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I know the Willy Wonka welcome song, I need the lyrics to Augustus Gloop, Violet Beuregard, Varuca Sault and Mike Teavee. But i’ll take the WWS to complete the collection.
Just buy the soundtrack, friend.
That Audio Commentary for “Batman & Robin” should be pretty hilarious!
Ha — just imagine:
This is amazing, I can’t remember any of this. The chronic cocaine, black tar heroin and NiteQuill/DayQuill abuse will really do a number on ones direction competence. You think the studio would have come in and stopped me after 14 hours of Bat-Codpiece dailies.
I felt the list was reasonably good! There are a few misses, however; As Good as it Gets and Frida come to mind.
Rózsa, Herrmann and Steiner cleaned up — and rightfully so.
ET is a magnificent score, by the way.
Sorry, but superhero movies that try to be too serious NEVER do it for me.
Well, I have good feelings about this film. I imagine the score will be a massive disappointment compared to what Elfman and Walker did with Batman. However, the film should be great — Newsweek loved it.
Here’s a bigger image:
http://images.amazon.com/images/P/B0009T2S0W.01._SCLZZZZZZZ_.jpg
Hmm, “Various Artists?” There’s going to be multiple singers in the film?
Ah, I don’t know if you’ll find those anywhere. I assume all those documents are owed by their respective cooperate identities, and are archived somewhere in Burbank.
burton admitted on the “apes” commentary that he wishes they had tried some more stuff with the music. so i guess he wasn’t that happy with it
Burton wished he had more time to do extra stuff with the score. I doubt very much that Tim Burton was unhappy with the music.
with apes they just told him that they wanted a “gladiator in space” type of score…
No, they didn’t.
>>Inside.com, the entertainment news site (well, more like a online wannabe Variety) reported on 7-17-01: “Studio executives also are said to have requested significant changes in composer Danny Elfman’s score. Honchos asked the longtime Burton collaborator to make the music more ”heroic” sounding, says one source. ”They wanted to be able to sell the film as a sci-fi ‘Gladiator.” This of course created a domino effect, the next day every online movie site had qouted the Inside.com article, and days later so would the “mainstream” print and television media. The report was false, and here on MFADP I refuted the claims.
It wasn’t until last week during the press junket for PLANET OF THE APES did Danny Elfman’s side of the story break. He denied the rumors in interviews with Film Score Monthly and Soundtrack Magazine. Finally a letter to the Los Angeles Times (7-28-01) from Danny Elfman himself cleared the air for good:
“We all know that one of the most interesting and often amusing things about the Internet as “news source” is that absolutely anyone can say anything based on everything from true facts to jealousy and alien intervention. At a PLANET OF THE APES press junket in New York last week, I was asked about 100 times about the story printed in The Times of my forced “rescoring” of the music. I’m absolutely amazed. Not that the story appeared on the Net but that you printed it verbatim without checking on the validity. The facts are these: If anyone was unhappy in any way, they never told me. We not only didn’t rescore anything, but I canceled two sessions that I had been holding just in case we did need extra time and we were finished ahead of schedule.”<<
Um, Spider-Man 2?
As I recall, the tracking and multiple composers were a direct result of Sam’s inability to work with his former composer, Danny Elfman. Sony had shinola to do with the Spider-Man 2 score.
Also stuff like Planet of the Apes where they wanted Danny to action-up the score.
When did this happen? Elfman himself said that “if anyone was unhappy in any way, they never told me. We not only didn’t I rescore anything, but I canceled two sessions that I had been holding just in case we did need extra time and we were finished ahead of schedule.”
Lawrence of Arabia
El Cid
Thunderball
The Man With The Golden Arm
Alexander Nevsky
Vertigo
Madame Bovary
Battle of Neretva
The Egyptian
The Adventures of Robin Hood
Spartacus
Jason and the Argonauts
Psycho
Dead Presidents
Black Beauty
Batman: Mask of the Phantasm
The Nightmare Before Christmas
Batman Returns
Pee-wee’s Big Adventure
Indiana Jones and the Temple of Doom
The Empire Strikes BackRated PG for “Quirky Situations”!?!?!?
The MPAA is out of control.
Ha-hah-ha!
“Rated PG for provocative use of midgets.”
It’s kind of sad to see creativity being taken away, but that’s the way the business runs. Especially for Sony.
Hmm, can you give an example?
No kidding! This score might be a huge missfire, furthering Danny Elfman as the king of comic book scoring.
Does it really matter who score’s Spider-Man 3?
I think whoever can be the most obsequious to the director’s temp-track is the ideal pick, as far as the film makers are concerned.
All the abovementioned composers are suitable for scoring a Spider-Man film — all of them — Debney especially — are completely capable of giving a director precisely what he wants.
Alan Silvestri, judging from The Mummy Returns and Van Helsing, also has some wild-range for a Spider-Man score.
If I were in charge, I’d give Steve Bartek a crack at Spider-Man. He’s kind of half of Danny Elfman, anyway.
If you get either Danny Elfman’s Batman: A Film Score Guide, or Clowns of Death: A History of Oingo Boingo, you can read the letter in its entirety.
Priced-to-move at Amazon. Though, truth-be-told, they are quite expensive.
