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Wow, very interesting seeing him conduct! But please, PLEASE let this sound absolutely nothing like “Brokeback Mountain,” although I shouldn’t worry because Danny has a much better mastery over the guitar.
Wait, but wasn’t a lot of Danny’s original music (i.e. Train/Appreciation, Aunt May Packs, Swing Closeup) discarded by Raimi? I know he went with the music from the first movie for numerous cues, but how else would you describe what happened to all that other music Danny wrote for the sequel?
I never saw Wallace and Gromit, but I’ve seen other Aardman shorts and the content bored me like crazy. Clearly I’m not getting that British side of humor (I’m more for the kind from Edgar Wright and Simon Pegg with their “Shaun of the Dead” — genius). I don’t really like their style, either. I found the animation in “Corpse Bride” to be far superior. So, while it wasn’t my favorite Burton movie and while I didn’t see W&G, I still would have personally voted for Corpse Bride (kinda goes without saying).
Don’t be ashamed. Corpse Bride wasn’t the best; I didn’t even buy the DVD. I loved the score, but the songs were admittedly unfulfilling, although “Remains of the Day” was hundreds of times better than “It’s hard out here for a pimp” and everyone knows it. Did those “grillz” scare anyone? And who else was pissed off by Dolly Parton?
I really used to think that Klaus Badelt had a lot of potential, especially after “The Time Machine,” but nowadays it seems like he’s not improving his work in the least bit. I’d like to hear what this ripoff sounds like, but it doesn’t look like there’s a soundtrack release. I do recall the IM “Legions of Darkness” track that was also a blatant ripoff of the Spider-Man Titles. That material is just too good and too original!
I was rooting for Munich. Williams’s score was so beautiful, and his rendition of “Hatikvah” was so moving to me. From the portions I’ve heard from “Brokeback,” it was a very uninteresting score with absolutely no depth to it at all. Compare it to last year’s “Finding Neverland” score, which was entirely worthy of the award. This year, Williams and Marianelli were the only ones to write traditional scores; not to be against newer sounds, but there was really nothing going on with the “Brokeback” and “Constant Gardener” scores. I would have sooner voted “Batman Begins” into the nominations list than either of those.
My updates:
“It’s Hard Out Here for a Pimp”: complete joke. Those guys accepting their award: ridiculous. A sure sign of where the Oscars have headed in recent years. I think Jon Stewart agrees with me, what with all the 36 Mafia jokes.
Did anyone catch Danny’s “Men in Black” played as Will Smith walked out to present Best Foreign Language Film? Pretty neat! That’s two appearances so far for Danny’s music!
HOLY SHIT! Gustavo “You’ve never heard of me and shouldn’t ever hear of me” Santaolalla actually WON?! TRAVESTY!!!
Is the music that plays during the acceptance speeches pissing anyone else off? Anyway, at least Danny’s voice was heard by the whole crowd.
I’m not a comic-reader, so I have no clue what this means, other than that this movie may take place in Basin City (joking, but same style). I’ll see it for the visuals and because I’m curious about how Young will adapt Danny’s score now that it’s been confirmed somewhere that he will in fact be using Danny’s themes. I lost respect for Raimi as a person, but I can’t deny that he’s a damn fine filmmaker.
At least both Tim Burton and Kevin Smith can agree that Peters is a real nutcase. How’s he still have a job with those kind of ideas and demands? Now that we’ve had movies like Spider-Man and X-Men where you take guys who really know the source material and are really good at making movies and leave out stupid things like giant spiders and gay robots, I doubt people of his likes are allowed near superhero movies anymore. Anyway, I think Kevin Smith respects Tim Burton as a filmmaker, because he wrote in his blog that he took his daughter to see “Charlie” and he enjoyed it. I don’t know how Tim feels about Kevin, but he’s in such a different ballpark at this point that it’s difficult to tell.
All right, here’s my deal. I like Tim as a director. I like Kevin as a person and as a writer. His dialogue is amazing, and he’s great in front of crowds. Check out the videos, he’s like a standup, except that his stories are true (for further hilarity, check out the rest of “An Evening with Kevin Smith” and go to the part where he talks about Prince…awesome). Kevin’s movies aren’t the best in terms of directing or acting (although few can beat Jason Lee), but they’re just plain enjoyable films. Clerks is funny and real, Mallrats is just a load of fun, and Dogma is amazingly smart. Plus, remember that he chatted with Danny about having him score Dogma, which would have been cool. Smith is cool, Tim is too, the end.
What’s up with the wrist brace Danny’s wearing in some of the photos? Preparation for the signing, post-signing writers cramp, or other?
I thought War of the Worlds was pretty good. Very suspenseful in the suspenseful parts, and very actiony during the action scenes. I actually used “Probing the Basement” in a movie I just made and put “Epilogue” in the end credits because the horns are so damn ominous and creepy. Don’t worry, I used “Red Dragon” in the movie as well.
Just go to iTunes and do a podcast search for KCRW. “The Treatment” is down there somewhere and you can download the individual podcast. I’ve downloaded it but I haven’t yet listened to it.
Lucky for you guys! When will the East coast ever get its share of cool events? And don’t say “Serenada Schizophrana,” because it was on the West coast too. I wanna meet Danny, even if he’s in a bad mood! Why do you guys think he was not happy to be there?
Ohhhhh. So are any of IM’s cues original? My favorite is “Lucius Dei,” which was used perfectly in the trailer for “The Island.” It’s not a rip, is it? Thanks for the info!
Great, now I know that Michael J. Fox’s character dies. Thanks a lot.
Actually I don’t watch the show. I kid, I kid. Even though I’m not an OB fan, I enjoy it when Danny’s work appears somewhere, notably in “American Dad” when Patrick Stewart sang “Little Girls.”
By the way give a listen to the Soundtrack.net podcast, in which they talk about the nominations this year and gives samples of each score. It really goes to show that the Academy really isn’t giving a shit anymore, based on how much the “Brokeback Mountain” score royally sucked. At least last year’s nominated scores had melodies to them! The podcast is pretty enlightening concerning the process behind the nominations, so give it a listen.
Oh boy, you got me started on the finales. Let me note that I love his use of choir in them and that they are often my favorite parts of the score.
SPIDER-MAN: “Farewell”
After the “Main Titles,” this was the track that introduced me to the genius that is Danny Elfman, with a sweeping, colorful, gorgeous cue that summed up the entire movie and had an ominous tone to it that prepared us for the sequel. I can listen to the final swing over and over and over again and I appreciate it even more with every consecutive listen.SPIDER-MAN 2: “At Long Last, Love”
When I first heard this from the “Spidey Suite” before the movie was released, I knew I was in for addition to one of my favorites. I’m not afraid to say I got a bit teary when I heard the sequel’s finale, for it was changed just enough to tell me Danny worked hard on this new score and made me feel ready for more. Chris Young, my expectations are high, so screw up and you’re in big trouble.CORPSE BRIDE: “Finale”
I just rented the movie and watched it twice, adding to the two times I saw it in the theater, and the finale music combined with the visuals is absolutely breathtaking. He works a choir like nobody else can. My mom actually was crying at this point.MEN IN BLACK: “Finale”
Awesome all the way. This is exactly how a movie should end. Kudos to Sonnenfeld for ending the movie with such a bang, and double kudos to Danny for writing such a spectacular, big cue for a spectacular ending. I listened to just the final section of this at least 20 times over and over while on a bus traveling through Italy, and now I’ve got such a fond memory in my head of going through the countryside with this finale in mind.EDWARD SCISSORHANDS: “Grand Finale”
Perfect end to a perfect movie. The music really started something that people have tried to mimic many times, but not with the same effect as Danny’s score. The choir, the bells, the snow…whenever it’s snowing outside, I immediately play this track.SLEEPY HOLLOW: “A New Day!”
After such a long and creepy musical journey, it’s such a pleasure to cap off the score with this upbeat and delightful piece. The boy’s choir shines through and the lower tones come in to compliment it so well. Best of all, the voices blend so nicely with the orchestra to create a very pleasing sound.BATMAN: “Finale”
The earliest of his scores that had the big quality that I’m so fond of, and the finale to this movie sealed the deal for me. Big, brassy, heroic, epic… it’s just a brilliant piece of music that has all of the grand and dark properties of his style.BATMAN RETURNS: “The Finale”/”End Credits”
This includes the to tracks of the finale. First, the death of the Penguin that is just to tragic with the music reflecting upon this, even though the character was a villain. Then comes the demise of Catwoman, which starts off very dark and ends with a heroic statement of the Batman theme that, like in “Spider-Man 2,” gave me the feeling that there would me more to come, yet it never did. Then when the end credits start, it’s all-out Batman, with the motifs of the villains coming in later on, including the amazing clarinet theme for Catwoman. A truly great listen that shows that Danny’s not willing to reuse his old stuff for sequels — he produces new, original, amazing material that generally surpasses the original.This was fun. Perhaps a “Main Titles” thread sometime later on?
