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Ha, awesome. It’s especially funny now because I’m seeing all these Domino’s Pizza commercials with Gotham City and the Zimmer theme playing.
I thought the film was very fun and enjoyable, and the score was fantastic within its context. I saw it at a cheap theater intended for an elderly audience, and an old couple got up and started dancing during the end credits appearance of “The Little Things” saying they liked the song! I really liked a guitar-played section of the score during a climactic action scene towards the end along with a bunch of other cues not placed on the album.
Ha, I hear the Goldenthal “Batman” chord progression too. As for “Aquarium,” many, many composers have borrowed from or been inspired by this classical masterpiece, particularly Elfman. But the influence is very apparent in the first portion of the “Hellboy II” score. I still think the whole score is very beautiful, but its influences are pretty clear.
Good enough for me. It’s probably that the orchestrations were pretty similar so they sounded so much alike. Either way, both scores are quite beautiful.
Having listened to the whole album, I have to say that I’m glad to hear Elfman returning to larger-scale films like this. The last third of the score is really gorgeous music. He really kicks the chorals into high gear with this one, something of which I’m very fond. The first portion of the score is in many ways a summary of Elfman’s scores to date, while still having some good strong and malleable themes that pop up in different forms throughout the album. A step up from Beltrami’s score for the first film, which was pretty good on its own.
One thing I noticed though… in “A Dilemma,” play it from 2:20 until the end of the track. Tell me that’s not VERY similar to James Newton Howard’s “Lady in the Water.” I’m not accusing Elfman of plagiarism, but when I heard it I thought I might have accidentally been playing the wrong track. Perhaps he wanted to borrow a bit from that gorgeous score.
I think you’re being a bit harsh on International Genius. While Danny Elfman is my favorite composer, there are certainly scores of his that I don’t really like so much, and that’s because I enjoy scores of a certain type. If there’s an Elfman score I don’t like, I’ll say I don’t like it. While International Genius’s analysis of the scores may not be as thorough as others might hope, he should still be entitled to come here and discuss why he likes or dislikes Elfman scores. Don’t kick me off please! I’ve yet to hear the “Hellboy II” score, but I’m working on it!
I haven’t seen the film yet but “Rats” is certainly a great action cue. In fact, the whole soundtrack is great! This is the score I’ve been waiting a while to hear.
I claim responsibility for the “Edo Guidotti” search. I was writing about that composer’s gorgrous score for the Epcot attraction Spaceship Earth (which was recently replaced with a new score by Bruce Broughton) for some reason.
Sounds really fantastic! This is exactly the kind of Elfman score I’ve been waiting to hear for a while now. I hope the rest of the album is just as good. Thanks Ryan!
I live in the OC! Perhaps I’ll go see this despite my complete disinterest in ballet. It would pretty much be sitting and enjoying a brand new Elfman concert piece, so I’m down for it.
It’s a tough call between “Goosebumps” and “Are You Afraid of the Dark?”, but I definitely still have my large collection of “Goosebumps” books, and I definitely did an autobiography project on R.L. Stine in the fourth grade. It would definitely be up Elfman’s alley, with his specialty in eerie music and his recent liking for scoring children’s movies.
It’s terrific to hear the variations on the Raiders March in “The Journey to Akator.” I’ve been pumping myself up for the movie by going on the Indiana Jones ride at Disneyland repeatedly (it helps to work there) and wearing my new gift, an authentic Indy Fedora. YAAAY!!!
In case anyone decides to look at this ole thread, disregard it. “Enchanted” director Kevin Lima is directing the project.
My reasoning is that if Gustavo Santaolalla won TWICE in a row, then the Oscars have no real meaning. But I disagree with the commentary. The “classic” scores of the old days really only came out at most a handful of times per year. I feel that the same amount of memorable scores are released every year, though the best ones go without much recognition. The bland scores that they talk about are, I think, the ones that get nominated for Oscars nowadays. Only one of my favorite scores from 2007 received an Oscar nomination, and that was “Ratatouille”. I thought “Transformers”, “Pirates 3”, and “Ratatouille” had very memorable (or at least interesting) scores that will probably get a lot of play in future years — hell, even the Super Bowl featured the “Transformers” score, and it worked perfectly! Every year has its set of memorable scores, and hopefully that pattern will continue.
As for Zimmer, I can see he might come off as pompous, but I’ve heard that he’s actually a really cool guy, and he’s always seemed pretty humble despite the tone he uses in interviews. Maybe it’s his German/British accent? Anyway his output has been outstanding recently, so he was actually rather modest in that interview.
Looks good, though it didn’t impress me nearly as much as the trailers for the other big summer movies, Indy 4, Dark Knight, and Iron Man. I really need to see another trailer to really figure out what kind of movie this is going to be, because trailer-wise, the first Hulk looked slightly better, although we all know where it went from there. I’m still rather confused about Craig Armstrong being selected as the composer. Really? Craig Armstrong?
Hmm, clearly it takes a page from the Elfman sound rather than the Zimmer sound. It has hints of “Spider-Man” in it, quite frankly.
Oh hey, Kevin Conroy is back as the voice of Batman! Cool!
It would be great to hear a “Mission: Impossible”-like score for this film. Elfman scores outlandish action really well. But yes, a “Kingdom”-esque score would not be too fun for this.
I’m not familiar with TMBG’s work (film music exclusively… and maybe a bit of radio stuff… and Mika) but they earned my respect with their excellent cover of “There’s a Great Big Beautiful Tomorrow” from the “Meet the Robinsons” soundtrack.
If that’s true, then that means that Serenada Schizophrana can be played over images of underwater sea life and tortured prisoners of war. Who knew?
Three lesser-knowns are scoring the so-called “Batmanime”:
http://upcomingfilmscores.blogspot.com/2008/02/christopher-drake-robert-j-kral-kevin.html
