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Actually, Danny did go but as a non-student. I remember him saying somewhere that he hung around in the ethnic music department.
Yep.
When I read the article’s lead, I thought we were getting an expanded Nightmare release. What a cruel, cruel joke…
Blah! What’s the point of having Tim Burton directing a musical if you don’t have nonstop Elfman music?
Well, there isn’t anything quite like the Nightmare Before Christmas. But there are some inspirations that led to Nightmare. There’s a little bit of Cab Calloway and Duke Ellington in the Oogie Boogie’s Song.
There’s some Prokofiev and Stravinsky influence in the score’s orchestration, also.
Hess explained to Paramount that, with all due respect to Elfman, he felt the score was all wrong for his style and wanted to stick with what Beck was recording.
You know, who better than to know what music is correct of a picture than a first-time musician and a second-time director?
This is just another example of a director falling in love with the temp-track. Of course, I’m presuming that what Elfman wrote works better for the film.
I really wonder now how they’re going to handle a score release.
I agree, Ryan. The Hulk quote was a dead giveaway. Also, Williams writing completely overshadows Ottman’s. He can’t even get near that old-timely, Korngold-feel that Williams set up for the first film. The choir just further diminishes that tone.
On a side note, I’ve been watching Superman — The Animated Series, Volume 3 on DVD, and that music just kills Superman Returns. There’s no comparison. Maybe because Bruce Timm’s crew doesn’t treat a score like a temp-track.
Hmm, makes sense. I assume then that if a Nacho album comes out, it’ll be a compilation. (Man, is Elfman’s music going to overshadow Beck’s.)
It’s pretty much what I expected it would look like: an updated version of “Babe.”
I believe Charlotte’s Web was written before Babe.
This has been in “production” for some time and I’m sure it was just put onto imdb for publicity sake…
Hmm, publicity for a movie that doesn’t exist?
Anyway, I’m sure I’ll get a lot of flak for this, but, aside from Danny’s contribution, I did not care for The Forbidden Zone.
I recall him saying that it shouldn’t sound like a Danny Elfman score.
Yeah, I remember that quote from the LA Times website, but I think you’re misquoting it. Can anyone find that piece, anywhere?
I won’t miss Lee, as he didn’t seem to appreciate Danny’s talents as much as he should have…
What makes you say that?
I love that the writers love Oingo Boingo so much, but it’s kinda an odd line. Obsessive Oingo Boingo fans are skeletons?
I just thought they spoke more about him, I saw the part where he’s mentioned, but I couldn’t hear it very well, I was at work.
I hope the score won’t be rejected…
Huh? Why would it be rejected?
…I don’t care if he’s doing it for the money.
If Danny chose his movies based on their paychecks alone, he would be doing Spider-Man 3.
