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Hmm. I’d prefer a shot-by-shot remake, myself — à la Psycho (1998). Why even bother with a remake if its not going to be verbatim to the original?
It is no[t] very hard to find a computer program that can translate the music you just made into paper, separating it even by instrument. But this still leaves the musicians with merely a rough idea of the composer’s intention. [Authoritarian, 40s newsreel voice] Shirley Walker is then flown in to realize — with orchestra — Elfman’s minimalist smattering on his Moog Synthesizer!
Whoa! Anyone know where can I find this?!
Isn’t that the Oingo Boingo Piano Concerto # 1 1/2?
My understanding is that it was never recorded, thus, it no longer exists, except for in the minds who originally heard it sometime in the 70s, of course.
I don’t see what you’re so oppsed to, TenderLumpling. I really like the very appropriate music. Listen to it more at the official site, it loops in the Flash version.
I don’t know, usually, I love movies packed with mock-Edward Scissorhands music.
I think I’ll have to disagree with that. What about Red Dragon, Sleepy Hollow, or Dolores Claiborne? They sounded full of Herrmann influences! Also, when does he say it’s subliminal?
I wouldn’t say that Elfman hasn’t been influenced by Herrmann in the last decade, or so. Every composer is influenced by a multitude of sources. However, homage, and influence, are two different things.
All this grand, orchestral music that Danny has accumulated in his younger years, namely Stravinsky, Herrmann, and the like, is part of Danny’s musical grammar and vocabulary, not solely, but in part.
So, if Danny needs to score something creepy in, say, Sleepy Hollow, it’s natural for him to use the Herrmann color, or orchestration.
It’s subliminal — my words, not Danny’s — from my point-of-view, anyway.
Danny will always have these little Herrmann flourishes, here and there, but Danny Elfman writes Danny Elfman music.
…it’s fair to say that Danny has certainly been influenced greatly by The Twilight Zone scores of Bernard Herrmann.
Danny has no qualms in saying that Herrmann is/was his “Master.” Although, I feel that Danny has been out of Herrmann homage territory since Batman Returns — and even then, the homage was subliminal for Danny, rather than intentional
I’m wondering how many of you on this forum have the 2-disc Herrmann re-recordings…
I have it. Walking Distance, Where is Everybody?, and Living Doll, are my favorites, respectably — and I’m almost intimidated over its quality. Absolutely hypnotic…
The bass clarinet solo in Living Doll is a Herrmann staple that I’ve really come to love listening to his scores.
That candence almost entirely makes up the pilot score “Where is Everybody?”.
That same great motif is used in Mysterious Island, but in a grander scale.
Some people say PSYCHO was Herrmann’s best (I did for a while) but this really is.
I always felt Jason and the Argonauts is his all-around finest film score. Psycho is just more-recognized in pop culture, which doesn’t diminish its merits, of course.
(Marnie isn’t far behind in my book, either.)
Herrmann’s Moby Dicky Cantata, if you can get it, is unbelievable, although, it isn’t a film or television score.
People can debate this all day long but, for me at least, the 1950’s is the halmark of excellence in American TV culture.
I can’t argue with that. The 50’s beats the Hell out of the 70’s, I can tell you that.
“Main Titles” from MARS ATTACKS! From the first rumblings in the brass to the wild tempo change into the final march, I want to argue that this is Elfman’s coolest main title.
No arguments here…
Nightbreed, Edward, Black Beauty and A Simple Plan have owned my ass in a few occasions, too.
I apolgize for being so ignorant as to not research Harrmann’s music.
Heavens, you should be. If you see any Herrmann on-shelf, and I do mean any Bernard Herrmann, do not hesitate to buy.
Though be warned:
Once you start collecting Herrmann scores, you won’t stop.
I’ve come dangerously close to buying more copies of Jason and the Argonauts and The Egyptian, just incase they break down. Sad really…
I don’t think my Commodore 64 will allow me to install such things. I can, however, play 6 games of Ghostbusters before it crashes.
jeez. everything sounds like spider-man now.
Spider-Man isn’t really the first thing that comes to mind when I hear the Desperate Housewives theme. It sounds more like Flubber.
I agree, although I’d say closer to an hour. It’s cool, but not nearly as cool as the Simpsons or the Tales from the Crypt theme.
Elfman didn’t exactly have the same great material to work with.
Apples and Oranges, I say.
I thought that the crappy copy and paste job in Spider-Man 2 was worse than the ones George Lucas did for Star Wars Episodes 1 and 2.
Well, remember that the end battle of Episode II has proximately 40 cue fragments packed in that sequence. Spider-Man 2 was a Seven Spielberg score dub compared to Attack of the Clones.
I mean, John Williams score to Episode 2 was similarly butchered, and to what effect?
The only film composer I ever heard speak to this was Randy Newman.Though the year’s, Williams has a been a consummate professional — a gentleman’s gentlemen among film composers. Riffing on his employer would be tacky in his eyes.
I don’t even know why I come here, all I read is is bullsh*t…
Um, example?
…flowing from the assh*les that you all call mouths!
My mouth is an arsehole?
You may want to check your wit. It sounds like it has derailed.
Sure about that ?
Some actors on imdb are listed as Loompas…Some stand-in’s, perhaps?
Of course, as I’m often reminded on this forum, imdb.com is wrong 99.9998 of the time. Just kidding.
As I understand it, Danny is supplying the singing voice(s) for the Oompa Loompa’s, not acting as one. Right?
Oh, I don’t think the composers will stray away from the Elfman sound. The film’s tone would have to be really different from the latter Batman movies if it does.
It also might have something to do with the grueling process of actually scoring an action sequence — it’s hard work.
I recall Danny saying in the Apes commentary that scoring action “is a bitch.”
