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I’m not doing itunes right now, so sadly, no.
However, I listened to the samples on amazon, and I LOVE it! It’s so refreshing to hear Elfman do a 70s period piece, a la Dead Presidents.
Sure, Danny isn’t scoring it now, but who knows what the future might bring.
Personally, I don’t think Danny would do it if Shore’s music was rejected. I don’t think he wants to adapt Score’s theme’s — then again, I’d be cool hearing some Elfman theme variation; something that was lacking with Shore’s theme’s, all of them were played pretty straight forward, with little variation.I’ve had my picture taken with Bear at an Oingo Boingo reunion concert. He does a killer Jack Skellington.
That said, I’ve never heard any of his music. Though people swear up and down that it’s wonderful.
It is worth noting that the PLANET OF THE APES commentary for the most part is made up of remnants of the interview. It is not a “commenting while sitting down and watching it ” commentary like the excellent EDWARD SCISSORHANDS commentary.
Actually, in that commentary, Danny acknowledges that he is in his studio. I believe he says “here, in my studio,” when he talks about recording the percussion himself.
I’d love to hear a commentary on Hellboy 2. It sounds like he and del Toro had a real fun time collaborating on that film. On that note, Hellboy 2 has become one of my most-listened to scores. I hope he and Danny work together more… and I can’t wait to hear what Danny comes up with for the Hobbit.
As I recall, Danny wrote the march which went over some of the skeleton marching at the end and the main title.
And since we’re on the subject, Batman (’89) does not sound like Wagner. Though I wish someone would make a comparison youtube to prove me wrong, just for educational purposes.
About the score samples: Salvantion is the first soundtrack where I actually enjoyed the score samples. I felt the score was well represented in those samples. That said, it is stupid to judge a film score based on a few seconds of samples. People need to stop doing this.
As for the score itself, I think it’s great! I love how the main theme sounds a bit like Spartacus and the “K” theme from Men in Black mushed together.
I liked the nods to T2, also; once or twice, there are some shrieking stings that sound like when Robert Patrick is running in the parking structure, or, also like in the T2 score, there’s this pulsating synth cord that’s associated with the T1000, which is heard (in variation) in the Salvantion score.
Also, Transformers might have been temped for Salvantion, because in track 1, starting at 0:26, and again at 2:08, there’s a rhythmic figure in the harmony that sounds similar to a figure played a lot in Transformers. It’s funny, I kinda wish Salvantion was the score for Transformers. The tone seems so compatible.
That is some old soundin’ Elfman! Good stuff. He was just barely getting his feet wet. I believe it was the second thing he did.
Wouldn’t this get in the way of Wolfman? At any event, I certainly welcome Danny scoring a movie like this. This, and a western, someday; hopefully Jonah Hex.
Me too! I’m excited about the alternate tracks. And I forgot Danny scored the trailer! He also did that for Men in Black, right?
Superman score is as classic as Batman. If not more since it has no challengers. When people think Superman music they think John Williams. With Batman it’s a different story. They could think Elfman or the `60s Adam West theme or even Shirley Walker’s theme from the cartoon series. Or the 10 people who’ll think of Hans Zimmer. But with Superman there is only Williams. Although I also enjoy the theme from the `40s Max Fleschier shorts and Shirley Walker’s theme from the `90s cartoon series. But sadly those aren’t as remembered as Williams.
That may be true — Batman and Batman Returns was so very long ago, and Superman Returns is fairly recent, and sadly, audiences are probably more aware of the synthetic, droning Zimmer tone than Elfman’s efforts; be that as it may, “most-remembered” doesn’t equal “best,” or “better.” That said, comparing the Elfman and Williams scores are like, well, comparing Batman to Superman.
With the exception of Alexander Nevsky being WAY too low, I thought the list was fine. But now that I’m complaining, Gladiator had no business being on there; unless, of course, he was referring to the music that was lifted from Holst.
And Danny Elfman would be the only reason I would not think of protesting those sequels when they inevitably surface…well, unless Steven Spielberg directs one.
Yes, I can think of nothing worse than a new John Williams score.
I never in a million years thought this would happen. I just bought mine!
Did Ryan ever post what Elfman wrote about Walker in the B:TAS cd?
You should just buy a copy and read it for yourself. : ) It’s an absolute must-have for any film score fan.
Secondly, as for the final fight between spidey and ock it’s possiblie that Elfman left that out on purpose.
That is a great cue. The part when Spidey swings back into Doc Ocks lair is simply majestic! Why it was replaced in favor of tracking I have no idea.
The only thing I don’t recall on the CD is the Pizza Delivery Man cue. However, chances are it’s there and I haven’t bothered to look for it.
That is not on the album, by the by.
Ha, ha. The end title to A Link to the Past almost makes me cry.
Anyway, back on topic, the unreleased Spider-Man 2 material that can be watched on youtube is really quite excellent. You really can’t judge the score fully until you hear all those great cues. The film gives the score little justice.
When I was little, I loved watching Pee-wee, Batman and Batman Returns on video. Later, a friend introduced me to Nightmare, and explained to me the coalition between the director and composer, figuring out why I loved the music in those movies, that turned out to be Tim Burton films.
