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The finale in the film is cut up a bit and the last parts are cut off, but what I love is that the orchestra and choir sound much richer in the film’s cut of the music cue. Notable is just as the camera passes over Victor and Victoria towards the moon, when the strings sound a lot like “Edward Scissorhands” (I don’t know music terminology) and sound differently than they do on the CD track. They did the same thing on “Charlie” with the main titles, where in the film there was an electronic noise that was not on the CD, and also the blasts of brass during the “Psycho” part of “Mike Teavee” in the movie that were omitted from the CD track.
By the way, if anyone happens to have an mp3 of the “Charlie” track of the river cruise that was actually in the movie (the variation on the main titles that eventually segues into its own track), could you please post? Thanks!
Now focusing back on the DVD, which I’ve finally received. Maybe it’s my TV, but the music was blaring over the dialogue, often drowning it out, although I had this problem in the theaters as well. I think the features are great, very enlightening and interesting. Danny’s bit was pretty nice as well. Instead of the “Charlie” DVD where the main focus was on the songs, they allowed him some time on this one to talk a little bit about the score. The music track its neat as well, but severely needed is a commentary. One of my favorite things is that the finale sounds so much broader and beautiful in the movie than it does on the CD.
I very seldom would listen to the opinion of a man who wears his shirts tighter than mine
I don’t wear tight shirts. I have a gut that wouldn’t support it. But what I mean by prep is that I like to wear nice clothes that won’t frighten people off…or something like that. I enjoy impresing people.
I HATE seeing all these goth people obsess over NBC, thinking it expresses their life completely. Sorry if I’m offending anyone, I’m sort of preppy.
More so than Back Beauty?
Sadly, I think so. I think “Black Beauty” is a great score, but I’m much more fond of “The Lion King.” Zimmer was very innovative in blending his own style with African elements, especially his collaboration with Lebo M. Maybe it’s that I grew up with “The Lion King” and hadn’t even seen “Black Beauty” until years after it was released. I still feel that “The Lion King” is a gorgeous, memorable, and emotionally moving score.
The DVD is #1 on my Blockbuster Online cue. I’m not going to buy it because although it’s a great movie, there are other movies that I’d much rather spend the $20 on to own forever. Right now, “The Lion King” is at the top of my list. I recently got back into it after a very long time span of having not seen it, and I’ve discovered that it’s a fantastic movie with a Zimmer score that actually deserved the Oscar it received (those were the days). Anywho, I should be getting the “Corpse Bride” DVD within the next two days. Can’t wait!
I think I’ve lost all hope I had in the Oscars. I was wiling to give them a chance if Danny got at least one nomination, but not only was he snubbed, but the nominations are just ridiculous! “The Constant Gardener” wasn’t even on the map, not was “Pride and Prejudice.” John Williams is always deserving, although I haven’t heard the “Geisha” music but I do like the “Munich” score. And the “Brokeback Mountain” nom is just because they didn’t want to not nominate something from that movie. Then there’s the song nominations. Nobody ever heard of the songs from “Crash” and “Hustle and Flow” and… Dolly Parton? It’s curious that they only nominated three songs, although I feel it was done intentionally to rule out any of Danny’s songs because of the way the Academy is. Screw you all! But luck to “Charlie” and “Corpse Bride” anyway. Even if they don’t win, they still made more money than almost all of the competitors, and that’s the bigger victory.
Dammit, I have no sound. The animation was pretty good for an animation school. I really wish I could have heard Adam West! He’s rocked in my book ever since “Family Guy.” So what was the music like?
Don’t get your hopes up. I don’t think anything that came from “Brokeback Mountain” is going to lose this year, especially since the song from it won the Golden Globe. And the think, Danny scored Ang Lee’s last movie. I always had the feeling that Lee never really cared for Danny’s style, pointed out on the Hulk DVD features in which he said he told Danny not to write a Danny Elfman score, which is wrong in my book.
Well, I appreciate all the help, but my trip to California has just been cancelled. Or at least postponed. See, the intention was for the trip to be a college visit and revreation beyond that, but I won’t be taking the SAT until May, so April will be used for studying and the trip will most likely be moved to the summer (granted my SAT score is up to Cal State standards). Who knows, maybe Danny will be working on “Charlotte’s Web” and I can weasel my way into the recording studio.
Thanks for all the enlightenment. Hrm, kinda sucks that it’s so hard to get into one of these things, although I’m going to attempt to e-mail John Ottman (he’s very good about responding) and see if it may be possible to get into the “Superman Returns” session. I mean, the film opens in June, so wouldn’t April be the prime scoring time? I’ll give it a try and let you all know how that goes.
Eh. I’m not a big fan of Broadway, and it’s true, would Danny even be involved? I’m just looking forward to “Believe it or Not.”
Cool beans. Danny’s lucky his haid has retained its thickness and color for so many years. Look at Kevin Smith…in his 30’s and already balding. There are teenagers with receding hairlines.
Not sure if this topic is still being looked at, but I’ll just put this here in case it gets resurrected. I came upon the website of the company that provided the music, called Pacific Coast Presentations, and their president is Edo Guidotti. You can check out the company’s website at http://www.pcpmusic.com
I’d have more confidence in the movie if there was a more well-known and accomplished director on the project. We’ve got the guy from 13 Going On 30. If it was someone like Tim Burton or even Marc Forster, I’d be a bit more comforted. But seriously, imagine if Gary Winick had done “Charlie and the Chocolate Factory.” Only someone as talented as Tim Burton could make it a truly fantastic movie. As for “Charlotte,” call me crazy but I think Frank Coraci could make it pretty well.
Ehem, Charlie and the Chocolate Factory? Kid’s fantasy based on a classic book! That aside, this somewhat confirms my suspicion that the movie itself won’t be too good. I’m pretty sure Danny decided to do this just to fill his schedule and not have to do Spider-Man 3, but I wish he would have chosen a better movie. Meet the Robinsons looks like a good choice, though. But in the meantime, perhaps a small project will fill his time, like a video game, TV theme, or noticeable commercial? Or hanging out with Olliver, that’d be cool too.
I just can’t buy that they nominated the 11th-hour King Kong score just out of quality. One, I heard it’s only decent (I’ve yet to take a listen yet) and two, I think the Hollywood Foreign Press is just getting used to nominating everything Peter Jackson. If Danny Elfman had scored that movie, or if The Frighteners came out post-LOTR, he would have definitely gotten a nomination. As for the other nominees, I figured that Narnia and Memoirs of a Geisha would get nominations because I’ve heard they’re goot material, but seeing Brokeback Mountain and Syriana on there just make me think the HFP people are just judging the scores based on the movies they came from, not the actual music. That’s only my score rant, and I won’t even bother ranting about the Best Song nominees because most of them, except for the song from The Producers, seem to have been plucked from total obscurity. Boy, am I pissed.
So let’s see, we have David Hyde Pierce as the voice of Abe Sapien in Hellboy, and now Kelsey Grammer’s The Beast…what’s next, John Mahoney as the next Joker? Actually Kelsey Grammer looks pretty cool in Beast gear, very impressive I think.
There’s not going to be a 4, according to most reports. If there were, it would have to be Bryan Singer with John Ottman.
All right, so it’s very, very close to “Edward Scissothands.” However, it still has an unmistakable Horner sound to it. Not as bad as how Silvestri’s “Polar Express” ripped directly from Debney’s “Elf,” and also Debney’s “Passion of the Christ” had almost a full minute of material from Horner’s “Glory.” I still enjoyed the rest of the “Grinch” score and his “Where are you Christmas” theme.
It was totally unexpected for me, but I’ve enjoyed Powell’s scores to “Rat Race,” “Shrek,” and surprisingly, “Evolution.” I’m not too sure about how I feel about him doing X-Men because there’s uncertainty over whether he will incorporate Ottman’s great themes, one of his techno-esque works, or the kind that I’m fond of, the really powerful, energetic, and thematic stuff. We’ll just have to wait and see. I wonder what brought him up as a contender, no less the actual selection for the film’s composer.
Just think of it this way: Kanye West was nominated for a ton of Grammys. Would it even be worth it to have one?
That’s pretty funny about the Welcome Song getting nominated, of all the songs he’s written this past year. I don’t think it will win considering it’s a one-minute song and it’s up against some critically acclaimed songs, but it sure would be nice to see him win. I’m really excited to see The Incredibles getting so much attention with three nominations, as that was one of my favorite scores of 2004.
He’s got to be in the running for something this year. When you think of it, were there any other really noticeable scores this year? I know a lot of people are going with “Sith,” but is that even eligible? My guess for another big score contender is Gregson-Williams’ “Narnia” score, which is getting really good buzz. Otherwise, what’s been out this year that stood out more than “Charlie” or “Corpse Bride?”
