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Elfman got up on stage during his 10 minute standing ovation and watched and thanked us for becoming slaves to his masterful music. The minute he walked out everyone went wild!
Christ.
It’s cool that he’s impressed all those “stuffy” classical listeners.
I would start with:
Will Serenada get an album release?
Were there any hard feelings about the final score for Spider-Man 2? Will you be back for the next one?
What experience have you been enjoying more, Charlie or Corpse Bride?
Will The Corpse Bride have songs? Will it be largely melodic like Nightmare, or does it parallel Nightmare less than one might think?
Will the songs in Charlie also be a thematic thread, like the original film, or will the songs be standalone?
Will Charlie have any synth, or will it be largely orchestral?
Have you seen a cut for A Day with Wilbur Robinson or Charlotte’s Web? What enticed you to score the two films, and what, if you know by now, will be your approach for the score?
Is there anything noteworthy about you ever directing a movie like you hoped in the mid-90s?
Is there anything that could convince you to be in another rock-group, or are those rocker days no longer in you?
Would you score another Batman movie if you were asked?
Hey. Christopher Lee was in Sleepy Hollow too, you know.
I think what you have proven, undoubtably so, is that Christopher Lee creates unprecedented viewing quality for nerds and the like.
Thanks for the post.
Oddly enough, all this material can be heard on the Apes and Pee-wee commentaries.
Check out his book, “There and Back Again,” it’s really interesting.
Hey, I thought Bilbo Baggins wrote that?
I could have seen him perform live with Oingo Boingo in ’94, but sadly, I wasn’t introduced to Boingo until another three years.
what do you mean “you may be more right than you know”? just curious.
I was just insinuating the likelihood of Danny writing the theme in-between the Charlie and Corpse Bride score sessions.
It would be neat if Elfman’s concert piece made it on PBS.
And when I say neat, I mean head-crushingly awesome!
As for Charlotte’s Web, I still think it’ll sound like Black Beauty, which isn’t a bad thing.
Not at all… Black Beauty could easily go on my Top-5 favorite Elfman scores.
I couldn’t be more excited about this as I think those films are generally places where the music counts and is allowed to be imaginative and playful. I’d much rather see him do these kinds of pictures for a little while than more action movies.
Me too. Charlotte’s Web particularly has potential to have some really stunning music in there.
Good news!
Sounds like something he wrote in 2 minutes in between the Charlie and CB sessions.
You may be more right that you know.
I can’t say I’m overexcited about these projects…
Heavens, I am. We’re getting two more fantasy projects from Elfman?
For those who are tired of Elfman doing sequels and super hero films, you got your wish.
Nonetheless, I loves the rest of the Passion score and I hope it wins.
Yikes. The Passion score gives me the creeps — and this coming from a guy who has the Twisted Nerve theme his cell phone ringer.
Maybe in the movie it works fine, but on disc, it overstays it’s welcome.
I agree, and though I haven’t heard the score in its entirety, I don’t really understand why it has enough appeal among academy voters to get an Oscar nomination.
A lost opportunity to score some nice, fluffy, fantasy-based music…
I saw that too. I love The Daily Show.
Though I thought the joke was more about how the music was far too emotional for the unveiling of a jet. But I don’t know…
Goodness. That sure wasn’t disappointing — makes me feel like a little kid.
From now on I’m boycotting all future Corpse Bride promotional material, so hopefully this will tide me over until October.
The snippet of music in the beginning, when the “Warner Bros door” opens, sounds like it might be some mock-score by Danny himself. There’s sort of a Victorian slant to it.
It’s the hallmark of the vintage film scoring, circa, 30s and 40s, that Danny hearkened back to — the old-timely sound… the kind that was used back when the Warner cartoons had a lot of singing in them.
I thought I should clarify this.
The cartoons that I referenced were those Max Fleischer Betty Boop shorts, with the Cab Calloway specialty numbers. Those cartoons, and ones like it, were done at Paramount, not Warner Bros.
