg’s FRIDAY NIGHT LIGHTS. I haven’t had a chance to listen to much else (the premiere of BOSTON LEGAL is on tonight, folks!) but I have a feeling this is going to be at the very least a unique entry in Elfman’s filmography.
Ryan
I have all of Amon’s albums and he’s a fantastic musician/DJ. While his stuff can always work in action sequences I don’t know if he has the chops to add some dramatic layers to a film.
Ryan
Hi Mike – thanks for sharing your thoughts and bringing back a little classic BATMAN. It’s the score that got me into film music and this site wouldn’t exist without it. We’re so far removed from that ’89 sound with the new BAT films that it’s quite a thrill to hear new variations on the Elfman material. Excellent work!
Ryan
There are clips from the film here:
http://movies.yahoo.com/movie/1809740161/video/3962994/standardformat
Ryan
I just saw it and wish I hadn’t. If this guy was in my yard I’d yell “Hey lame-o, get out of my yard!”
Ryan
PEE-WEE/BACK TO SCHOOL was released on vinyl but I’ve never seen it either. The only Elfman score I own on LP is BATMAN.
Ryan
I would say of all of Shirley’s work, the only thing that really sounds like Danny Elfman is THE FLASH, and I believe that was on purpose, considering it was based on his theme.
Ryan
In Janet K Halfyard’s book on the BATMAN score she notes that the discrepancy between actual and official runtimes of BATMAN on home video and DVD is about 4%. Meaning the film runs faster than it did in theatres, altering the pitch of the score three-quarters of a semi-tone, which is an audible difference. This might explain why everyone also laments the difference between the score as heard in the film and on the album, which is noted in the correct speed and pitch.
In her list of the complete set of cues written for the film, Halfyard also notes there are 6 omitted cues, and a total of 74 minutes of music for the film (all based on the full set of cue sheets she studied at Warner Bros.). Halfyard also mentions alternates and un-recorded extensions to certain cues.
So what’s my point? Well there’s plenty of material to warrant a special re-release of the BATMAN score. Add to that the (descent into) mystery surrounding the music heard in the beginning of that BATMAN documentary and you have even more to add on.
Ryan
I like what I hear. It’s a diversion from the CHARLIE, CORPSE, CHARLOTTE’S and ROBINSONS course.
Ryan
