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That’s like dismissing a piece of art work cause you can see brush strokes!
Be that as it may, the stop-motion animation in Corpse Bride has to be some of the absolute best ever, bar none.
The sequence with the Corpse Bride dancing, for example, is so extraordinarily fluid and precise that I find Curse of the Were-Rabbit to be stiff by contrast.
I know of people who actually felt that Corpse Bride wasn’t stop-motion at all, but some sort of new CG/puppet hybrid.
Hollywood is getting so redundant it’s beyond comprehension.
Although, to be fair, they haven’t remade Citizen Kane yet.
Yes, I think WALLACE AND GROMMIT was a better film. Better animation…
Do you think that when you can see the animators fingerprints imprinted in the clay, it diminishes Wallace and Grommit’s supremacy somewhat?
Look, not everyone is going to like “The Corpse Bride.” Just because someone was profoundly disappointed in it doesn’t mean they have to fully explain themselves.
I’m not trying to be pugnacious. I’m just trying to understand why someone would strongly dislike Corpse Bride.
The film itself, and yes, Danny’s score and songs were extremely disappointing.
I what way did they disappoint you?
I really think they had it in them to do a million times better.
That is many times better.
Ans with all due respect, W&G was a better animated movie.
Wait. It was a better animated movie in terms of actual animation, or in terms of quality of the film itself?
Ah, Brokeback Mountain — Inarguably, the best score of 2005! — Quite a triumph, considering that it has no chromatic, melodic or emotional competency.
So, kudos to the Academy: You’ve sent a strong message to the film score world: “we don’t care about our credibility.”
D. Elfman wasn’t even nominated, and yes GUstavo Santaolalla music is great…
In Amores perros?
The BROKEBACK theme heard in “The Wings” is a complete rip-off of James Horner’s APOLLO 13.
Yes, and luckily for Gustavo Santaolalla, the Academy hadn’t the foggiest.
I was rooting for Munich. Williams’s score was so beautiful, and his rendition of “Hatikvah” was so moving to me.
Mmm, without a doubt. And jugging from that performance, Munich knocked the stuffing out of the competition. The Munich theme, like a Nutter Butter, is richly-satisfying. Just lovely.
Having a gay director directing Superman — an American icon! — is just another way that Liberal Hollywood is attempting to put the gay agenda into the mainstream.
(Wee, it’s like I’m writing for FoxNews!)
Yes, but the world of Batman already worked with Burton’s filmmaking sensibilities. Not so with Superman.
In theory.
What about Charlie and the Chocolate Factory, Big Fish, Mars Attacks, Ed Wood, Beetlejuice and Pee-wee’s Big Adventure? Those films aren’t dark like the Batman/Batman Returns fair.
Goodness. It looks like Superman Lives would have been either a complete disaster, or something magnificent.
The Breakfast Machine.
The cue, not the song, although, I’ve never heard The Breakfast Machine put to lyrics.
So, the vice president of the United States of America — “God bless it, amen” — mistook a small bird for a 78-year-old man?
Everyone understands Jack. Everyone understands his gifts. He’s a celebrity. It’s Christmas that his neighbors didn’t understand, that is, until they were able to experience an “unspoiled” aspect of Christmas, that being snow.
I HATE seeing all these goth people obsess over NBC, thinking it expresses their life completely.
Yeah, ironically, the main theme of The Nightmare Before Christmas is that one should step into someone else’s shoes every now and then. One should experience something dramatically different in their life — to act and look differently — and to find passion in that.
If nobody believes me, listen to Elfman’s preliminary unorchestrated mock-ups for The Nightmare Before Christmas (one’s on the MFADT II CD) and then listen to the final score.
Also take in the fact that the song mockups were done a year before the actual recording, and that he would want to do some more revisions.
I have seen Danny Write the complete score to a cue on his piano, which means he literally plays all of the instruments layered one on top of the other and Steve takes what Danny has done and just writes it out.
Wait. Elfman physically writes — on paper — his own music. I have seen it.
Well you can tell your boyfriend — if that is his real name — which, I have a feeling it isn’t — that an orchestrator is like a helping hand, an organizer of sorts. Steve keeps everything in place and supports all of Elfman’s needs. Steve Bartek is like a teddy. (I’m referring to lingerie, not a plush toy, although, the metaphor works both ways.)
To the highest degree, he’ll adjust the music under Elfman’s instruction, to the lowest degree, he’ll write the score for Romy and Michele: In the Beginning.
oh is it.
Well, I mean, if you love the movie, than ultimately it was made for you, but consider this:
DRE: Both you and Tim come off a little Goth even though you were both older when it first hit big. Were you ever like that?
ELFMAN: No, I was never like anything. When I started in the 1970’s I was only into music recorded before 1935. So I was a freak. I’m closer to some kind of weird film/music nerd than like some kind of punk or Goth. Then suddenly I wanted to be in a ska band and I did this weird musical theater for years. I got all these different incarnations. But I’ve never been a punk or a Goth. I think I’ve just been a nerd with these like weird musical styles.
Coincidently, Elfman is always wearing black.
Hmm, is it a slam? Maybe Simon is referring to the spooky vocals in Nightmare, and how they’re sung by monsters and the like, i.e., Making Christmas.
His comment really doesn’t make all much sense.
That’s the perfect idea for a Nightmare sequel that all these punk/emo/goth kids want so badly!
It’s funny how the punk/emo/goth lot feels that The Nightmare Before Christmas was made for them. But it wasn’t. Nightmare isn’t a goth-film at all. It’s German expressionism as well an amalgamation and homage to vintage films from the 30s, 40s and 50s.
I’ve discovered that it’s a fantastic movie with a Zimmer score that actually deserved the Oscar it received…
More so than Black Beauty?
Yeah, that isolated score track is great. I wish Nightmare had the same feature. The material itself in the Corpse Bride DVD isn’t all that great — passable, at best. It must’ve been geared toward the kiddies.
It seems like all of Danny’s score sessions have been fully documented these days. It would be great if they went all out and showed a few passes of a cue(s), like in the Panic Room DVD.
