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Yeah, the shot of Elfman (who was there with his daughter Mali) just after Morricone was announced as the winner, was priceless.
As some of you might know, I don’t like expanded releases, and am mostly blissfully unaware of any music left off albums. All that matters is the album I hold in my hands, and how that program holds up as a listening experience. The film — and music within — is never a frame of reference for my soundtrack listening. That being said, there are obviously moments now and then when a piece of unreleased music wouldn’t hurt the overall listening experience. Someone mentioned the circus music from BIG FISH — it was good music, and I can see it fitting into the album at some point, as a mood-breaker. But that album works brilliantly the way it is. One of my favourite Elfman scores since 2000.
Yes, there is a bit of music in the backgroun. Typical Elfman project, where he gets to delve into his love of 30s jazz and stuff (Kurt Weill-style). This sounds like bits of IRIS.
My picks (only feature film scores):
1. THE UNKNOWN KNOWN
2. Alice in Wonderland
3. Promised Land
4. The Next Three Days
5. Dark ShadowsI’ve mostly grown weary of Elfman in action/superhero/blockbuster mode. I prefer it when he goes indiepop or ambient or minimalist.
Yeah, that’s a sad prospect. I don’t like either Giacchino or Desplat, and it seems like both of them are aiming at STAR WARS music for some time to come (Desplat with the upcoming ROGUE ONE and Giacchino stepping in when Williams retires or dies).
No, I hope he continues to work with Burton. Even when the films aren’t top-notch, the scores are usually always wonderful (like ALICE). OK, BIG EYES was a disappointment in both areas, but I suspect and hope that was just a one-off.
At the same time, I also hope he continues doing what he’s been doing for the last decades — i.e. constantly changing types of films and sounds to explore.
The only thing I wish he toned down, is the big epic things (superhero movies etc.), and rather did more of the more laidback, intimate, calm stuff that is my absolute favourite sound of his these days.
Wow, cool tidbit! Both the violin concerto bit, and the Prague. Been to Prague several times, but I’d be delighted to go there again for this. I’m guessing this is part of the annual film music festival in the city. If Elfman visits, it’s a great win for them — at the cost of more established film music events like Ghent, Krakow or Vienna.
Been listening to this a couple of times (a digital promo version, haven’t acquired the physical disc yet), and it hasn’t quite hooked me. It’s not the kind of Elfman I prefer these days, to be honest. Even without the bonus tracks, the album is a bit too bombastic and hectic. Hopefully, it will grow on me a bit, but I’d rather wait for the next mellow score for an indie film, which is where I feel he excels.
Yeah, I’ve never really heard him be critical of the films themselves, only the scoring process, although one would assume he has the ability to laugh at some of his assignments over the years, like HOT TO TROT!
Yeah, I saw that video when it went viral a couple of days. Must have been a tremendous treats for the fans who were there. I’m totally envious!
Probably just a one-off, but I wouldn’t mind another Boingo concert (with reduced volume, if necessary, due to Elfman’s hearing condition).
Personally, I didn’t like the songs at all, so I edited them out. Plays much more nicely now; I love Elfman in this mode.
It looks like a fairly standard horror flick, to be honest, even though it has a few interesting visual details (like the butterflies). I don’t know why Elfman signed on to it — maybe because he hasn’t really done a contemporary horror flick like this in the past (I’m not counting ‘fantasy’/gothic stuff like SLEEPY HOLLOW, NIGHTBREED, THE WOLFMAN etc.).
But I’m ready to be positively surprised.
Damn, the only truly worthwhile piece on the album and it isn’t even Elfman’s. Count me in among the disappointed — including disappointment in lack of proper credit.
Everyone knows I don’t like expanded releases of anything, but I must admit — I can’t really remember a lot of unreleased music from this. Are we talking, like, maximum 5-10 minutes in total?
Oh, a suggestion — if you’re doing a new messageboard, how about having one section for ‘only Danny Elfman’ and another for general film music?
A redesign, you say? I believe it when I see it!
Seriously, though, your suggestions sounds fine. The issues I have are only those that have existed for years. Ever since the 90s, I have been hoping for a slightly ‘brighter’ messageboard, and eventually also a more contemporary one that is more attractive to post in.
Other than that, it’s mostly to do with keeping the information up-to-date.
Although the site should be a venue for news and interactivity, there should also be a sort of ‘archive’ section for Elfman’s work. When I did the Elfman Buyer’s Guide for FSM back in 2005, I went through every bit and nook of his career up to that point (including non-film work and Boingo etc.), but you don’t need to go THAT heavy into it. A listing will often suffice.
But if this is really happening, I wish you good luck. Can’t wait to see it.
I hope not. I hope he steers clear of action and superhero films for a while and continues to develop his more introverted drama sound. But that’s just my personal preference.
Plenty of people who have scored PEE WEE in the past, though, if you count the television show(s). Cliff Martinez, for example!
Well, now that I’ve received the CD and listened to it a few times, I have to agree with some of the comments above. It’s a nice score — and I prefer Elfman in this mode over the big and rambunctious these days — but overall it’s no RESTLESS or PROMISED LAND or definitely not the Morris scores. It’s a little ‘by-the-numbers’. But hey — some great tracks still, like the aforementioned “Bliss”.
Lambegue Wrote:
> No matter what you think of the movies, don’t you
> like Elfman’s works for big blockbusters ?Not if the blockbusters are big and noisy superhero action movies and the like. Never been a fan of that part of Elfman in the first place, and much less now when he’s doing so much GREAT work for more indie-type films (which is more up my alley).
Hey lonzoe! I’m also a HUGE fan of THE NEXT THREE DAYS. If you like post-rock bands like Explosions in the Sky, Sigur Ros, Mogwai etc. (and I definitely do!), then it’s right up your alley. An extremely underrated and misunderstood score by those who want more traditional ‘symphonics’.
So by comparing it to that, you actually upped my expectations even more. I’ve ordered the CD, and am waiting for it to arrive in the mail. I’ve refused to listen to samples (except that “Bliss” cue, which sounded fantastic).
Damn, I had hoped he would move away from these types of movies by now.
This means I must get the soundtrack — or at least the Elfman cues — from a film I really have no particular interest in.
Damn, I’ve been out of the loop for a while, and while perusing Elfman’s IMDB profile recently, I assumed this was an error (IMDB has several of those, conflating score assignments with the usage of an Elfman score cue or song). I’m glad to see this is, in fact, the real deal! Would love to get hold of this score now, somehow. Guess we’ll have to be patient.
