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Tim Burton was an animator on the “Family Dog” segment…
Really? Is he credited as such? I thought Burton stopped animating when he became a director.
(Oops, ’87 was indeed the correct year, sorry.)
…with artwork by Tim Burton and produced by Steven Spielberg.
Tim Burton produced artwork for Family Dog?
I can’t remember the year but it was sometime in the late `80s.
’92, actually.
Jackson didn’t “reject” the score. That is a strong word. They just couldn’t agree…
… and then Jackson rejected his score.
You can hear some of Shore’s music on one of Jackson’s Kong video diaries, titled, “Post Production Diary – 13 Weeks To Go”:
I don’t think Elfman comes across as bitterly hostile, but rather, upset and saddened over Raimi now being a pod, which, upon hearing the tracking in Spider-Man 3, Elfman is completely right.
Unfortunately, that doesn’t make it any good.
Would you say that Elfman made a bad choice?
…as it turned out, simply played to the emo audience which have taken nightmare under their stylistic wing as it were.
I think it’s ironic that the main theme of Nightmare is to try something different; to walk in someone’s shoes; to act and look and feel different, and when doing so, all those things will give you inspiration and excitement in your life. This doesn’t seem like the emo creed at all.
Well, Elfman did say that Raimi actually became a different person. The quote is out there…
>>Sam was not there.
He was there, but he was not the Sam that I knew. As you said, I’ve known Sam for almost 15 years. It was my fifth movie with him and all I can say is that the person who was there at the end of Spider-Man 2 was not Sam. I don’t know who it was, but it wasn’t Sam. It was as close to living out Invasion of the Body Snatchers, as I’ve ever experienced. There’s a lot of micro-managers out there. Tim’s a micro-manager musically in his own way and there’s moments where he’ll get real obsessive over a certain cue. But we work it out. Never in 20 years have I come across a situation where I couldn’t work it out. For a director to be a micro-manager is nothing new. If anything I would say most of them are. But to get to the level where you don’t need a composer, you just need a musical arranger to adapt note for note as close as possible. There’s nothing for me to do as a composer here.<< Harsh words?
I know there won’t be, but the nightmare re-release was so shit and dissappointing. Marlyn Manson is arrogant and brought nothing to danny’s music.
You know, it was Danny Elfman, himself, that went to Manson to work on that album.
It wasn’t like Spidey 2 where Elfman and Raimi got pissed at each other.
I don’t think that was the case. Raimi wanted Elfman to ape a temp track (Williams Minority Report, I believe), and Elfman wasn’t going to do it. It’s not like they hate each other, but Elfman won’t work with directors who make him do that.
That is very likely. But Del Toro is directing the film (I think), Jackson has little power over him.
Well, maybe, maybe not. It would be nice, though. Del Toro seems to be getting lots of Elfman-y projects.
I wonder how the two pared up. Perhaps they had a meeting and really hit it off. (It believe Del Toro loves Herrmann, also).
I doubt Elfman will be involved. Howard Shore is very likely to return/
Perhaps, but remember, it’s Del Toro’s movie. If Elfman becomes Del Toro’s choice composer, I wouldn’t be surprised if Elfman ended up with the job.
Yeah, but that “stamp” has remained that way for so long and it has lost it’s “edge”.
Well, story telling-wise, Burton has changed:
Source: filmscoremonthly.com
“Burton’s Willy Wonka is a social outcast, but Burton doesn’t encourage us to sympathize with him they way we sympathized with Edward or Pee-Wee. Wonka’s attempt to isolate himself from society and fill his factory with whimsical diversions only leaves him empty and miserable – he’s ultimately only saved by entering back into the family unit and community. This is hardly a theme that we saw in Burton’s previous work. And in Corpse Bride, the heroine is not an outcast at all, but part of a loving and loyal community. The entire film is about interpersonal relationships, people reaching outward, not inward – again, not themes that earlier Burton would have especially valued.”
…and the shock (allbeit a mild one) came in many forms, most arguably The Scarecrow.
There is little new with Batman Begins or with the Scarecrow, for that matter. In fact, Scarecrow’s fear toxin in that movie actually takes a step back from some of the more innovative storytelling that the fear gas allowed in Batman the Animated Series.
I feel what makes a film edgy is luring your audience, challenging their perceptions and shocking them, but in an entertaining way.
I think you just described Sweeney Todd. Anyway, do you attribute that same definition to Nolan’s Batman?
I don’t feel that with Burton anymore. No personal stamp.
I disagree. Some would argue that Burton personalizes too much of himself when developing his characters, in that, they’re all misunderstood misfits. And as for his visual stamp, Tim Burton has, arguably, the most identifiable visual stamp of any director, living or dead.
I’m referring to some of smaller, subtle moments that I think are incapable for the director to handle…
…Specifically, I refer to the flashback sequence of Todd’s life before returning to London. That entire montage was slapdash…
It’s hard for Burton to keep things subtle during a sequence where characters are singing. What was Burton to do? — Have Elfman write a longer song? Cut it entirely?
Could have been and edgy film, but Burton just doesn’t cut it anymore.
So, what makes a film edgy?
Ugggghhhh…isn’t he remaking FRANKENWEENIE into a full-length 3D stop-motion animated movie next? I’ll go see it, but man, he does nothing that’s remotely interesting anymore.
Then for God’s sake, don’t go see it if you don’t like what Burton’s been putting out there. (It’s hard for me to believe a Tim Burton fan not liking Corpse Bride or Big Fish.)
Considering that Burton’s recent efforts also include “Planet of the Apes,”
Planet of the Apes? That was 7 years ago.
Yeah. I say that this is the sort of edge Burton lacks nowadays…
What about Sweeney Todd? That is one of his edgiest films, ever.
Ledger’s performance, too, is unlike Nicholson’s but very good (from what I’ve seen)
What would you say differentiates Nicholson’s performance from Ledger’s?
Do not get it. It has voice over narration through the whole thing. And the music variations, in and of itself, are not very good to begin with. It still works well in the context of the ride, however.
No one is advocating that the music in Batman Begins should be as big as the animated Batman show, but I simply do not understand how “realism” necessitates a generally modern, soothing score with synthetic brass.
… but Nolan wants his Batman grounded. Unlike Burton who had a more theatrical Batman…
Well never mind if Nolan truly achieved that (the finale did get rather goofy in Batman Begins), Nolan’s Batman and the animated Batman are relatively similar tonally, and the Animated Series has that lush score that one would come to expect to go with all that great Batman imagery from “Begins.”
