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A laundry list of additional composers isn’t an unusual thing for a Zimmer score, is it? Anyway, I’m sure the album material is all his. Listening to more of if, I can’t help but be fondly reminded of “The Lion King” during certain parts involving the chorus (after listening to the “Clap for Alaska” sample, I went back and listened to “This Land” and realized how good it felt to hear Zimmer back in that kind of territory, despite the fact that it’s far more serious in “The Lion King” and self-mocking in “The Simpsons Movie”). Oh man, if ever a score earned every bit of its Oscar, it was Zimmer’s “The Lion King.” Nostalgic sigh.
The Green Day adaptation doesn’t do anything for me, but then again the band’s recent work never did, either. However, I went and listened to the iTunes samples from Zimmer’s score for the movie, and I was completely taken by surprise, in a good way! He totally channels Elfman while keeping it original. And there were moments when I actually laughed out loud because there were elements I never thought I’d ever hear in a film score, let alone a Zimmer score. For example, in the track “Clap for Alaska,” right after some beautiful, swirling, ascending strings, he’s got the whole chorus saying, “Aaaaaalllllaaaaasssskaa.” And then there’s the track “Spider Pig,” which is just so out there that you cant help but laugh. I wonder how that one gets used in the movie… Anyway, the score just might be one I need to buy, and it might even coax me into seeing the movie!
By the way, has anyone else read that Zimmer announced he’s not allowing any more of his scores to be submitted for Oscar consideration? I can’t quite gauge this one… is he being pompous or being considerate to the other composers who haven’t been nominated nearly as much as he has, let alone at all?
Yes, I absolutely love Elfman’s superhero scores, but the main reason why I bring up “The Incredible Hulk” is… well, he scored the first movie! Isn’t it natural to be curious about him maybe continuing with the series? Sure, it’s always nice to see him working on other projects, but it’s also really neat when he gets to build upon his previously written material. Let’s not forget “Spider-Man 2” and “Batman Returns,” which I think are among his best scores based on the added material and the expansion of the themes. Despite the massive amount of changes being made to make the sequel a unique movie, perhaps the producers might want the music to be similar in the same scenario as “Spider-Man 3.” So yes, I’d love it if Elfman went and did other projects, but I’d also love it if he did this one too.
Okay, another director update: now IMDb says Brad Silberling is going to direct. This one I give a thumbs-up to, not only because “Lemony Snicket” was an incredible movie, but also because he shot a movie in my town (“Moonlight Mile,” which sucked, but it was shot in my town, dammit! I was there!) Interestingly, Danny’s name is still listed on the movie’s IMDb page. Of course, it’s not the most reliable website, being user-generated and all, but I’d be content with the way it looks presently.
Zimmer is really doing well this summer! First his great “Pirates 3” score, and now this apparently. I really can’t think of any other scores I heard this summer that I likes as much as “At World’s End.” Dare I ask for an exclusive Cinemusic preview of “The Simpsons,” Ryan? Of course, if that’s not allowed, I totally understand.
I gotta say, this score seems to be pretty good! I’d love to hear what Zimmer does with Elfman’s theme in addition to the theme that he added to the movie. Why can’t they do a First Listen for this? I really want to hear it!
I’m from just north of Boston! Not for long, though… California in September, woooo! I know Berklee’s a good school for music and that it’s right near Fenway Park. How’d you like it?
The latest news is that Michel Gondry (Eternal Sunshine) is in talks to direct the movie. Umm… I don’t like this idea.
Christopher Nolan and WB are doing their best to differentiate the new movies (Batman Begins, The Dark Knight) from the original franchise. I’m pretty sure that Hans Zimmer and James Newton Howard are confirmed on the new movie. I remember something about Zimmer working on “Batman Begins” right down the hallway from where Danny Elfman was working on another project (probably “Charlie and the Chocolate Factory”) and Elfman commented on the irony of it or something… it was a funny story. And yet here we are this month with Hans Zimmer working on “The Simpsons Movie” based on Elfman’s original theme!
I’ll assume that mostly everyone here has seen the movie already, but for those who haven’t, I’ll post a SPOILER ALERT.
It plays when, as Peter and Harry are both riding the “Sky Stick” during the final battle in pursuit of a (yet again) falling MJ, Peter rockets down and grabs MJ, then swings her to safety. There’s a really cool lead-in cue that begins when Harry and Peter are ascending up the building’s skeleton, with Peter using both web and Harry’s help to get higher. It starts with Elfman’s quick strings with a brass tune sort of playing around the Spider-Man theme, then proceeds into what I think is the best orchestration of that main titles portion used so much in the movie and finally reaching “Setting MJ Down.” Don’t ask how I know all those specifics.
And concerning Edward Bloom’s comment about the Goblin theme not being in the first movie’s main titles… you’re right. I for some reason assumed that tune was the villain theme as it was in the last 2 movies, but that was a dumb assumption because it’s clearly nowhere in there!
Regarding the main titles, why did Young feel the need to remove ALL the electronics from the main titles, going as far as removing ALL of the percussion from the entire section after his lousy additions? That part sounds so empty and lacks that rhythmic beat to keep the music moving! The electronics were what really made the first movie’s titles stand out, blending perfectly with the orchestra for that cool sound that really held up well for the character.
The Responsibility Theme is not at the end because Young allowed his new themes to linger far too long, thus removing a large chunk from the original main titles score. Elfman managed to make the Doc Ock Theme last a out the same length as the Goblin theme in the first movie’s titles, allowing the whole thing to play through. In “Spider-Man 3,” you’ll notice that the Sandman theme is just beginning when the music credits come up, whereas Elfman had already gotten back on track with the Spidey themes at the same point in the first two movies. Granted, in the main titles the music matches the visuals of black goo and sand, but it still doesn’t feel right.
Finally, why did he go and change that one aforementioned note? That one still bothers me. And yes, I still think the film sucked big time. Good thing I saw “Transformers” last night and it made up for all my Spider-Man disappointment with its awesomeness.
I’ve discovered, through way too much time on the internet, that my favorite bits from the movie were done by Deborah Lurie, who is very quickly becoming Danny Elfman’s new protege. This short cue done by Lurie in particular, though it follows the “Main Titles” rip that many of us have complained about, is orchestrated quite well and I like the direction in which it goes:
http://www.youtube.com/watch?v=PMwdS6CskJo
I’ve read that bits of Lurie’s and Young’s music are floating around the internet in the form of entire cues. The Young part doesn’t interest me beyond “Birth of the Sandman,” but from what I’ve heard of Lurie’s work here and elsewhere, she really seems like somebody to keep an eye on.
I had always thought that Elfman got the “Theme by” credit in “Batman: TAS” the same way that he did with “Spider-Man 3,” with his theme from the movies there, but still adapted by someone else.
I had thought that Shirley Walker wrote all of the music from “Batman: TAS,” opening and closing music included as an absolutely amazing adaptation of Elfman’s theme..
“What was the point of all that? All it does is shoot ya! It doesn’t make breakfast at all! Ahhhh!!!”
Awesome. I also recall an episode of “American Dad” where Stan and Steve were going through an x-ray machine and Stan made a remark concerning Oingo Boingo. Anyway, fun time-waster, Dawg Man.Wow, really? Of all scores, they couldn’t find themes in “Sleepy Hollow”? The “Ichabod Crane” theme is very clear and plays many times during the score, with a beautiful version of it in the “A New Day!” that I often listen to over and over because it’s so amazing. Then there’s the very prominent “Horseman” theme which I can’t imagine anyone missing… it’s a very strong theme.
I had heard that when Jim Carrey signed on, they brought in Steve Oedekirk to retool it to Carrey’s personality. And I was OK with that, because “Kung Pow: Enter the Fist” is one of the funniest movies I’ve ever seen. Really, I’d be happy with either script, just as long as Burton directs it!
I definitely understand now that what you’re talking about is the Spider-Man theme, and its adaptations in “Spider-Man 3,” though ripped with little change from the main titles, make more sense now. Still, it’s worth noting that my impression of the theme was used lightly in the first movie and then used a lot more in the second movie, so it’s definitely a part of Spider-Man’s musical identity that Elfman intended to include. It’s a shame we couldn’t hear more of either theme in the most recent film installment…
Break out the iTunes, pull up your “Spider-Man 2” playlist, and I shall demonstrate…
“MJ’s New Life/Spidus Interruptus”: 1:10-1:16, 1:19-1:25, and 2:17-2:22
“The Bank/Saving May”: 3:37-3:43 and 4:18-4:22
“Train/Appreciation: 1:10-1:15
“Spider Fall” (http://youtube.com/watch?v=Zy4MJyceiE4): 0:56-1:04It also has appearances in the first “Spider-Man” score, though not as prominent as in the sequel…
“City Montage”: 1:07-1:11
“Final Confrontation”: 2:12-2:18This melody is what I’ve always interpreted as the Spider-Man theme, and I’ve always wished it was used more. While the theme that the FSM guys say is Spider-Man’s theme certainly gets a lot more play, I feel like it is more of a lead-in to the theme I’ve demonstrated.
Whoa whoa whoa, they didn’t once mention the REAL Spider-Man theme! The one that had mild statements in “Spider-Man” and huge, bold statements in “Spider-Man 2”! It follows what those guys believed was the Spider-Man theme and was most prominently heard in the second film’s “MJ’s New Life/Spidus Interruptus,” “The Bank/Saving May,” and “Train/Appreciation.” It’s a five-note piece and I can’t understand how they missed it. It’s my cell phone’s ring tone, dammit!
I’m not sure if I had heard that interview in which Elfman describes the backyard cue, but it seems so ridiculous that whoever was responsible for that wouldn’t let the new material be. I mean, I’ve heard what he wrote and it has almost no difference from their beloved temp track other than that it’s lengthened to match the scene! Talk about crazy city over there. Also I didn’t know there was an alternate version of the “Costume Montage” from the first movie — while I love what was finally accepted, the original piece was actually very nice.
I just finished watching “Ghost Rider” for the first time, and I couldn’t help but notice that some of its score seemed to have spilled into the “Spider-Man 3” score, namely the Black Suit and Venom themes. See, “Ghost Rider” is the kind of campy movie that Young’s stylings are suited for, not something with the scale and importance of “Spider-Man.” In conclusion, I’m still mad about “Spider-Man 3.”
I personally am supremely psyched about “Believe it or Not.” It seems like exactly the kind of movie from which I can get my fill of big-score Elfman (that, and now “Hellboy 2″… there’s a LOT of potential there).
Excellent point. “Ed Wood” is a fantastic movie with absolutely nothing about it that needs changing.
Williams is the clear favorite, but at least Danny is in second, and that ain’t bad. However I’m surprised that Santaolalla beat out James Newton Howard and Klaus Badelt… JNH’s scores need to explanation, and Badelt’s “The Time Machine” is better than anything Santaolalla’s ever done.
Danny left the project a while ago and was replaced with John Ottman. Here’s the scoring session:
http://www.soundtrack.net/news/article/?id=992
I found the opening shots in the trailer to be very disrespectful towards the Columbia disaster. At the very least, the story could have moved along using a fictional, less tragic plot device. That automatically put a black spot on the movie for me, and now I can’t think of it too positively.
