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Mali can also be seen at the Spider-Man red carpet.
That’s Mali, eh? Quite attractive, I must say. And good genes, too! Or was she adopted?
Mali is the product of Danny’s first marriage. Mali is the reason why the “Bo-ingo” album is so damn happy, and, conversely, when Danny devoiced, is why “Boingo” is so damn dark.
He probably just went as an excuse to get out of the house.
Guys, listen to the Elfman interviews. Danny completely debunks your thoughts on the matter. If you’re a big enough fan to post on a Danny Elfman message board, you should be listening to these great interviews.
http://www.stageandscreenonline.com/downloads/danny_elfman.html
Listen to Part two:
When Danny was asked about getting an oscar, he says, “I don’t give a fuck.” Also, he hates going to these big shows!
PS: I love you all.
Yeah, I saw that… After the song, there was a big shot of him and you could see him applaude very seriously… He really seemed disappointed…
Hmm? I thought he looked happy for Rahman? In interviews, Danny says he doesn’t even care about getting oscars. He didn’t even go to the ceremonies when he was nominated for Big Fish.
I was watching Barney when they disbanded!
Don’t feel left out. I never saw them in concert, either. That’s what the “reunion” shows are for.
Actually, Raimi speaks very warmly of Danny and his score in the Spider-Man (’02) DVD music featurette, saying, “Danny is a great person, and he’s a very talented composer, and he’s really the heart and soul of Peter Parker and Spider-Man through is music.”
Moreover, I don’t see how Raimi could dislike Elfman’s music when it’s pasted all-over Spider-Man 3.
OK so Danny didn’t win tonight (AR Rahman did), but there was a nice 2 Danny second reaction shot to Rahman’s second win.
Was the reaction shot a look of relief? Is there footage of it anywhere?
Oh wait, I was not alive for Oingo Boingo….
You weren’t alive in 1995?
I think there are a lot of people who are willing to dismiss Hellboy 2 for not having strong thematic material without really listing to the music. Maybe Elfman gives the listeners too much credit. His Hellboy theme has so much texture over it that it can be hard to comprehend if you don’t — God forbid — actually listen to the music, all of it — every level.
Hellboy is such a fun score. Del Toro really deserves a lot of credit for letting Elfman score it like a Ray Harryhausen movie. It looks like Elfman has found another great collaborator.
Did that cancel itself out with the use of the existing SERANADA excerpts?
I don’t know… The Dark Knight was eligible and that movie reused thematic material. SOP used FAR less reworked music.
Anyway, SOP is a slightly better score than Milk. Not that that matters. I mean, *I* could have scored Milk and it’d still get a nomination.
I think Steve Bartek should accept Danny’s oscar, and then dedicate it to Shirley Walker, since Danny could care less about the award and hates the large crowds.
Ledger was great, but dear god, his performance is over-rated. If he wins, it will no doubt prove my hypothenuse: If Ledger had lived, and his performance was in an unfamiliar movie, and with an unknown character, do you really think he’d get the same press? At least Mark Hamill never went overboard on nonsequitor, kooky, character fluxuations that were weird just for the sake for being weird. That said, I really do think Ledger was a great Joker. (Ha, ha.)
Go, Danny!
I’m not sure if he will. The Psycho score is very sacred to him. I remember he’d only score the remake if it was just like the original.
PS: Herrmann is spelled with two ns, by the way.
I’m sorry, the way it was phrased, I thought he had worked with him on an earlier date. Danny Elfman is working with McG — not worked. The score isn’t finished. Correct your tenses, mister.
By the way, isn’t it funny that Elfman has worked with both McG and Brett Ratner?
When did Danny work with McG?
I loved what he did with “Speed Racer”, so I trust he can give us another solid adaptation.
He does do a lot of adaptation, doesn’t he? I just hope that his Star Trek music sounds less like Horner than his Incredibles music sounded like Barry — a good, but nonetheless, derivative score.
Well, I mean, The Dark Knight has a British director, whereas Indy doesn’t. It’s so obvious!
It’s so odd that these award shows are bending backwards to get The Dark Knight’s score eligible for a nomination. Why anyone thinks that droning score deserves any recognition at all is beyond me. It doesn’t. It’s all just political BS.
I’ve heard Elfman make that comment before, and he’s right: the cheaper the movie, the less sound effects there are, and the less the studio meddles with the score, since there isn’t as much money ridding on the score, whereas, if a movie with a huge budget like King Kong doesn’t sound enough like the temp, they might have to let the composer go, let’s call him Howard Shore, and then hire James Newton Howard.
Oh, I’m sure that it’s Elfman, but the brass just sounds so much more “soulful” than anything you’d hear in Batman — the kind of brass you’d hear at a funeral.
Nah, without hearing the tone of the dialogue, the text can be misleading. Anyway, I don’t understand Shore’s point. Here it is again:
Elfman: The best music is often done on the lower budgets. Look at the dozen best scores of the year. Very often — not always, but often — they are the little films that tend to come out at the end of the year where the music is allowed to shine.
Shore: I tend to disagree with that, I must say. I think the quality of recordings is being affected by the budgets. There are budgets that are required to achieve a certain quality in the studio. We shouldn’t be trying to do things with less and less money.
So the more money you put into the score, the better it is? How the heck does that effect the writing?
It does sound very Elfman-y. However, the brass sounds a lot more like Shirley Walker than anything Elfman.
See, (start at 2:32):
http://www.youtube.com/watch?v=ppkeNtYRCvU&feature=related
At any event, the way the percussion crescendos in the “making of” video, it might be an alternate main title, but to the best of my recollection, Elfman doesn’t write brass the way it’s heard in the “making of” video.
Yeah, I mean, when was the last REALLY good film score honored with an Oscar???
Ha, ha. Are you suggesting that Babel WASN’T the best score of 2006?
