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I too hope he won’t recut (re-slice?
) the film. An above-average gory Burton would be a lovely thing to witness on Christmas!I don’t know. A Rated R movie musical? The studio might as well just throw their money away.
For those of you who have Memoirs of the Invisible Man (which should be all of you), the opening seconds of the Spider-Man Main Title sounds a lot like the beginning seconds of the Memoirs Main Title.
I would wait until you heard the score in the context of the film rather than making a snap judgment from a few seconds of score.
In fact, if you told me Harry Gregson-Williams or John Powell wrote this music, I wouldn’t hesitate to believe you.
Oh, all Elfman music sounds the same, “IMHO.”
There are a few hints of Dead Presidents in there, which makes me very happy.
Well, in terms of contributing to movies with the greater box office receipts, I believe Williams is #1.
Animation is such a slow process that those three episodes possibly took MONTHS to produce.
Good point. An animated show most definitely takes months to produce.
I hate the musical approach for the new Batman movies.
Putting modern, synthetic music over gothic, Art Deco, grandiose imagery makes no sense to me. Zimmer justifies it by saying, “I think this one has more electronics in it than anything else… I didn’t want to do straight orchestra because Batman, he’s not a straight character. I mean where do you get those wonderful toys from and the technology? So I thought I could embrace a bit more technology in this one… there isn’t a straight orchestral note on this score.”
Stupid.
They were very, very dismayed when Danny insisted that he was the only human being on the planet who could write for Batman, and that it should be his theme for their show. I didn’t get to have the theme until after that had sort of subsided.
And it subsided rather quickly. Elfman’s theme was only featured in three early Batman episodes: On Leather Wings, Nothing to Fear, and The Last Laugh.
The Main Title that Shirley wrote for The Adventures of Batman & Robin is simply glorious.
You can listen to all the great Batman main/end titles here:
Good news! —
Source filmscoremonthly:
“Actually, what I’ve heard is that Elfman won’t have any role in Burton’s SWEENEY TODD, since it’s being adapted directly from the Sondheim musical. Have you folks heard something to the contrary?”
—
“Apparently Sondheim dropped out after a lot of disagreements with Tim Burton over the direction of things (namely Johnny Depp’s range) so now Elfman’s taking over the reigns. “
http://www.filmscoremonthly.com/board/posts.asp?threadID=41772&forumID=1&pageID=2
Sure, the movie made a fortune, but do you know anyone who really likes it?
At first, yes — but they soon flip-flopped on the issue. I do agree that it’s one of Burton’s lesser movies. I wouldn’t call it a fiasco, but I suppose I’m splitting hairs.
Agreed. I understand some of their points, but “Sleepy Hollow” is madly thematic. It’s so classic that way, it’s hard to miss.
Wow, never underestimate film score fans with an axe to grind, I guess.
I don’t think anyone here wants to see another Planet of the Apes fiasco.
However, the movie did make 180 million.
See, “Ghost Rider” is the kind of campy movie that Young’s stylings are suited for…
I just saw Ghostrider on “extended DVD,” as well. The guitar licks that plays over Ghostrider doing vigilante stuff is some of the most corny film scoring I’ve heard in quite some time.
Yes, it would appear that he’s done another “re-imagining” of another artist’s work. I am looking forward to Believe it or Not, though.
Well it’s not like I’m wishing Elfman would rescore the entire musical himself, I just wish Burton had chosen a movie that called for an original score by Danny Elfman.
Hmm, aside from the director association, this has nothing to do with Elfman.
I’ve said it before, why even make a Tim Burton movie without Danny Elfman music?
Good Lord:
His work hasn’t always been appreciated by the studios. The 1990 score for Edward Scissorhands is now acclaimed, but the studio hated it. They threatened to replace the score altogether, Elfman said, but ultimately decided – based on test screenings – that the movie itself was going to be such a flop it was a lost cause anyhow. The movie, which cost $20 million, went on to earn more than $56 million at the box office and become a hit on home video.
I guess Elfman is hanging up his superhero clothes to be the goto documentary composer.
Yeah, flipping’ sellout.
