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Old 12-15-2016, 01:12 PM   #601
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The live action adaptation of the popular children's book "Charlotte's Web" was released in theaters ten years ago today. Elfman wrote a more sanguine and pastoral score that became a nice companion piece to his Black Beauty (1994) score.

Main Title
Spoiler!!! Click to Read!:


Templeton
Spoiler!!! Click to Read!:


The Plan Begins
Spoiler!!! Click to Read!:


Wilbur's Homecoming
Spoiler!!! Click to Read!:

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Old 01-11-2017, 04:09 PM   #602
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‘Fifty Shades Darker’ Soundtrack Details



Quote:
Originally Posted by Film Music Reporter
The details of the soundtrack album for the sequel Fifty Shades Darker have been revealed. The album features the songs from the movie, including the track I Don’t Wanna Live Forever (Fifty Shades Darker) by ZAYN & Taylor Swift, which is already available as a single, as well as songs by Halsey, Tove Lo, Sia, Kygo, The-Dream, John Legend, Nicki Minaj and Nick Jonas. Also included are two tracks form the movie’s original score composed by Danny Elfman (Spider-Man, Batman, Alice in Wonderland). The soundtrack will be released on February 10, 2017. The pre-order link will be added to this article later this week. Fifty Shades Darker is directed by James Foley and stars Dakota Johnson, Jamie Dornan, Hugh Dancy, Eric Johnson, Jennifer Ehle, Luke Grimes, Rita Ora, Victor Rusak, Eloise Mumford and Max Martini. The drama will be released nationwide on February 10 by Universal Pictures. To learn more about the film, visit the official movie website for updates. (via EW)

Here’s the album track list:

1. I Don’t Wanna Live Forever (Fifty Shades Darker) – ZAYN | Taylor Swift
2. Not Afraid Anymore – Halsey
3. Pray – JRY (feat. Rooty)
4. Lies in the Dark – Tove Lo
5. No Running From Me – Toulouse
6. One Woman Man – John Legend
7. Code Blue – The-Dream
8. Bom Bidi Bom – Nick Jonas & Nicki Minaj
9. Helium – Sia
10. Cruise – Kygo (feat. Andrew Jackson)
11. The Scientist – Corinne Baily Rae
12. They Can’t Take That Away From Me – Jose James
13. Birthday – JP Cooper
14. I Need a Good One – The Avener (feat. Mark Asari)
15. Empty Pack Of Cigarettes – Joseph Angel
16. What Would It Take – Anderson East
17. What Is Love? – Frances
18. On His Knees – Danny Elfman
19. Making It Real – Danny Elfman

Fifty Shades Darker - Extended Trailer (HD)

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Old 01-21-2017, 09:40 PM   #603
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Amazon revealed the inept looking cover art for the "Fifty Shades Darker" score album. According to amazon Backlot Records is releasing it. And the release date is February 17th atm of this post. However, the tracklist and samples have yet to be released.


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Old 01-26-2017, 11:08 PM   #604
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Danny Elfman and LA Film Festival announce judges for 'Rabbit and Rogue' competition



Quote:
Originally Posted by Los Angeles Times
Always dreamed of having your short film scored by Grammy- and Emmy-winning — and four-time Oscar nominee — Danny Elfman? Now's your chance.

Elfman introduced the Rabbit and Rogue Project in June 2016 as an opportunity for up-and-coming filmmakers to use selections from his "Rabbit and Rogue" album as inspiration and a soundtrack for their short films.

The competition, produced in partnership with the LA Film Festival and Indi.com, allows filmmakers to use selections from Elfman’s “Rabbit and Rogue” and compete for the opportunity to premiere their film at the 2017 LA Film Festival.

The festival announced Thursday the first five judges for the project: Paul Haggis ("Crash"), McG ("Charlie’s Angels"), Rob Minkoff ("The Lion King"), Sam Taylor-Johnson ("50 Shades of Grey") and Gus Van Sant ("Good Will Hunting").

The competition will award six winners, one for each of Elfman's compositions, and the deadline for filmmakers to apply is April 15.

The LA Film Festival is June 14-22.
I noticed that Elfman collaborated with all five judges on previous pictures in the past. Hopefully there'll be some follow up on that limited collector's edition 'Rabbit And Rogue' soundtrack that was announced last June.


Last edited by Elevator Man; 01-26-2017 at 11:41 PM.
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Old 02-03-2017, 11:24 PM   #605
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Film Music Reporter revealed the track list from the "Fifty Shades Darker" Score album.

‘Fifty Shades Darker’ Score Album Details
Quote:
Originally Posted by Film Music Reporter
Here’s the album track list:

1. Nightmare
2. Christian
3. On His Knees
4. Panties
5. Bathroom Encounter
6. No Strings Attached
7. Dossiers
8. 1st Sex
9. Vandalize
10. The L Word
11. Texting
12. Red Room
13. A Key
14. Jack Attack
15. Danger Girl
16. Chopper Crash
17. Survive
18. Yes!
19. Announcement
20. Martini Face
21. Making It Real

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Old 02-05-2017, 12:37 AM   #606
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Alice Through The Looking Glass was a sequel that nobody asked for or even had the desire to watch for that matter. However since the first film made a billion dollars worldwide (thanks to the 3-D craze at the time as well as the high prices in 3-D tickets) a sequel was inevitable from Disney. The first film was an unnecessary re-imagining that was a disappointing outing from Burton. Alice In Wonderland (2010) is definitely one of Burton’s weaker films, which is unfortunate b/c it was right up his alley. The movie felt bland, shallow, and studio driven rather than a passion project from Burton, who needs to retire from all the “re-imaginings“, reboots, and adaptations already. Some of the CGI was dodgy particularly the Jabberwocky and Crispin Glover‘s character the Knave Of Hearts. In the end Elfman’s score was what kept everything together for me. His score carried the film, imo. It also made the movie more bearable.

I wasn’t expecting much from the sequel. And only checked it out for Elfman’s score, which was excellent in the film. To my surprise I actually enjoyed this adventure. It was a decent family movie. Mia Wasikowska seems to have grown into her role of Alice. I wasn’t even annoyed by Depp’s Mad Hatter or even Baron Cohen’s character Time, which were two of the characters/performances I was dreading the most. I was also intrigued by the Mad Hatter’s back-story with his family. As well as the Red Queen’s (reprised by Burton‘s ex Helena Bonham Carter) back-story, which explained why she hates everyone particularly her sister the White Queen (played again by Anne Hathaway, who was unfortunately underused this time). I didn’t mind the special effects, which I found to be an improvement over the previous film. Maybe my expectations were rock bottom low or something but I think the critics were too harsh on the sequel. I don’t think it’s a bad movie or one of the worst movies of 2016. I believe that critics (and apparently movie goers) were tired of these kind of CG heavy fantasy movies, Depp’s quirky oddball shtick and used this movie to vent. They were probably hate watching if they watched the movie at all. I’m not saying the film was a masterpiece (far from it) but it wasn’t rubbish either. I actually prefer this adventure over the last installment by Burton.

Elfman returns as the composer of the sequel, which is always a treat for him (and his fans) to score a sequel to a film he composed music for. Compared to his AIW score, which was already a big sweeping symphonic score, Elfman went bigger and bolder in scope. This is a much wilder score out of the two. It perfectly characterizes the rollercoaster ride Alice goes through as she attempts to save the Mad Hatter and his family through time travel. I was amazed at how dynamic, bombastic, and rich the orchestrations and instrumentations were. Elfman went above and beyond to come up with an engaging whimsical score that wasn’t just a retread of the first, imo. Disney and director James Bobin must’ve permitted Elfman to really cut loose.

ATTLG score isn’t a retread of AIW’s but it does expand on the themes/motifs from the previous film, which makes sense b/c most of the characters (with themes/motif) have returned. Just as the 1st score Alice’s main theme recurs throughout this score, but with more variations and nuance. The main theme feels a lot more heroic and confident just as Alice herself was in the film. Elfman also utilizes Alice’s secondary theme/motif more for this adventure. It’s often used for the more sentimental moments in the film. Alice’s themes/motifs recurs throughout this score, but, Elfman manages to freshen ‘em up without it becoming trite, imo. Though some will still criticize Alice’s themes/motifs of being omnipresent in this score. Just as some did with it‘s predecesssor.

The Mad Hatter’s motif, which was briefly used in the last film/score, recurs more in this one. I believe it’s a variation on Alice’s theme, which reflects the friendship between Alice and the Mad Hatter. I’m assuming the motif is dense in order for Elfman to subtlely interweave it into cues. In fact on first listen, some listeners might not notice the motif being used even though it’s playing right in front of them. Elfman injects the motif with a somewhat jolly Celtic/Irish tone. Though it’s often played on flutes Elfman’s able to manipulate the colors and tones with different instruments. Mad Hatter’s motif is also played more dramatically and grim in certain tracks.

The Red Queen’s theme makes a couple recurrences as well. Elfman manages to freshen up her theme, which is even more sinister and furious than in the last score. It’s also reminds the listener who the real antagonist of the story is. However, the Red Queen’s theme is played more upbeat and whimsical in “They’re Alive”, which is a cue during her origins of how her head grew big (literally) as a child after being betrayed by her sister.

Though the Cheshire Cat briefly appears in the film. Elfman‘s able to sneak in a few recurrences of it’s mysterious and sinewy theme in the score particularly at the beginning of “Saving The Ship”, “Time’s Castle” and “Watching Time”.

Elfman also came up with two new motifs. One that defines the character Time. Time’s motif is very peculiar and suspicious b/c throughout the film Alice (as well as the viewers) views him as the villain or antagonist of the story, which is later revealed that he wasn’t. His character is sort of like the grim reaper of time. I believe Elfman establishes that during Time’s gloomy intro in track “Watching Time”. Time’s motif is somewhat reminiscent of Elfman’s theme for Eliot’s character (played by Bobcat Goldthwait) from “Scrooged“. It’s sort of a downbeat motif which get’s plenty recurrences in the score. Time’s motif becomes more threatening as he’s chasing Alice after she has stolen the Chronosphere (“Chronosphere”), which is a MacGuffin that helps her go back and forth through time. Elfman also emulated the ticking and tock-ing of a clock in some tracks e.g. “Watching Time”, “Clock Shop”, etc.

The 2nd motif represents the Mad Hatter’s family the Hightopps. It’s an emotional motif for the Mad hatter and his family b/c for most of the film he believes they were killed by the Jabberwocky, but were actually held captive by the Red Queen. It’s a very dense motif that might take repeated listens to notice. However it could be heard in tracks “Warning Hightopps”, “Hat Heartbreak”, and “Finding The Family”.

A minor quibble I have with both Time’s and the Hightopps’ motifs is that both didn’t resonate with me the way the themes/motifs (for Alice, the Cheshire Cat, and the Red Queen‘s) did from AIW. Both motifs are a little too dense. Maybe I’ll appreciate both motifs more overtime, but at the moment I find them lacking.

The highlights of the score for me were “Alice” (obviously), “Saving The Ship”, “Watching Time”, “Looking Glass”, “The Red Queen”, “The Chronosphere”, “Oceans Of Time”, “Asylum Escape”, “Time Is Up” (a very thrilling and emotional track), “Truth”, “Goodbye Alice”, “Kingsleigh & Kingsleigh”, “They’re Alive”. and “Story Of Time”.

Just as he did with his “Goosebumps” soundtrack Elfman added 7 bonus tracks the album presentation, which adds up to about 73 minutes of score. The album has a pretty smooth pace, imo. Some listeners might take issue with cues being out of chronological film order. As well how much or little substance the bonus cues add to the album.

Pink’s single “Just Like Fire” closes the album. And though it isn’t a bad song I don’t think it needed to be apart of the album. The song felt out of place with Elfman’s symphonic powerhouse of a score. Just as Avril Lavigne’s song from the first film would’ve if they had included it with Elfman’s score album. The same goes for Mariah Carey’s song for Oz The Great & Powerful if it was included with the soundtrack. “Just Like Fire” is just your typical contemporary Disney pop song only with Pink vocals. I wasn’t impressed.

Bottomline: Despite my minor quibbles with both Time’s and the Hightopp’s motif lacking the resonance that Elfman’s original themes/motifs have I enjoyed this score very much. I believe it even transcends Elfman’s previous AIW score, which was an excellent score itself. The score also enhances the narrative. ATTLG is arguably up there with some of Elfman’s best sequel scores (Batman Returns, Men In Black II, and Spider-Man 2) to films to where he scored the original installment. Elfman manages to spice up most of the returning themes/motifs without any of ’em becoming mundane. Even though Alice’s themes/motif are constantly recurs it never becomes trite or redundant b/c Elfman’s always freshen it up. However, the score is very busy and bombastic in scope, which might throw some listeners off. Some also might complain about not having enough context to where the score takes place in the film if they haven’t seen the movie. If you enjoyed the original and are into Elfman’s fantasy scores I highly recommend ATTLG.

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Old 02-08-2017, 12:03 PM   #607
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‘Tulip Fever’ Soundtrack Details



Quote:
Originally Posted by Film Music Reporter
Sony Classical will release a soundtrack album for the period drama Tulip Fever. The album features the film’s original music composed by Danny Elfman (Batman, Spider-Man, Alice in Wonderland, A Nightmare Before Christmas, Charlie and the Chocolate Factory). The soundtrack will be released overseas on February 24, 2017. A domestic release is expected at the same time. The cover art will be added to this article soon. Tulip Fever is directed by Justin Chadwick and stars Alicia Vikander, Dan DeHaan, Christoph Waltz, Holliday Grainger, Jack O’Connell, Zach Galifianakis, Dame Judi Dench, Matthew Morrison, Tom Hollander and Cara Delevingne. The movie is set in 17th-century Amsterdam and follows a married woman who begins a passionate affair with an artist hired to paint her portrait. The drama is set to be released in the U.S. on February 24 by the Weinstein Company.

Here’s the album track list:

1. Sophia’s Theme
2. Lost
3. Willem
4. The Unveiling
5. The Streets
6. A Storm is Coming
7. Ultramarine
8. Nailed
9. The Reveal
10. The Streets – Part 2
11. Devastation
12. Maria’s Theme
13. The Wait
14. It’s Done
15. The Storm
16. The Grand Finale
17. Happy Family
18. Sophia’s Theme (Reprise)

TULIP FEVER - Official US Trailer - The Weinstein Company


Last edited by Elevator Man; 02-08-2017 at 10:48 PM. Reason: Included album cover art.
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Old 02-10-2017, 02:01 PM   #608
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Soundtrack Album for ABC’s ‘When We Rise’ Announced

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Originally Posted by Film Music Reporter
Hollywood Records will release a soundtrack album for the ABC mini-series When We Rise. The album features a selection of cover songs from the 8-hour event by such artists as Jordan Fisher, Fancy, Brandi Carlile and Zella Day. Also included is a suite from the drama’s original score composed by Danny Elfman (Spider-Man, Batman, Alice in Wonderland) and Chris Bacon (Source Code, Bates Motel). The soundtrack will be released digitally on February 24, 2017. The cover art and pre-order link will be added to this article soon. When We Rise is written and created by Dustin Lance Black (Milk) and stars Guy Pearce, Mary-Louise Parker, Rachel Griffiths, Michael K. Williams and Ivory Aquino. The mini-series event chronicles the real-life personal and political struggles, set-backs and triumphs of a diverse family of LGBT men and women who helped pioneer one of the last legs of the U.S. Civil Rights movement. The drama will premiere on February 27 on ABC.

Here’s the album track list:

1. I’d Love To Change The World – Jordan Fisher
2. California – Fancy
3. Tie Your Mother Down – Brandi Carlile
4. You Make Me Feel (Mighty Real) – Justin Sams / Eve Nelson
5. Good Times feat. Christine Aprile – Kyle Dixon and Michael Stein
6. Thinking of You – Austin McKenzie
7. Wonderwall – Zella Day
8. Oh Happy Day – Ruby Amanfu feat. Prado
9. I’d Love To Change The World – Shea Diamond
10. When We Rise Suite – Danny Elfman and Chris Bacon

When We Rise Official Trailer

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Old 02-15-2017, 02:07 PM   #609
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La La Land/MV Questions thread

Quote:
Originally Posted by Bud Baxter
Whatever happened to Midnight Run? You heavily hinted it was coming years ago & then... nada.
Quote:
Originally Posted by La La Land Records
Nope, hopefully 2018. Got a few UMG titles to work on before Midnight Run.

MV

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Old 02-20-2017, 01:28 PM   #610
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Varese Sarabande's Limited Edition Soundtrack Of 'Before I Wake' Shipping The Week Of February 20th!



Quote:
Originally Posted by Varese Sarabande
NEW LIMITED EDITIONS:
Before I Wake by
Music by The Newton Brothers & Danny Elfman
Order: http://tinyurl.com/zfutpp9
Shipping Week Of Feb. 20th
1000 Copies

Before I Wake is a powerfully emotional score which, at turns, is both beautiful and frightening. This symphonic score by The Newton Brothers also features a major contribution (14:00 of music) by Danny Elfman!

Foster parents Jessie (Kate Bosworth) and Mark (Thomas Jane) Hobson welcome 8-year-old Cody into their home. The boy tells Jessie that he's terrified to fall asleep, but she assumes it's just a natural fear for any young child. The couple become startled when their dead biological son suddenly appears in their living room. To their surprise, Cody's dreams can magically become real but so can his nightmares. Mark and Jessie must now uncover the truth behind Cody's mysterious ability before his imagination harms them all.

1. Somnia (1:59)
2. A New Home (1:14)
3. Flashback (1:02)
4. Cody (2:51)
5. Monarchs (:54)
6. First Day Of School / Afraid To Sleep (2:44)
7. Lighterflies (1:32)
8. Someone’s Here (1:41)
9. Cody And Annie (1:02)
10. Family Portrait (1:48)
11. Sean* (2:01)
12. I’m Sorry (1:19)
13. The Life Cycle Of Butterflies (2:12)
14. Memories Of Sean (1:45)
15. Christmas* (2:01)
16. I’m Always With You (1:54)
17. The Bully (1:19)
18. Asleep In Class (2:26)
19. I’m Awake, This Can’t Be Happening (1:34)
20. Missing Kid (1:12)
21. Zolpidem (1:15)
22. Come To Bed (1:32)
23. Taken Away (1:42)
24. He Won’t Wake Up (2:14)
25. Cody’s Past (1:27)
26. What Happens When He Dreams? (6:52)
27. He Needs To Sleep (3:10)
28. Something’s In The Bathroom (2:27)
29. Nightmares (2:48)
30. Defeated* (9:58)

Music by The Newton Brothers
*Music by Danny Elfman


Last edited by Elevator Man; 02-20-2017 at 01:36 PM.
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Old 02-28-2017, 02:36 AM   #611
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Danny Elfman to Receive Max Steiner Award

Quote:
Originally Posted by Film Music Reporter
It was announced Sunday that Danny Elfman (Spider-Man, Batman, Nightmare Before Christmas, Avengers: Age of Ultron, Alice in Wonderland) is the recipient of this year’s Max Steiner Film Music Achievement Award, which will be presented at the annual Hollywood in Vienna Concert Gala at Vienna Concert Hall on September 29, 2017. The composer will be accepting the award in person and is also expected to perform one of his songs. The Max Steiner Award honors extraordinary achievements within the genre of film music by the musical capital of Austria, Vienna. Composers including James Horner, Alan Silvestri, James Newton Howard, Howard Shore, Alexandre Desplat, Randy Newman, Lalo Schifrin and John Barry have previously received the honor. Selections of the Elfman’s work will be performed at the Hollywood in Vienna Concert, which will also feature performances of such scores Life of Pi (Mychael Danna), The Chronicles of Narnia (Harry Gregson-Williams), The Lion King (Hans Zimmer) and Beauty and the Beast (Alan Menken). To learn more about the event, visit the official Hollywood in Vienna website.

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Old 03-30-2017, 11:34 AM   #612
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Meet The Robinsons was released in US theaters ten years ago today. Elfman's score wasn't anything special, but it still has it's moments.

The Prologue
Spoiler!!! Click to Read!:


To The Future!
Spoiler!!! Click to Read!:


Pop Quiz and the Time Machine Montage
Spoiler!!! Click to Read!:


Doris Has Her Day
Spoiler!!! Click to Read!:


Setting Things Right
Spoiler!!! Click to Read!:

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Old 04-05-2017, 05:01 PM   #613
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Warren Beatty’s Dick Tracy was a movie I watched countless times as a kid. Though I haven’t read any of the comic strips the film was based on I still enjoyed it. It’s a fun well made throwback to 30s film noir/serials. I admire Beatty’s attempt to bring the comic book world/characters/imagery to life. Even though the script isn’t anything special and lacking character development. Beatty makes up for it with the impressive production values i.e. cinematography, production design, makeup, costume design, Danny Elfman’s rousing score, Stephen Sondheim’s jazzy musical numbers, and a top notch cast (well aside from Madonna, who didn’t give a bad performance, imo).

Elfman’s old fashioned noir score has always been criticized for being “Batman-lite”, Batman leftovers, etc. Dick Tracy (both film/score) shares some similarities with Batman (1989). That’s probably the main reason Beatty hired Elfman. Dick Tracy’s score is still distinguishable from Batman (1989), imo. Elfman’s score (just as the film) is a lot more colorful, flamboyant, jazzy, lighthearted, and doesn't take itself too seriously. Aside from his Joker theme and Bruce/Vicki love theme (which was adapted from Prince’s “Scandalous” song for the same movie) Batman (1989) is mostly monothematic with the Batman theme inhabiting most of the score. Dick Tracy has a couple of recurring themes/motifs e.g. the Dick Tracy main theme, Tess’ Theme, Breathless’ theme, The Blank’s theme, Theme for “Big Boy” Caprice and his Gang, a chase/pursuit theme, an unused motif for “The Kid“, etc. Some cues also planted seeds for some of Elfman’s upcoming scores at the time such as Darkman, Batman Returns, and The Nightmare Before Christmas. Dick Tracy is sort of a stepping stone for those scores. Aside from moments with The Blank and minor moments dealing with “Big Boy” Caprice there isn’t much grim moments in the movie/score as there was in Batman (1989). Even though Elfman’s score didn’t carry the movie the way his score for Batman did I always admired it in the movie. It brought a nice balance to the Madonna and Sondheim songs. The score also injected a lot more excitement than there actually was in the movie.

When Intrada Records released a 2-CD expanded album back in November of last year. I was stoked b/c despite being an Elfman fan I never owned the original 1990 soundtrack album, which has been out of print for a while now. Plus I’m a big fan of this score. The only music I owned from the score was Elfman’s original main title of the film (a three minute cue opening with the Dick Tracy theme segueing into a very romantic rendition of Tess’ theme, which carries the remainder of the cue) from a compilation album (Elfman’s Music For A Darkened Theatre Volume 1). Disc 1 opens with the 1990 original soundtrack (which contains 16 tracks from Elfman’s score) followed by the Intrada presentation of the expanded score in mostly chronological order carrying over both discs. Normally when these specialty labels (e.g La La Land Records, Intrada, Film Score Monthly, etc.) release an expanded album the original soundtrack is presented afterwards (e.g expanded albums of Batman (1989), Batman Forever, Planet Of The Apes (2001),etc.). So listeners who already owned the original 1990 soundtrack might take issue with this. If that’s the case they could skip to the Intrada expanded presentation. It wasn’t an issue for me b/c I've haven’t heard the original soundtrack prior to this release. So listening to both presentations was like hearing the score outside of the film for the first time. Another issue is that the play list of the Intrada expanded presentation has the alternates/revised versions placed after their respective cues. Instead of presenting the tracks as close to chronological film order with the alternate/revised cues separated in the extras/bonus tracks. The way Intrada arranged the expanded album slightly diminishes the flow of the album/listening experience, imo.

The original 1990 album has different versions of cues that weren’t included in the Intrada presentation. “The Chase” and “Showdown/Reunited” are the film versions, which was apart of the 1990 album. The Intrada presentation only has the alternate versions of those cues. “Slimy D.A“ (from the 1990 album) is slightly different from the Intrada version, which you can hear Elfman‘s Darkman theme being born near the middle of the cue. So you might want hold on to the original album. Intrada made a statement that they didn’t find every piece of music from the score as well as Elfman compelling them to include the 1990 album, which I’m glad they did. I just wish they had placed the 1990 album at the end with the Intrada presentation in a more tighter and accessible album presentation b/c now I’ll have to rearrange the play list on my iTunes library for my own listening pleasure.

Critic’s always labeled Elfman’s Dick Tracy theme “Batman leftovers”, but the theme has a lot more in common with his 90s Flash theme, which also gets criticized for the same reasons. It doesn’t bother me b/c both themes (Dick Tracy and Batman’s) are distinctive enough from one another. Tracy’s theme is very heroic, mighty, bold, and authoritative without any hint of darkness or mystery unlike the Batman theme. Tracy’s theme announces the hero, whenever he’s on the scene/case, to the rescue, investigating, etc. It is an old fashioned heroic theme which characterizes Tracy as incorruptible. People complain there isn’t much nuance to the theme but the character doesn’t really evolve by the end of the movie. In fact Tracy lacks a character arc. With that said the main theme is very exciting and goes through some fun renditions throughout the score, imo.

Dick Tracy’s girlfriend Tess Trueheart is given a very romantic/nostalgic theme. Tess’ theme could also be considered the emotional theme, which establishes Tracy’s and Tess’ feelings for one another. It’s a very sentimental theme which reflects Tess’ frustrations with Tracy being married to his job and never being committed enough to their relationship. Tess’ theme is a throwback to composer George Gershwin. So those familiar with his style will notice his influence. Elfman really cuts loose with Tess’ theme during the films climax as Tess and Tracy embrace one another with fireworks in the background. It’s arguably one of Elfman’s most romantic love themes. It is easily the heart of this score, imo.

Breathless Mahoney also get’s her own theme. It’s somewhat similar to Tess’ but at the same time unique from it. Even though Breathless is a femme fatale her theme is very sympathetic, melodramatic, tragic but less sultry. It characterizes her feelings for Tracy but at the same her frustration that he doesn’t share the same feelings for her b/c of his feelings for Tess. Breathless’ theme also highlights the sexual tension between Breathless and Tracy. Some of the cues pertaining to Breathless (particularly “Breathless Again”) slightly telegraphs Elfman’s “Sore Spots” from Batman Returns, which is another moment that portrays the sexual tension between the hero and his love interest.

The theme for The Blank (just as the character itself) is very mysterious, creepy, and gloomy. Throughout the movie viewers aren’t sure whose side (Tracy’s or Big Boy‘s) The Blank is on. The liner notes mentioned that Elfman cleverly hinted at the character’s true identity by doing a variation on one of the themes. If you haven’t seen this nearly 30 year old movie I won’t spoil who The Blank is for you. I got to admit I never noticed that before. The Blank theme brings some necessary tension and menace to an otherwise fun score.

“Big Boy” Caprice and his gang get a theme/motif that’s used a couple times but doesn’t get much development. It’s a sinister theme that doesn’t take itself too seriously but it basically represents the bad guys. I really dig the jazzy rendition of the theme in “Flattops Entrance”. It reminded of old school gangster movies. I liked the use of snare drums in certain cues pertaining to Big Boy’s gang. That’s an instrument I don’t hear Elfman use that often in his scores.

There’s sort of a pursuit theme that is used in certain moments whenever a character be it Tracy, The Kid, Cops, where they’re either following/chasing somebody or running into danger. It sometimes play counterpoint to Big Boy’s theme (“Lips Get Nailed”, “Tracy Get’s Nabbed”).

The Kid is briefly given a motif , which ended up being unused in the film. I believe it’s played on an accordion, which can be heard in "Kid Montage" “Badge“, “Badge (Alternate)”, “Badge (Alternate 2)”, and towards the end of both “Bait” and "Gasser".

I found two cues particularly unique from the rest of the score, which are “Kid Montage” (during the montage as Tracy spends the day with Kid, where he repeatedly asks Tracy “When Do We Eat?:”) and “Crime Spree” (which took place as Big Boy takes over the city as Tracy is locked up). Both cues were replaced by songs. Ironically both montage cues come off as source cues in comparison to the rest of the score. Elfman taps into some swing big band jazz. I wouldn’t be surprised if Elfman took some inspiration from Duke Ellington and Cab Calloway (both had been influences of his in the past) Aside from these particular cues, some of the Oogie Boogie cues from The Nightmare Before Christmas and the material he wrote for Chicago we don’t hear this side of Elfman on film very often.

I also like to point out the excellent unused cue “Boiler Go Boom”, which was also co-written by the late Shirley Walker. This cue would’ve took place as the Kid helps Tracy escape an exploding boiler room. The tension in the scene was instead carried by the sound effects from the exploding pipes etc. “Boiler Go Boom” (both scene and music) felt like a great throwback cue to a 1930s serial where the heighten suspense music and the heroic theme compete with one another until the hero survives the deathtrap.

One of the cues I wish was included was the music from the rare 1st trailer. That trailer cue is a very riveting variation of the Dick Tracy theme. I believe it actually made the trailer more exciting than it actually was. It even makes me want to rewatch the movie after viewing that trailer. Both the music and trailer knew what the film was aiming to achieve even if it seemed to have missed the mark based on the reception of the movie.

Bottomline: Despite the arrangement of the playlist on both discs, the absence of the trailer music, and other missing tracks. I’ve always enjoyed the heck out of this score in the movie, but I appreciate it even more after listening to this Intrada 2-CD release. Elfman’s score is underrated and often times gets lost in the shuffle for being crowned as “Batman leftovers“, which I don’t necessarily agree with. Recommend it to fans of old school Elfman, of the 1990 film, and of the score.


Last edited by Elevator Man; 04-05-2017 at 11:57 PM.
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Old 04-19-2017, 02:57 PM   #614
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Batman Begins with Elfman Music
Spoiler!!! Click to Read!:

It's amazing how perfectly "Batman To The Rescue/Batmobile Charge/Street Fight" and "Descent Into Mystery" sync with this chase scene. IMO it actually injects more excitement that I found lacking in the actual chase, which happens to be my least favorite Batman related chase scene in TDKT.

Batman v Superman - Do You Bleed Scene (Danny Elfman Style)
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Even Elfman's score can't improve this sequence. Doesn't help that Batman's actions during this scene make him look less heroic and more of a ruthless miscreant.

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Old 04-20-2017, 10:06 PM   #615
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James Ponsoldt’s ‘The Circle’ to Feature New Song by Jónsi

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Sigur Rós frontman Jónsi has contributed a new song for James Ponsoldt’s thriller The Circle. The track is a new recording of the classic song Simple Gifts by Shaker. Listen to the song after the jump (via Pitchfork). STX Recordings and Sony Masterworks will release a soundtrack album featuring the track, as well as Danny Elfman‘s original score from the movie on April 28. Check back on this page for the full album details. The Circle is written and directed by Ponsoldt and stars Emma Watson, Tom Hanks, John Boyega, Patton Oswalt, Bill Paxton, Karen Gillan and Ellar Coltrane. The EuropaCorp production will be released nationwide on April 28 by STX Entertainment. Visit the official movie website for updates.
Probably a digital release only, which doesn't surprise me.

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Old 04-22-2017, 04:00 PM   #616
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Dick Tracy - Unused Danny Elfman Montage Score
Spoiler!!! Click to Read!:


Interesting, but I think Elfman scored a different cut of that montage b/c the "Crime Spree" cue doesn't synchronize smoothly with the montage in the final cut as the "Back In Business" song does. Which makes sense b/c the movie went through some re-editing.

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Old 04-26-2017, 01:20 AM   #617
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‘The Circle’ Soundtrack Details



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The full details of the soundtrack album for James Ponsoldt’s thriller The Circle have been revealed. The album features the film’s original music composed by Danny Elfman (Spider-Man, Batman, Alice in Wonderland, Avengers: Age of Ultron, Edward Scissorhands). Also included is the cover version of Shaker’s Simple Gifts recorded for the movie by Jónsi (check out our previous article to listen to the track). The soundtrack will be released digitally this Friday April 28, 2017 by Sony Masterworks. The pre-order link will be added to this article within the next few days. The Circle is written and directed by Ponsoldt and stars Emma Watson, Tom Hanks, John Boyega, Patton Oswalt, Bill Paxton, Karen Gillan and Ellar Coltrane. The EuropaCorp production is based on the novel of the same name by Dave Eggers and follows a young woman who joins a social-media company, where she steps in front of the camera and finds her identity threatened by her brush with the spotlight. The thriller will be released nationwide on April 28 by STX Entertainment. Visit the official movie website for more information.

Here’s the album track list:

1. Into a Circle (1:00)
2. Wonderland (2:01)
3. Happy Little Robots (1:33)
4. Inner Sanctum (1:26)
5. Lonely Kayak (0:57)
6. Aftermath (2:51)
7. Upgrade (0:45)
8. Panic Text (2:05)
9. Conspiracy (1:18)
10. Chasing Amy (0:45)
11. Fog Attack (1:36)
12. Stolen Kayak (2:52)
13. Finding Mercer (3:02)
14. Toilet Talk (1:15)
15. Intake (2:06)
16. Ascension (1:03)
17. Mae Takes Over (4:24)
18. Simple Gifts – Jónsi (4:41)
19. More Happy Little Robots (Bonus Track) (2:19)
20. Return to Wonderland (Bonus Track) (1:34)
21. Happy Love Theme (Bonus Track) (1:11)

The Circle | Official Trailer
Just as I figured it's a digital release only.

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Old 05-02-2017, 02:39 PM   #618
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^A CD is being released in the UK later this month.

https://www.amazon.co.uk/gp/product/...?ie=UTF8&psc=1

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Old 05-02-2017, 04:57 PM   #619
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Hopefully there'll be pressed copies released in the US market as well.

Also...
Rabbit & Rogue (Original Ballet Score) 2-CD is being released June 2, 2017 according to Amazon.

It's about time. Why they waited a year to release a CD? Possibly b/c of the dvd of the ballet that was included or b/c of that short film contest next month? Anyways looking forward to finally hearing the score.

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Old 05-03-2017, 01:27 PM   #620
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Sam Raimi's Spider-Man was released in theaters 15 years ago today. I've seen the film countless times when I was younger. I still enjoy the movie very much. I've defended and lauded Elfman's score many times. As well as listened to the album repeatedly over the years. So I'll just say after re-listening to the score album (again) in honor of its anniversary I still adore it. Both the movie and it's score share a special place in my heart. In fact, upon release the scores to both POTA (2001) and Spider-Man renewed my interest into Elfman's music.

Main Titles
Spoiler!!! Click to Read!:


Costume Montage
Spoiler!!! Click to Read!:


Revenge
Spoiler!!! Click to Read!:


Alone
Spoiler!!! Click to Read!:


City Montage
Spoiler!!! Click to Read!:


Specter Of The Goblin
Spoiler!!! Click to Read!:


Farewell
Spoiler!!! Click to Read!:


End Credits
Spoiler!!! Click to Read!:

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Old 05-03-2017, 03:26 PM   #621
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Default Re: The Danny Elfman Appreciation Thread

The Spider-Man movies just haven't felt right without that great opening cue over the Columbia logo.

By the way, I don't always comment, but I always read your reviews EM. Great stuff.

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Old 05-03-2017, 06:37 PM   #622
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Same here. Always a pleasure to read.

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Old 05-05-2017, 03:49 PM   #623
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No problem. I'm always happy to share my opinion with those who are interested or curious about any particular Elfman score.

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Old 05-22-2017, 11:22 PM   #624
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Danny Elfman Composing Theme for Universal’s ‘Dark Universe’

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Danny Elfman has composed a musical theme for Universal Pictures’ Dark Universe logo. The theme will make its first appearance in front of the inaugural film in the new classic monster series, Alex Kurtzman’s The Mummy starring Tom Cruise Sofia Boutella, Annabelle Wallis, Jake Johnson, Courtney B. Vance & Russell Crowe, which will be released in theaters nationwide on June 9. Future titles of the Dark Universe include Bill Condon’s Bride of Frankenstein, which is set to be released on February 14, 2019. Check out a teaser for Dark Universe after the jump.

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Old 05-24-2017, 01:52 PM   #625
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Since May 12th amazon (US) have released physical copies of The Circle Soundtrack. However, "the product is manufactured on demand using CD-R recordable media".

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