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What he said about the Oscars was hilarious. Great interview. I never knew that Danny was one of the singers in The Simpsons main title chorus.
Strangely, I like the QOS song better apart from the movie. In the main titles proper, it seems to go on and on. For me, the songs biggest problem, apart from the two vocals that sound almost indistinguishable (which is odd, for a duet), is that there’s no medley, which hurts the score.
No, but historically, scores that are attached to prestige films, will often get an Oscar nod. Movies like Atonement, 3:10 to Yuma, so on and so forth.
Goodwill Hunting was a great score and film, by the way.
Well, I guess if the movie is prestigious enough, the score will get an Oscar nod regardless of the quality of the score.
I was once annoyed that Danny had never gotten an Oscar, but frankly, I think Danny honesty doesn’t care about getting an award from an organization who has dumped on him over the years.
Burton’s Willy Wonka is a social outcast, but Burton doesn’t encourage us to sympathize with him they way we sympathized with Edward or Pee-Wee.
This is an example of Burton’s growth. You’re not sympathizing with Wonka, who doesn’t have a family, you’re sympathizing Charlie, who does. The same can be said with Sweeney. You sympathize with the two kids, and not Sweeney and the Helena Bonham Carter character — who are the social outcasts.
There no sign of discovering new ideas or themes.
Here’s a great quote from Film score monthly:
“Burton’s Willy Wonka is a social outcast, but Burton doesn’t encourage us to sympathize with him they way we sympathized with Edward or Pee-Wee. Wonka’s attempt to isolate himself from society and fill his factory with whimsical diversions only leaves him empty and miserable – he’s ultimately only saved by entering back into the family unit and community. This is hardly a theme that we saw in Burton’s previous work. And in Corpse Bride, the heroine is not an outcast at all, but part of a loving and loyal community. The entire film is about interpersonal relationships, people reaching outward, not inward – again, not themes that earlier Burton would have especially valued.”
Would that film exist with Depp prior to PIRATES OF THE CARIBBEAN?
Maybe? Wasn’t the movie green lit before Depp was cast?
And remember the marketing campaign? Barely hinted at it’s musical roots.
Aside from the material with Depp singing?
What subtext in BIG FISH and CHARLIE? Men coming to terms with their fathers?
No, sir. When I say subtext, I’m talking about underlying themes, or more specifically, things that are metaphorical. For example, in Big Fish, when Albert Finney’s wife is in the lake at the end of the movie, that would signify that she is his “great catch,” so to speak. You can find lots of this kind of stuff when you contrast his tall tales with the actual occurrences.
Subtext in SWEENY? Not really.
I never said that there was subtext in Sweeny.
Stop motion version of FRANKENWEENIE is not radical. Burton + remake + Disney + Stop motion = safe idea.
Stop motion is a niche market. Nightmare and Corpse Bride were modest successes, whereas, a safe idea, like Pixar’s Finding Nemo, makes 40 bajillion worldwide.
Disney would love to rekindle the marketing cash cow that was NIGHTMARE I’m sure.
Nightmare isn’t Frankenweenie. If it was, Corpse Bride would have shared similar success, in terms of merchandise. Then again, Nightmare is more popular now than it ever was. So maybe Corpse Bride will get a second coming.
Mmm, sort of a combination between Bachelor Party and Back to School. It’s great to see all these Boingo references popping up everywhere.
…McDonalds was stuck with a massive marketing campaign to tie into BATMAN RETURNS after it was criticized for it’s violence…
Burton certainly didn’t pull back the violence in Sweeney Todd.
BIG FISH, CHARLIE, SWEENEY – all glitter on the outer shell, but hollow inside.
Hmm, I would argue that Big Fish and Charlie are more substantive and have more subtext than, say, Beetlejuice.
My tastes may have changed, but I can detect when an artist is sticking with the middle-ground.
Well, doing a stop motion, feature length version of Frankenweenie is pretty radical, considering that the first version wasn’t popular in the first place.
That’s funny, because all his movies, post-Apes, have done well in the box office and been well received critically. I’m not sure (specifically) what you want from the poor man. Maybe Frankenweenie will tap your nostalgic needs.
I could care less about the Pirates movies (I didn’t even see the second and third). But does that mean I’ll see the fourth for an Elfman swashbuckling score? — Hell yeah! Burton should make it like Cabin Boy.
That clip isn’t even on the bleedin’ DVD!
The print on the new Nightmare disc is just gorgeous. Upon watching, I almost suspected that some digital grading was involved.
The new audio commentary is nice, too. There’s some nice anecdotes that I haven’t heard before (like that Danny lived with Caroline Thompson when he wrote the songs), and they managed to keep Burton’s rambling trimmed down to a minium.
A clear, concise thematic representation is what’s needed to make an imprint on the viewer and the listener.
I would say that Dead Presidents disagrees with you. That theme is just a rhythmic figure, and it’s extremely effective.
Oh, I’m sure the music would make Herrmann crap his pants.
A Danny Elfman movie and score just came out last week. Let’s talk about that.
Ha, ha. No kidding.
The main theme in Wanted is fantastic. It has such a wonderful Russian feel to it. It would be great if Danny got to score a fantasy and approached it like a Russian fantasy, a la, Scheherazade.
It very much sounds like an outtake from Boingo. Great stuff! The lyrics, also, are just fantastic! Though, that’s to be expected. What isn’t expected is Danny writing and performing a new song!
Well, I don’t care about watching the ballet. But I certainly care about hearing it. Some of Elfman’s best music is balletic.
Blah! I’m going cold turkey until I see Indy 4 in theaters! I hope the samples are as good as this:
