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I thought it was great, and consistent with Ottman’s developed style whilst adding in Williams’s theme. I preordered the CD based on the tracks “Little Secrets/Power of the Sun” and “Saving the World.” Also, I managed to get it for $3 on Amazon with gift certificates. An Elfman Superman would have been fun, but I was behind Ottman’s participation all the way. However, when will Danny be able to score another comic/superhero movie again? It’s kind of his thing, and I really do love them.
Kevin “The Director” wouldn’t happen to be Kevin Smith, would it? That’d sure make my life. Anyway, based on the whole way this thing is going, this score will go the same way that something like “Heartbreakers” did… maybe a “Various Artists” album with a track or two of Danny music, perhaps a suite compilation. From what I’m hearing, Jack Black has some good songs in the movie and people might want to buy them on CD.
I guess the film will be worth seeing after all. Concerning Beck, the only thing I know about him is that he’s a Scientologist.
I too was looking forward to “Ripley” way more than “Sweeny” because the musical potential for the former seems much more interesting than for the latter. It’s good to know that “Ripley” is still on, but I was hoping it would be for a sooner release.
I figured this would be a fun project for him, and now a studio’s gone and pissed him off again! Dammit! I wonder if Jared Hess had anything to do with it? Oh well. I guess I wasn’t expecting too much based on the AICN review, as I prefer the more modern/massively orchestral Elfman to the old school Elfman.
The use of her solo voice seemed a bit more like a Zimmer or Horner thing to do. Danny doesn’t do the “ethnic” sound all that often, and when he does it’s pretty much tailored to his style (a la the Oompa Loompa themes).
According to IMDb:
“Mother”
Written by Mychael Danna“Young Scientists”
Written by Danny Elfman & Kenny Burgomaster“Hulk Escapes”
Written by Danny Elfman, Don Harper & Trevor Morris
Featured Vocals by Natacha AtlasI recall him saying that it shouldn’t sound like a Danny Elfman score. Um, then why hire Danny Elfman, Mr. Lee? I think that the score was very distinctively Danny’s anyway, except that he added that one theme of Danna’s to satisfy the director.
The score seems somewhat subdued from the samples I’ve heard so far. Amazing that such a factor has actual influence!
Marvel seems pretty confident that they’re going to put the movie out as a big-budget sequel with a lot more action and a lot less psychological crap than the first one, and it’s going to be without Ang Lee or Eric Bana. I won’t miss Lee, as he didn’t seem to appreciate Danny’s talents as much as he should have and I hated his style and smugness (he had the Hulk modeled to look like HIM instead of Eric Bana!), but I did think that Eric Bana pulled off the role pretty well. I’d like to see Danny come back for a second round with some more opportunities to go all-out.
Speaking of that fantastic show, I believe the first season will be out on DVD in June. It was around before I was born, but I’ve watched a bunch of them and I love it. I still scan the Sci-Fi Channel for “Mummy, Daddy” and “Family Dog” because I’ve never seen either one, but so far my favorite has been “Fine Tuning.”
Homer and Marge were commenting on the names in the credits, and when Elfman’s name came up, Marge said, “Oh, I’ve always liked him,” and Homer said, “Not me!”
…which is why Peter Griffin takes the crown!
“As one would expect, there is so much comedy on-screen that the music has to play the “straight man”. The result is a score that ranges from dramatic and heroic moments for the wrestling sequences, and soft and tender bits for the emotional elements in the film.”
Now I’m really excited. I had expected a very light score, but now seeing the whole orchestra involved and “heroic moments” (my favorites of Danny) and I’m really pumped for this. Awesome, Danny’s really getting back into the pattern of having lots of stuff on his slate! And here I was worrying that a summer would go by without a Danny Elfman score…
It rarely ever happens, but if anything like that eve happens, it’ll be all over this board. Welcome!
Happy Birthday!!! The best gift would be a Serenada Schizophrana CD release, let’s hope they announce it today in your honor!
SoundtrackNet has just posted a “First listen” for the real “Da Vinci Code” score. I didn’t really find the sample clips all that impressive except for the track “Chevaliers de Sangreal,” which had a very nice sound to it. Maybe it’s just that the portions for each track were the not-so-good parts, so I think it may end up being a pretty decent score.
http://soundtrack.net/features/article/?id=191
And while over at SoundtrackNet, check out their “First listen” to “Mission: Impossible 3” by Michael Giacchino, who I think has really established his own musical identity and reflects it upon a very good adaptation of Schifrin’s theme with a more Elfman than Zimmer approach. I totally love his addition of countermelodies to the main theme to give it a darker sound.
Here’s what the IMDb says:
Hans Zimmer replaced James Horner (long time collaborator with Ron Howard), while Horner took the offer to compose the music for The New World (2005), when Zimmer couldn’t accept it, because of scheduling conflicts.
What do you mean, using it too much?
As in I don’t think he’s written a purely orchestral score, or at least mostly orchestral, in a very long time. Not to my knowledge, at least.
I don’t have anything against synth — Danny’s a master of blending it nicely with an orchestra, like with Spider-Man — but Hans Zimmer tends to use it waaaaay too much. Sure, it’s something he’s been considered a pioneer with, but he’s prefectly capable of using an orchestra, and when he does, it’s really good (like the orchestral parts of “The Lion King”). For some reason, before “Batman Begins” came out I was hoping that Zimmer and James Newton Howard would be working together to blend their styles into a great sound instead of them composing separate tracks, but Zimmer’s theme is his usual stuff; not terrible, but not very inspired action music that lacks the heroic and darkened spirit of Danny’s theme. That’s why I sort of like the Kunzel version better because although it still isn’t as relevant to the character as Danny’s Batman, the real orchestra sounds a bit more appropriate than electronics and synth.
Erich Kunzel and the Cincinnati Pops do only decent performances of some film scores, but for some reason I’m very interested in the differences between original recordings and different arrangements of them. For example, I’d love to compare the sounds of the Carnegie “Serenada Schizophrana” with the Hollywood Studio Symphony version just to see how they’re different.
Mission to Mars was a crappy movie with an awful score. It was much better in the form of Epcot’s “Mission: SPACE” ride, which incorporated elements of the movie (Gary Sinise, Mars, and the centrifuge spaceship in the queue line) and threw in some more thematic and entertaining music from Trevor Rabin and a really kickass ride. It’s a good thing Danny had no involvement with the movie.
