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Yeah, I guessed rightly! Wee!
[Sobbing]
It’s the same rubbish every year. The score with the most prestige gets the nod. What the Hell is the criterion in which they assess what makes a score an achievement, anyway? It certainly isn’t inventiveness, or innovation.
And Revenge of the Sith didn’t get a special effects nomination? What kind of unprecedented malarkey is that?
Well at any event, that still doesn’t mean that Lee never cared for Danny’s style, he just wanted to get another sound element out of him. Hulk is still, obviously, very much a Danny Elfman score.
That aside, what about Corpse Bride, will that get a best animated picture nod?
I have a feeling that Danny will either get several nominations, or to at all.
…[Lee] pointed out on the Hulk DVD features in which he said he told Danny not to write a Danny Elfman score, which is wrong in my book.
I don’t recall Lee ever saying that in those words, but rather, he wanted Danny to write a score that he usually wouldn’t have the chance to write. It’s a more ethnic approach than any of his other scores.
But all of the filmmakers wanted Danny to work on the film, due to his great comic book track record.
Here we go:
>>Date: September 13, 2005
Source: IESB
Toronto Coverage: Elfman and Johnson on Corpse Bride
Author: Stephanie Sanchez
Q: Is there some kind of calculation you use?
Johnson: No, it’s just giving them the time and the resources to work at that level. It just comes down to their experience and their talent.
Q: Given that Victor is the protagonist of the film and he does play piano, did he ever have a vocal song as well?
Elfman: He had a song, but it didn’t make the final cut. Things got a little long, and his song got cut.
Q: Did Johnny do the vocals?
Elfman: No, we were just… it was getting to that point when the song was cut. Just before he had to go into the studio — probably much to his relief. <<
Here’s what the “Database” says:
Original Music by
Stanley Clarke
George Clinton (additional score)
Joe Delia (additional music)
Danny Elfman
Mitchell Froom (also theme)
Ron Grant
George McGrath (theme)
Mark Mothersbaugh (also theme)
The Residents
Paul Reubens (theme)
Mark Snow (additional score) (5 episodes)
Scott Thunes (additional music)
Will Urban
Dweezil Zappa (additional music)Or where it would have been placed in the movie.
Perhaps the sequence wasn’t animated, or, partly animated, then dropped for whatever reason.
Wouldn’t they just have Depp sing and then replace the raw audio tracks with someone else — or Depp himself — in post-production?
If someone were to replace Johnny Depp’s vocals in Post, I wonder who would they choose? If only there were a singer close to Burton — a music man of sorts — that could supply lead vocals. Hmm.
Also, sorry if my post seems hot-headed.
Nah. Your response has been reasonable and evenhanded.
I’m just a huge fan of “Sweeney” and don’t see how Burton would gut it like that.
Well, if you’re not going to do something noticeably different, I’d just say leave it alone.
If you thought there was an uproar from “Planet of the Apes,” wait until you see the reaction for “Sweeney.”
Wasn’t the uproar from Planet of the Apes mostly due to filmmakers replacing the undercurrent and subtext from the original with action and a rocky plot?
What I’m suggesting is that Elfman would write new songs for the film, replacing the old, like he did for Charlie. After all, Willy Wonka & the Chocolate Factory is a musical, too.
I don’t see where Elfman would be involved in this apart from the possibility of a score adaptation.
Oh, no, no. I imagine Danny starting from scratch, like he did in Charlie and the Chocolate Factory.
You can also see the Rumbaphones being played up close during Gray Matter, in the Oingo Boingo Farewell video.
Just incidentally, I wonder if anybody else noticed that maybe Danny paid homage to Prokofiev with his frighteners theme?
I have noticed that. They both have the same five-note motive at the beginning of their respective themes. I don’t really think it’s Danny paying homage to Prokofiev, but rather, unintentionally, channeling his music subconsciously. Danny is a big Prokofiev fan, and whether he enjoys paying homage or not, it’s hard to completely devoice yourself from said music.
…after which the Tenor Sax enters and everything sounds very akin to the playful nature in The Nightmare Before Christmas.
Yeah, like in Jack’s Lament? I love the Tenor Sax.
But my favorite of Prokofiev’s will always be what inspired Elfman the most, “The Battle on the Ice” from Alexander Nevsky.
“The Battle on the Ice,” I thought that was the percussion-based cue, with all the timpani?
…I am happy he got replaced because I happen to not like him even though he’s Canadian.
Not me. I saw the movie yesterday, and I can’t believe how banal and insipid the score was. And there was so much for Howard to work with – giant bugs, bats, dinosaurs, tribal sacrifices. (A rare miss.)
I don’t know who’s to blame.
It really speaks volumes about where contemporary film scores are going when the King Kong score from 1933 is more exciting than then one in 2005.
